Catherine Opie, C Opie, B Billboard, SS Park

Tags: Catherine Opie, Los Angeles, Contemporary Art, New York, NY, New York, , San Francisco, CA, Whitney Museum of American Art, Flash Art, Art in America, London, United Kingdom, Stephen Friedman Gallery, Hammer Museum, Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles, Milwaukee Art Museum, Conner Contemporary Art, Time Out London, Art Gallery, Staatliche Kunsthalle Baden-Baden, University Art Museum, Contemporary Museum, San Francisco Art Institute, Sammlung Goetz, Museum of Modern Art, Guggenheim Museum, Museum of Contemporary Art, Chicago, IL Representing, Walker Art Center, Regen Projects, Whitney Museum, Post Feminist Art, Gladstone Gallery, Hirshhorn Museum and Sculpture Garden, Institute of Contemporary Art, Boston, MA Jerome Caja, Ileana Tounta Contemporary Art Center, Stedelijk Museum, Espai d'Art Contemporani, American Art, Museum of Contemporary Art, Los Angeles, CA, The Times London, New York Times, The New York Times, Henry Art Gallery, California, Santa Barbara Contemporary Arts Forum, curated, Andy Warhol Museum, Cathy Opie, Karl Leubsdorf Art Gallery, Arizona State University Art Museum, Thyrza Nichols Goodeve, Serpentine Gallery
Content: CATHERINE OPIE
Born Lives
Sandusky, OH, 1961 Los Angeles, CA
MOCA, Los Angeles Artist on the Board of Trustees The Andy Warhol Foundation for the Visual Arts Member of the board of directors
EDUCATION
1988 1985
MFA Fine Art, CalArts, Valencia, CA BFA Fine Art, San Francisco Art Institute, San Francisco, CA
SOLO EXHIBITIONS
2018 2017 2016 2015 2014 2013 2012 2011 2010
The Modernist, Regen Projects, Los Angeles, CA Thomas Dane Gallery, London, United Kingdom Catherine Opie--Keeping an Eye on the World, Henie Onstad Kunstsenter, Oslo, Norway 700 Nimes Road, NSU Art Museum, Fort Lauderdale, FL Catherine Opie: O, LACMA, Los Angeles, CA Hammer Projects: Catherine Opie: Portraits, Hammer Museum, Los Angeles, CA Catherine Opie: 700 Nimes Road, MOCA Pacific Design Center, Los Angeles, CA; University of Michigan Museum of Art, Ann Arbor, MI; George Eastman House, Rochester, NY Portraits and Landscapes, Lehmann Maupin, New York, NY 700 Nimes Road, Lehmann Maupin, New York, NY Catherine Opie: Portraits and Landscapes, Wexner Center for the Arts, Columbus, OH The Gang: Photographs by Catherine Opie, Walker Art Gallery, Liverpool, United Kingdom Only Miss the Sun when it Starts to Snow, Peder Lund, Oslo, Norway Catherine Opie: In and Around LA, Julius Shulman Institute, Los Angeles, CA Catherine Opie, Regen Projects, Los Angeles, CA Institute of Woodbury University, Woodbury University Hollywood Gallery, Los Angeles, CA Twelve Miles to the Horizon: Sunrises and Sunsets, Long Beach Museum of Art, Long Beach, CA Catherine Opie: Broadway Billboard, Socrates Sculpture Park, New York, NY High School Football, Mitchell-Innes & Nash, New York, NY Catherine Opie photographs Cliff May, AD&A Museum, UC Santa Barbara, Santa Barbara, CA Catherine Opie, Stephen Friedman Gallery, London, United Kingdom Catherine Opie, The Institute of Contemporary Art, Boston, MA Catherine Opie: New Zealand; Zero to Something, projectspace B431, Elam School of Fine Arts, Auckland, New Zealand Catherine Opie: Empty and Full, Institute of Contemporary Art, Boston, MA Catherine Opie: Football Landscapes, Peder Lund, Oslo, Norway Catherine Opie, Portland Art Museum, Portland, OR Figure and Landscape, Los Angeles County Museum of Art, Los Angeles, CA Catherine Opie: High School Football Players, Sabine Knust Galerie Maximilian Verlag, Munich, Germany Venezia / Venice, Studio Guenzani, Milan, Italy
2008 2006 2004 2002 2001 2000 1999 1998 1997 1996 1995 1994 1991 1990
Twelve Miles to the Horizon, Regen Projects II, Los Angeles, CA Girlfriends, Gladstone Gallery, New York, NY Maximilian Verlag, Munich, Germany The Blue of Distance: Photographs from Alaska, Stephen Friedman Gallery, London, United Kingdom Catherine Opie: American Photographer, Solomon R. Guggenheim Museum, New York, NY Catherine Opie, Regen Projects, Los Angeles, CA 1999 & In and Around Home, Aldrich Museum, Ridgefield, CT; The Orange County Museum of Art, Newport Beach, CA; Cleveland Museum of Contemporary Art, Cleveland, OH; Weatherspoon Art Museum, Greensboro, NC Catherine Opie: Chicago, Museum of Contemporary Art Chicago, Chicago, IL Catherine Opie: American Cities, Gladstone Gallery, New York, NY Catherine Opie: Children, Studio Guenzani, Milan, Italy Surfers, Gorney, Bravin & Lee, New York, NY Surfers, Stephen Friedman Gallery, London, United Kingdom Surfers, Regen Projects, Los Angeles, CA Icehouses, Studio Guenzani, Milan, Italy Icehouses, Regen Projects, Los Angeles, CA Skyways and Icehouses, Walker Art Center, Minneapolis, MN Wall Street, Stephen Friedman Gallery, London, United Kingdom 1999, Galeria Presenca, Porto, Portugal Wall Street 2000-2001, Antik, New York, NY Catherine Opie: In between here and there, Saint Louis Art Museum, St. Louis, MO; The Photographers' Gallery, London, United Kingdom; Museum of Contemporary Art, Chicago, IL Catherine Opie: Large Format Polaroids, curated by Cheryl Kaplan, Thread Waxing Space, New York, NY New Polaroids, Thread Waxing Space, New York, NY Catherine Opie, Artpace, San Antonio, TX Works 1991-97, Partobject Gallery, Carrboro, NC Domestic, Gorney Bravin + Lee, New York, NY Catherine Opie, Susan Inglett, New York, NY Catherine Opie: A Survey, Woodstreet Galleries, Pittsburgh, PA Domestic, Regen Projects, Los Angeles, CA Mini-Malls, Jay Gorney Modern Art, New York, NY Catherine Opie, Museum of Contemporary Art Los Angeles, Los Angeles, CA L. A. Freeways and Mini-Malls, Museum of Contemporary Art Los Angeles, Los Angeles, CA Portraits and Houses, Suzanne Hilberry Gallery, Birmingham, MI Houses and Landscapes, The Ginza Art Space, Shiseido, Tokyo, Japan L.A. Houses and Landscapes, Regen Projects, Los Angeles, CA Houses and L.A. Freeways, Jay Gorney Modern Art, New York, NY L.A. Freeways, Feigen Gallery, Chicago, IL Portraits, Enterprise, New York, NY Portraits, Parco, Tokyo, Japan Portraits, Galeria Massimo De Carlo, Milan, Italy Portraits and Freeways, Richard Foncke Galerie, Ghent, Belgium Portraits, Regen Projects, Los Angeles, CA Portraits, Kiki Gallery, San Francisco, CA L.A. Freeways, Jack Hanley Gallery, San Francisco, CA Being and Having, 494 Gallery, New York, NY A Long Way from Paris: Photographs from MacArthur Park, Metro Rail, and Their Surroundings, Beyond Baroque, Venice, CA
1989
Master Plan, United States Post Office, Valencia, CA Master Plan, Mills College, Oakland, CA
GROUP EXHIBITIONS
2018 2017 2016 2015
Blurred Horizons: Contemporary Landscapes, Real and Imagined, Art Projects International, New York, NY Women with a Camera, Museum of Contemporary Art Chicago, Chicago, IL This Is Not a Selfie: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, San Jose Museum of Art, San Jose, CA I Plan to Stay a Believer, Andrew Kreps Gallery, New York, NY Urban Planning: Contemporary Art and the City 1967-2017, Contemporary Art Museum St. Louis, St. Louis, MO Who Shot Sports: A Photographic History, 1843 to the Present, Olympic Museum, Lausanne, Switzerland Southern Accent: Seeking the American South in Contemporary Art, Speed Museum of Art, Louisville, KY Selections from the Permanent Collection: Catherine Opie and Sterling Ruby, MoCA Los Angeles, Los Angeles, CA Expanded Visions: Fifty Years of Collecting, Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY March Madness, Fort Gansevort, New York, NY The Intersectional Self, The 8th Floor, New York, NY L.A. Exuberance: New Gifts by Artists, Los Angeles County Museum of Art, Los Angeles, CA Human Interest: Portraits from the Whitney's Collection, Whitney Museum of American Art, New York, NY The Female Gaze Part II: Look at Men, Cheim & Read, New York, NY Who Shot Sports: A Photographic History, Brooklyn Museum, Brooklyn, NY NO MAN'S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami, FL On the Domestic Front: Scenes of Everyday Queer Life, Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY Immersed, Linda Pace Foundation Collection, San Antonio, TX Perfect Likeness: Photography and Composition, Hammer Museum, Los Angeles, CA Residue: The Persistence of the Real, Vancouver Art Gallery, Vancouver, Canada America Is Hard to See, Whitney Museum of American Art, New York, NY A Brief History of Humankind: From the Collections of the Israel Museum, The Israel Museum, Jerusalem, Israel The Blue of Distance, Aspen Art Museum, Aspen, CO Twentieth Anniversary Exhibition, Stephen Friedman Gallery, London, United Kingdom FRAMING DESIRE: Photography and Video, Modern Art Museum of Fort Worth, Fort Worth, TX HE: The Hergott Shepard Photography Collection, University of Michigan Museum of Art, Ann Arbor, MI Storylines: Contemporary Art at the Guggenheim, Solomon R. Guggenheim Museum, New York, NY Come As You Are: Art of the 1990s, Montclair Art Museum, Montclair; Telfair Art Museum, Savannah, GA; University of Michigan Museum of Art, Ann Arbor, MI; Blanton Museum of Art, University of Texas, Austin, TX 100+: A Photograph For Every Year of the MIA, Minneapolis Institute of Arts, Minneapolis, MN
2014 2013 2012 2011
SELF: Portraits of Artists in Their Absence, National Academy Museum, New York, NY The Seven Deadly Sins: Lust, Hudson Valley Center for Contemporary Art, New York, NY Bound to be Held: A Book Show, The Contemporary Jewish Museum, San Francisco, CA Being Here and There, Museum of Art and History Lancaster, Lancaster, CA Me and Benjamin, Galerie Xippas, Paris, France Concrete Infinity, Museum of Contemporary Art Los Angeles, Los Angeles, CA Exposure: An Exhibition of Contemporary Photography, Wright State University, Dayton, OH After Our Bodies Meet: From Resistance to Potentiality, The Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY Study from the Human Body, Stephen Friedman Gallery, London, United Kingdom Performance: Contemporary Photography from the Douglas Nielsen Collection, Center for Creative Photography, Tucson, AZ Game Changer, Boulder Museum of Contemporary Art, Boulder, CO Fan the Flames, Art Gallery of Ontario, Toronto, Ontario, Canada Unbound: Contemporary Art After Frida Kahlo, Museum of Contemporary Art Chicago, Chicago, IL The Heart of Los Angeles, Union Station, Los Angeles, CA Pace Gems: Selections from the Linda Pace Foundation Permanent Collection, Linda Pace Foundation, San Antonio, TX Not For All My Little Words, Marc Straus, New York, NY The Gender Show, George Eastman House, Rochester, NY I, You, We, Whitney Museum of American Art, New York, NY Ballet of Heads: The Figure in the Collection, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA Lens Drawing, Galerie Marian Goodman, Paris, France The Illuminated Library, Fine Arts Gallery at San Francisco State University, San Francisco, CA I think it's in my head, organized by TM Sisters, Girls' Club, Miami, FL Murals of La Jolla, The La Jolla Community Foundation, La Jolla, CA Sie. Selbst. Nackt, Museen Bottcherstrasse, Bremen, Germany Women, War, and Industry, The San Diego Museum of Art, San Diego, CA MOSTYN, Women's Art Society, Llandundo, United Kingdom Art of Sport, CEPA Gallery, Buffalo, NY Film and Photography, Rochester, New York, NY Lens Drawing, curated by Jens Hoffmann, Galerie Marian Goodman, Paris, France Au Grand Palais, Paris Photo, Paris, France 101 Collection: Route 3, CCA Wattis Institute for Contemporary Arts, San Francisco, CA Self-portraits, Louisiana Museum of Modern Art, Humlebaek, Denmark An Orchestrated Vision: The Theater of Contemporary Photography, Saint Louis Art Museum, St. Louis, MO More American Photographs, curated by Jens Hoffmann, CCA Wattis Institute for Contemporary Arts, San Francisco, CA The kids are all right: an exhibition about family and photography, John Michael, Kohler Arts Center, Sheboygan, W; Weatherspoon Art Museum, Greensboro, NC; Addison Gallery of American Art, Andover, MA Inaugural Exhibition by Gallery Artists, Regen Projects, Los Angeles, CA Creating a Queer Museum, Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY HIDE/SEEK: Difference and Desire in American Portraiture, Brooklyn Museum, Brooklyn, NY Politics is Personal, Stonescape, Napa Valley, CA The Untitled 12th Istanbul Biennale, Istanbul, Turkey
2010 2009
About The Right of Being Different: The Art of Diversity and Inclusion at Progressive, The Maltz Museum of Jewish Heritage, Cleveland, OH Crossing Centuries, Cuming Museum, London, United Kingdom The Lord & The New Creatures, Nye + Brown, Los Angeles, CA A Fine Line: Private Lives for Public View, Clifford Art Gallery, Colgate University, Hamilton, NY Tender is the Night, City Gallery, Wellington, New Zealand More American Photographs, CCA Wattis Institute for Contemporary Arts, San Francisco, CA; Museum of Contemporary Art Denver, CO; Wexner Center for the Arts, Columbus, OH Mixed Signals: Artists Consider Masculinity in Sports, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT The Personal is Political: Women Artists from the Collection, Museum of Contemporary Art Los Angeles, Los Angeles, CA Rear Window: Brought to You in High Def, Patrick Painter Inc, Los Angeles, CA The Altered Landscape: Photographs of a Changing Environment, Nevada Museum of Art, Reno, NV The Last First Decade, Ellipse Foundation, Cascais, Portugal Politics is Personal, Stonescape, Napa Valley, CA The City Proper, Margo Leavin Gallery, Los Angeles, CA The Artist's Museum, Museum of Contemporary Art Los Angeles, Los Angeles, CA Hide/Seek: Difference and Desire in American Portraiture, National Portrait Gallery, Washington, D.C. IMAGE. ARCHITECTURE. NOW, Woodbury University, Burbank, CA Decadence Now! Visions of Excess, Rudolfinum, Prague, Czech Republic Trust, Seoul Museum of Art; traveled to Gyeonhuigung Annex of Seoul Museum of Art, Seoul Museum of History, and the Simpson Memorial Hall, Seoul, Korea Degrees of Separation: Contemporary Photography from the Permanent Collection, San Jose Museum of Art, San Jose, CA Housed, The Alice Austen House Museum, Staten Island, NY Swell, Art 1950 ­ 2010, Friedrich Petzel Gallery, Metro Pictures, and Nyehaus Galleries, New York, NY Ars Homo Erotica, National Museum in Warsaw, Warsaw, Poland Mixed Use, Manhattan: Photography and Related Practices 1970s to the Present, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain The Tattoo Show, The Lesbian, Gay, Bisexual, and Transgender Community Center, New York, NY 15 Minutes of Fame: Portraits from Ansel Adams to Andy Warhol, Orange County Museum of Art, Newport Beach, CA Coastlines: Images of Land and Sea, Dallas Museum of Art, Dallas, TX On the Road: A Legacy of Walker Evans, Robert Lehman Art Center at Brooks School, North Andover, MA Contemporary Urban Panoramas: Los Angeles, New York, Reykjavik, Center for Photographs at the J. Paul Getty Museum, Los Angeles, CA Hard Targets, Wexner Center for the Arts, Columbus, OH R for Replicant, 101 Collection: Route 1, CCA Wattis Institute for the Arts, San Francisco, CA Creating Identity: Portraits Today, 21c Museum, Louisville, KY America, Beirut Art Center, Beirut, Lebanon Bitch is the New Black, Honor Fraser Gallery, Los Angeles, CA Underwater, Western Bridge, Seattle, WA The Art of Caring: A Look at Life Through Photography, New Orleans Museum of Art, New Orleans, LA
2008 2007 2006
Everywhere: Sexual Diversity and Policies in Art, Santiago de Compostela, Centro Galego de Arte Contemporanea, Galicia, Spain Worlds Away: New Suburban Landscapes, Yale School of Architecture, New Haven, CT sh(OUT): Human Rights and Contemporary Art, Gallery of Modern Art, Glasgow, United Kingdom L8S ANG3LES: 11 LA Photographers, The Annenberg Space for Photography, Los Angeles Into the Sunset: Photography's Image of the American West, Museum of Modern Art, New York, NY Mixed Signals: Artists Consider Masculinity in Sports, Independent Curators International, New York; Cranbrook Art Museum, Bloomfield Hills, MI; Center for Art, Design and Visual Culture, Baltimore, MD; Wexner Center for the Arts, Columbus, OH; Art Gallery of Calgary, Calgary, Canada; Middlebury College Museum of Art, Middlebury, VT; Andy Warhol Museum, Pittsburgh, PA, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT Road Trip, San Jose Museum of Art, San Jose, CA Other People: Portraits from the Grunwald and Hammer Collections, Hammer Museum, Los Angeles, CA Role Models: Feminine Identity in Contemporary American Photography, National Museum of Women in the Arts, Washington, D.C. Listen Darling...The World is Yours, Ellipse Foundation, Cascais, Portugal War as a Way of Life, 18th Street Arts Center, Santa Monica, CA Kiki: The Proof is in the Pudding, Ratio 3 Gallery, San Francisco, CA Idle Youth, Gladstone Gallery, New York, NY This Side of Paradise: Body and Landscape in Los Angeles Photographs, The Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA In Repose: An exhibition from the collection of Debra and Dennis Scholl, Miami Beach, Florida, The Galleries at Moore, Moore College of Art & Design, Philadelphia, PA Knocking the Door, International Incheon Women Artists' Biennale, Incheon, Korea Glass Love: Contemporary Art and Surf, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Refugees of Group Selection, Franklin Parrasch Gallery, New York, NY Women Artists' Biennale, Korea All the More Real: Portrayals of Intimacy And Empathy, Parrish Art Museum, Southampton, NY Passion Complex: Selected Works from the Albright Knox Art Gallery, 21st Century Museum of Contemporary Art, Kanazawa, Japan Darling, take Fountain, Kalfayan Galleries, Athens, Greece Kiss Kiss Bang Bang: 45 Years of Art & Feminism, Museo de Bellas Artes de Bilbao, Bilbao, Spain Global Feminisms, Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, Brooklyn, New York Pretty Baby, Modern Art Museum of Fort Worth, Fort Worth, TX Multiple Vantage Points: Southern California Women Artists, 1980-2006, Municipal Art Gallery at Barnsdall, Los Angeles, CA Family Pictures, Guggenheim Museum, New York, NY Hammer Contemporary Collection, Hammer Museum, Los Angeles, CA Red Eye: L.A. Artists from the Rubell Family Collection, Rubell Family Collection, Miami, FL The Unhomely: Phantom Scenes in Global Society, Second International Biennial of Contemporary Art, Seville, Spain Couples Discourse, Palmer Museum of Art, Pennsylvania State University, University Park, PA Sixteen Tons: UCLA Department of Art Faculty, New Wight Gallery, University of California, Los Angeles, CA
2005 2004 2003
The Eighth Square: Gender, Life and Desire in Art Since 1960, Museum Ludwig Koln, Cologne, Germany Photographs That I Love, Patricia Faure Gallery, Santa Monica, CA Still Points of the Turning World: SITE Santa Fe's Sixth International Biennial, SITE Santa Fe, Sante Fe, NM The Last Time They Met, Stephen Friedman Gallery, London, United Kingdom Work Zones: Three Decades of Contemporary Art from The San Francisco Art Institute, San Francisco Art Institute, San Francisco, CA Step Into Liquid, Museum of Contemporary Art, Denver, CO Dark Places, Santa Monica Museum of Modern Art, Santa Monica, CA Into Me/Out of Me, PS1 Contemporary Art Center, Long Island City, New York, NY Out of Place, New Art Gallery Walsall, Walsall, United Kingdom Skin Is a Language, Whitney Museum of American Art, New York, NY Literally and Figuratively. Photographic Portraits, The Montreal Museum of Fine Arts, Montreal, Canada Frontiers: Collecting the Art of Our Time, Worchester Art Museum, Worchester, MA The New City: Sub/Urbia in Recent Photography, Whitney Museum of American Art, New York, NY Family Pictures: Contemporary Photography and Video from the Collection of the Guggenheim Museum, Galleria Gottardo, Lugano, Switzerland Ideal Worlds: New Romanticism in Contemporary Art, Schirn Kunsthalle Frankfurt, Frankfurt, Germany Anniversary Exhibition, Stephen Friedman Gallery, London, United Kingdom Bidibidobidiboo, Fondazione Sandretto Re Rebaudengo, Turin, Italy Farsites: Urban Crisis and Domestic Symptoms in Recent Contemporary Art, Centro Cultural, Tijuana/San Diego Museum of Art, San Diego, CA Vanishing Point: Hidden Beauty in Contemporary Art, Israel Museum, Jerusalem, Israel Getting Emotional, Institute of Contemporary Art, Boston, MA Universal Experience: Art, Life, and the Tourist's Eye, Museum of Contemporary Art, Chicago, IL Contemporary Photography and the Garden: Deceits and Fantasies, organized by the American Federation of Arts; Middlebury College Museum of Art, Middlebury, VT; Parrish Art Museum, Southampton, NY; Columbia Museum of Art, Columbia, SC; Tacoma Art Museum, Tacoma, WA; Cheekwood Museum of Art, Nashville, TN; Hudson River Museum Yonkers, NY; Delaware Museum of Art, Wilmington, DE 26th Sao Paulo Biennial, Pavilhao Ciccillo Matarazzo, Parque do Ibirapuera, Sao Paulo, Brazil The Leopard Spots: Between Art, Performance, and Club Culture, 18th Street Arts Center, Santa Monica, CA That Bodies Speak, Has Been Known for a Long Time, Generali Foundation, Vienna, Austria The Whitney Biennial, Whitney Museum of American Art, New York, NY 100 Artists See God, Jewish Museum San Francisco, CA; Laguna Art Museum, Laguna Beach, CA; Institute of Contemporary Art, London, United Kingdom; Contemporary Art Center of Virginia, Virginia Beach, VA Inaugural Exhibition, Regen Projects, Los Angeles, CA Intimates, Angles, Los Angeles, CA Art, Lies and Videotape, Tate Liverpool, Liverpool, United Kingdom Still Life, Still Here, Armory Center for the Arts, Pasadena, CA Phantom of Desire: Visions of Masochism in Art, Neue Galerie Graz und Stadtmuseum Graz, Graz, Austria Site Specific, Museum of Contemporary Art, Chicago, Chicago, IL Portraiture, Karyn Lovegrove Gallery, Los Angeles, CA
2002 2001 2000
Micropolitics I. Art and Everyday Life: 2001 ­ 1989, Espai d'Art Contemporani de Castello, Castellуn, Spain Elegy: Contemporary Ruins, Museum of Contemporary Art, Denver, CO Imperfect Innocence, Contemporary Museum, Baltimore, MD Phantom of Pleasure, Neue Galerie am Landesmuseum Joanneum, Graz, Austria Just Love Me: Post Feminist Art of 1990s from Goetz Collection" Bergen Kunstmuseum, Bergen, Germany; traveled to Fries Museum, Leeuwarden, Germany 5 Year < Retro, Conner Contemporary Art, Washington, D.C. Majestic Sprawl: Recent Los Angeles Photography, Pasadena Museum of California Art, Pasadena, CA Die Wohltat Der Kunst ­ Post/Feministische Positionen der 90er Jahre aus der Sammlung Goetz, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany Photographic Impulse: Highlights from the Joseph and Elaine Monsen Collection, Henry Art Gallery, Seattle, WA En Route, Serpentine Gallery, London, United Kingdom The Self, curated by Noriko Fuku, Circulo de Bellas Artes, Madrid, Spain Ghost Image, Gorney, Bravin & Lee, New York, NY Parallels and Intersections: Art/Women/California 1950 ­ 2000, San Jose Museum of Art, San Jose, CA Visions from America: Photographs from the Whitney Museum of American Art, 1940-2000, curated by Sylvia Wolf, Whitney Museum of American Art, New York, NY Hautnad, Die Sammlung Goetz, Museum Villa Stuck, Munich, Germany Fision Cuisine, curated by Katerina Gregos, Deste Foundation, Centre for Contemporary Art, Athens, Greece EXTRAordinary, Madison Art Center, Madison, WI fe/male, Plakat-Intervention U-Bahnstation, Braunschweiggasse, Vienna, Austria The "O" Portfolio, Domestic Furniture, Los Angeles, CA The Great Wide Open, The Huntington Library, San Marino, CA Open City Street Photographs Since 1950, co-curators Kerry Brougher and Russell Ferguson, Museum of Modern Art Oxford, Oxford, United Kingdom; The Lowry, Salford Quays, Manchester, United Kingdom; Museo de Bellas Artes de Bilbao, Bilbao, Spain; Hirshhorn Museum and Sculpture Garden, Washington, D.C. The Slide Area, curated by Terry R. Myers, James Van Damme Gallery, Brussels, Belgium Before They Became Who They Are, curated by Norman Dubrow Kravets, Wehby Gallery, New York, NY Beyond the Boundaries: Contemporary Photography in California, Ansel Adams Center, Friends of Photography, San Francisco, CA Uniforme / Ordine e Dirordine, curated by Francesco Bonami, Pitti Images, Florence, Italy Made in California: Art, Image, and Identity, 1900-2000, Los Angeles Country Museum of Art, Los Angeles, CA Galeries Sabine Knust and Philomene Magers, Mьnchen, Germany Foul Play, Thread Waxing Space, New York, NY The Edge of Night: Urban Landscape, Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York, NY From the Corner of the Eye, Stedelijk Museum, Amsterdam, Netherlands Where: Allegories of Site in Contemporary Art, The Whitney Museum of American Art at Champion, Stamford, CT Made in California: Art, Image, and Identity, 1900 - 2000, LACMA ­ Los Angeles County Museum of Art, Los Angeles, CA
1999 1998
Magnetic North, curated by Jenny Lion, Walker Art Center, Minneapolis, MN; Canadian Premiere, Winnipeg, Canada Beyond Boundaries: Contemporary Photography in California, University Art Museum, California State University, Long Beach, CA; Santa Barbara Contemporary Arts Forum, Santa Barbara, CA; The Friends of Photography, San Francisco, CA Catherine Opie and John Kirchner, Conner Contemporary Art, Washington, D.C. Escape Space, Ursula Blickle Stiftung, Karlsruhe, Germany Sites Around the City: Art and Environment, Arizona State University Art Museum, Phoenix, AZ Age of Influence, Museum of Contemporary Art, Chicago, IL Representing, Parrish Art Museum, Southhampton, NY L.A.-ex, Museum Villa Stuck & Marshall, Munich, Germany L.A., Ileana Tounta Contemporary Art Center, Athens, Greece Drive: power>progress>desire, Govett-Brewster Gallery, New Plymouth, New Zealand Rear View Mirror: Automobile Images and American Identities, curated by Kevin Jon Boyle, University of California at Riverside Museum of Photography, Riverside, CA AutoWerke, Deichtorhallen, Hamburg, Germany Los Angeles, Philomene Magers Projektes & Maxmilian Verlag, Munich, Germany The American Century: Art and Culture 1900-2000, Whitney Museum of American Art, New York, NY American Vernacular, Museum of Contemporary Art Los Angeles, Los Angeles, CA Paintings from the Smithsonian Institution Archives of American Art, California State University, Fullerton, CA International Biennial, University of Melbourne, Melbourne, Australia Foul Play, Thread Waxing Space, New York, NY The Modernist Document, curated by Nancy Shaw, Leonard & Bina Ellen Art Gallery, Concordia University, Montreal, Canada Plain Air, Gladstone Gallery, New York, NY Defining Eye: Women Photographers of the Twentieth Century, Hammer Museum, Los Angeles, CA The Signs of Life, Melbourne International Biennial, The Ian Potter Museum of Art, The University of Melbourne, Melbourne, Australia Drive-By: New Art from LA, South London Gallery, London, United Kingdom; Cornerhouse, Manchester, United Kingdom Collectors Collect Contemporary 1990-99, curated by Jessica Morgan, Institute of Contemporary Art, Boston, MA Jerome Caja: Paintings from the Smithsonian Institution Archives of American Art, curated by Signe J. Cook, California State University, Fullerton, CA Love's Body, rethinking Nakes and Nude in Photography, curated by Michiko Kasahara, Tokyo Museum of Photography, Tokyo, Japan Lost Paradise: Catherine Opie, Ellen Cantor, Joachim Koester, Presenca Gallery, Porto, Portugal Babes, Mark Moore Gallery, Los Angeles, CA From the Corner of the Eye, curated by Martijn van Nieuwenhuyzen, Stedelijk Museum, Amsterdam, Netherlands Where: Allegories of Site in Contemporary Art, Whitney Museum of American Art at Champion, Stanford, CT Sunshine & Noir: Art in L.A., 1960-1997, UCLA at the Armand Hammer Museum of Art and Cultural Centre, Los Angeles, CA Identity Crisis: Self-Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, WI From the Corner of the Eye, Stedelijk Museum, Amsterdam, The Netherlands American Art at Champion, Stanford, CA
1997 1996
L.A. Times: Art from Los Angeles in the Re Rebaudengo Sandretto collection, Fondazione Sandretto Re Rebaudengo Per L'Arte, Torino, Italy Out inside: University of California Gay, Lesbian and Bisexual Faculty Artists, University of California Santa Cruz, Santa Cruz, CA American Art 1975-1995 from the Whitney Museum: Multiple Identity, Castello di Rivoli, Museo d'Arte Contemporanea, Rivoli, Italy Defining Eye: Women Photographers of the 20th Century, Selections from the Helen Kornblum Collections, curated by Olivia Lahs-Gonzales, St Louis Art Museum, St Louis, MO; Museum of Fine Arts, Santa Fe, NM; Mead Museum of Art, Amherst, MA; Wichita Art Museum, Wichita, KS; Hammer Museum, Los Angeles, CA Travelling show: The Museum of Fine Arts, Santa Fe, Mead Museum of Art, Amherst, Wichita Art Museum, Armand Hammer Museum, Los Angeles, CA 1975-Now, Making Pictures: Women and Photography, Bernard Toale Gallery, Boston, MA A Hotbed of Advanced Art: Four Decades of Visual Arts at the University of California Irvine, curated by Dickran Tashjian, the Art Gallery, University of California, Irvine, CA Composite Persona, Fullerton Museum Centre, Fullerton, CA, Inbetweener: Jeanne Dunning, Yasumasa I Morimura, Catherine Opie, Inez van Lamsweerde, Collier Schorr, Centre for Contemporary Arts, Glasgow, Scotland Identity, Castello di Rivoli, Museo d' Arte Contemporanea, Rivoli, Italy Self-Portraits: 1940-1996, Los Angeles County Museum of Art, Los Angeles, CA Elusive Paradise: Los Angeles Art from the Permanent Collection, curated by Stacia Payne and Connie Butler, Museum of Contemporary Art Los Angeles, Los Angeles, CA Trash, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy Selections from the Audrey & Sidney Irmas Collection of Photographic Self-Portraits: 1940 1996, Los Angeles County Museum of Art, Los Angeles, CA Identity Crisis: Self-Portraiture at the End of the Century, curated by Dean Sobel, Milwaukee Art Museum, Milwaukee, WI; Aspen Art Museum, Aspen, CO Cruising LA, curated by Jose Alvaro Perdices Torres, Galeria de Arte Soledad Lorenzo, Madrid, Spain Los Angeles: Metropolis USA, curated by Kirsten Kiser, Dansk Arkitektur Center, Copenhagen, Denmark Sunshine & Noir: Art in LA 1960-1997, curated by Lars Nittve and Helle Crenzien, Louisiana Museum, Humlebaek, Denmark; Kunstmuseum Wolfsburg, Wolfsburg, Germany; Castello di Rivoli, Turin, Italy; Hammer Museum, Los Angeles, CA Spheres of Influence, Museum of Contemporary Art, Los Angeles, CA Veronica's Revenge: Selections from the Lambert Art Collection, Centre d'Art Contemporain, Geneva, Switzerland Rrose is a Rrose is a Rrose: Gender Performance in Photography, curated by Jenny Blessing, Guggenheim Museum, New York, NY; Andy Warhol Museum, Pittsburg, PA Fabrications: Hamish Buchanan, Catherine Opie, and David Rasmus, curated by Kim Fullerton, Vancouver Art Gallery, Vancouver, Canada El Rostro Velado: Travestismo e Identidad en el Arte, curated by Jose Miguel G. Cortes, Koldo Mitxelena Kulturunea, San Sebastian, Spain Lie of the Land, curated by Elizabeth brown, Univeristy Art Museum, University of California Santa Barbara, Santa Barbara, CA Go West: Landscapes, curated by john Arndt and Barbara Wiesen, Reicher Gallery, Barat College, Lake Forest, IL Catherine Opie, James Welling, The Photographers' Gallery, London, United Kingdom Face and Figure: Contemporary Art in the Permanent Collection, Museum of Fine Arts, Boston, MA Inbetweener, Centre for Contemporary Arts, Glasgow, United Kingdom
1995
Evident, curated by Andrew Cross, The Photographers Gallery, London, United Kingdom College, Annandale- on-Hudson, New York, NY Galerie Rodolphe Janssen, Brussels, Belgium Desire, Renaissance Society, University of Chicago, Chicago, IL Defining the Nineties: Consensus-Making in New York, Miami, and Los Angeles, Museum of Contemporary Art, Miami, FL Recent Acquisitions, 1992-1996, Center for Creative Photography, the University of Arizona, Tucson, AZ Persona, curated by Susanne Ghez, The Renaissance Society at the University of Chicago, Chicago, IL a/drift: Scenes from the Penetrable Culture, curated by Joshua Decter, Center for Curatorial Studies at bard College, Annandale-on-Hudson, NY Nirvana: Capitalism and the Consumed Image, Center on Contemporary Art, Seattle, WA Just Past: The Contemporary in the Permanent Collection, 1975-96, curated by Ann Goldstein, The Geffen Contemporary at the Museum of Contemporary Art Los Angeles, Los Angeles, CA Man's World: Selections from the Permanent Collection, curated by Russell Ferguson, Museum of Contemporary Art Los Angeles, Los Angeles, CA What I Did On My Summer Vacation, White Columns, New York, NY Gender, Fucked, curated by Harmony Hammond and Catherine Lord, Center on Contemporary Art, Seattle, WA Art at the End of the 20th Century: Selections from the Whitney Museum of American Art, organized by David Ross and Eugenie Tsai, National Gallery, Athens, Greece; Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany California Focus, Long Beach Museum of Art, Long beach, CA Pictures of Modern Life, curated by Robert Nickas, Galerie Rodolphe Janssen, Brussels, Belgium; Ecole des beaux Arts, Tours, France Passage a l'acte, Galerie Jennifer Flay, Paris, France Sexual Politics: Judy Chicago's "Dinner Party" in Feminist Art History, curated by Dr. Amelia Jones, Hammer Museum, Los Angeles, CA Persona, curated by Susanne Ghez, The Renaissance Society at the University of Chicago, Chicago, IL; Basel Kunsthalle, Basel, Switzerland Piggybackback, Galerie Bela Jarzyk, Cologne, Germany Defining the Nineties: Consensus-making in New York, Miami, and Los Angeles, curated by Bonnie Clearwater, Museum of Contemporary Art, Miami, FL Campo 95, curated by Francesco Bonami, Konstmuseet, Malmц, Sweden Black and Blue, curated by Marc Wilson, Groninger Museum, Groninger, Netherlands Fabrications: Hamish Buchanan, Catherine Opie, and David Rasmus, curated by Kim Fullerton, Dunlop Art Gallery, Regina, Canada; Dazibao, Centre de Photographies Actuelles, Montreal, Canada Recent Acquisitions, 1992-1996, Center for Creative Photography, The University of Arizona, Tucson, AZ Transformers, curated by Ralph Rugoff, organized and circulated by Independent Curators International, New York; Marieluise Hessel and Richard Black Center for Curatorial Studies and Art in Contemporary Culture, Bard College, Annandale-on-Hudson, NY; Decker Galleries, Maryland Institute Colege of Art, Baltimore, MD; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; Nexus Contemporary Art Center, Atlanta, GA; Art Gallery of Windsor, Windsor, Canada; Illingworth Kerr Art Gallery, Alberta College of Art and Design, Calgary, Canada A Glimpse of the Norton Collection as Revealed by Kim Dingle, curated by Kim Dingle, Santa Monica Museum of Art, Santa Monica, CA; Site Santa Fe, Santa Fe, NM Images of Masculinity, Victoria Miro Gallery, London, United Kingdom
1994 1993 1992 1991 1990 1989 1988 1987 1985
Portraits, Janice Guy, New York, NY Presence: Recent Portraits, Angles Gallery, Santa Monica, CA Feminine-Masculin: the Sex of Art, curated by Marie-Laure Bernadec and Bernard Marcade, Musee national d'art modern, Centre Georges Pompidou, Paris, France La Belle et la Bete: Art Contemporain Americain, curated by Lynn Gumpert, Musee d'art Moderne de la Ville de Paris, Paris, France P.L.A.N: Photograhy Los Angeles Now, curated by Robert Sobieszek, LACMA - Los Angeles County Museum of Art, Los Angeles, CA Campo, curated by Francesco Bonami, Corderie, Venice, Italy; Fondazione Sandretto Re Rebaudengo, Torino, Italy Fabrications: Hamish Buchanan, Catherine Opie, David Rasmus, Toronto Photographers Workshop, Toronto, Canada Pervert, curated by Catherine Lord, University of California, Irvine, CA In a Different Light, curated by Larry Rinder, University Art Museum Berkeley, Berkeley, CA 1995 Whitney Biennial, curated by Klaus Kertess, Whitney Museum of American Art, New York, NY In the Field: Landscape in Recent Photography, Margo Leavin Gallery, Los Angeles, CA Little House on the Prairie, Marc Jancou Gallery, London, United Kingdom Persona Cognita, curated by Juliana Engberg, Museum of Modern Art at Heide, Melbourne, Australia Selections of the Permanent Collection of Photography, Centro Cultural Arte Contemporaneo, Mexico City, Mexico Transformers: The Art of Multiphrenia; touring exhibition, Oh boy, it's a girl, titled from a William Wegman drawing of the 70's, curated by Astrid Wege, Kunstverein Munchen, Munich, Germany; Kunstraum, Vienna, Austria Faculty/Staff: New. Work., University of California, Irvine, CA Love in the Ruins, Long Beach Museum of Art, Long Beach, CA Out West and Back East: New Work in Los Angeles and New York, Santa Monica Museum of Art, Santa Monica, CA Invitational 93, Regen Projects, Los Angeles, CA Regarding Masculinity, Arthur Roger Gallery, New Orleans, LA Back Talk, Women's Voices in the 90s, curated by Erica Danborn and Marilu Knode, Santa Barbara Contemporary Art Forum, Santa Barbara, CA Queerly Defined, Eye Gallery, San Francisco, CA Dress Codes, curated by Bruce Ferguson, Lia Gangitano, and Matthew Teitelbaum, Institute of Contemporary Art, Boston, MA I am the Enunciator, Thread Waxing Space, New York, NY Wasteland, curated by Bas Vroges, Fotographie Biennale Rotterdam III, Rotterdam, Netherlands Breaking Barriers, Santa Monica Museum of Art, Santa Monica, CA Situation, curated by Nayland Blake and Pam Gregg, New Langton Arts, San Francisco, CA Someone or Somebody, curated by Simon Watson, Meyers/Bloom Gallery, Los Angeles, CA All But the Obvious, curated by Pam Gregg, L.A.C.E., Los Angeles, CA New Landscapes, curated by William Hipps, Angel Gate Cultural Center, San Pedro, CA Young California Artists, Southcoast Museum, Costa Mesa, CA Los Angeles Art Fair, organized by L.A. Weekly, Critics Choice, Los Angeles Convention Center, Los Angeles, CA Five Women Artists, curated by Tony Greene, L.A.C.E., Los Angeles, CA Guggenheim Gallery, Orange County, CA Camerawork Gallery, San Francisco, CA
COMMISSIONS AND SPECIAL PROJECTS
2016
Los Angeles Federal Courthouse, Los Angeles, CA
SELECTED BIBLIOGRAPHY
2018 2017 2016 2015 2014 2013
"The Big 3-0," Modern Painters, February issue, p. 26. Simmons, William J. "Modernism and Dystopia: Catherine Opie Interviewed," BOMB, 5 February. Timberg, Scott. "Photographer Catherine Opie's First Film Is an Avant-Garde Meditation on L.A.," Los Angeles Magazine, 3 January. Greenberger, Alex. "Mike Kelley Foundation for the Arts Adds Catherine Opie to Board," ARTnews, 30 November. "Queer|Art Partners with HBO for Inaugural LGBTQ Art Prize," Artforum, 3 November. Levy, Ariel. "Catherine Opie, All-American Subversive," The New Yorker, 13 March, pp. 58-67. Riefe, Jordan. "Catherine Opie's 700 Nimes Road review ­ LA's triple-threat shines like a diamond," The Guardian, 9 February. Vankin, Deborah. "A Catherine Opie Moment in Los Angeles at MOCA and the Hammer," Los Angeles Times, 22 January. Fateman, Johanna. "Critic's Picks: Catherine Opie," Artforum, 29 January. Laster, Paul. "Catherine Opie on her fascination with icons and having the run of Elizabeth Taylor's house," TimeOut New York, 14 January. Slenske, Michael. "Photographer Catherine Opie's Time Is Now," WSJ Magazine, 11 January. Helmke, Juliet. "Q&A: Catherine Opie On Her Diverse Body of Work," Blouin Artinfo, 10 January. "Catherine Opie Added To Warhol Foundation Board," Artforum, 14 December. Finkel, Jori. "Catherine Opie creates monumental work for Los Angeles courthouse," The Art Newspaper, 23 November. Leitzes, Cary. "Women In Art," Elle, December. Berardini, Andrew. "After School II Los Angeles," ArtReview, May, pp. 88 ­ 89. Bodin, Claudia. "Die Welt einer Ikone," Art Das Kunstmagazin, May, pp. 32 ­ 39. Boehm, Mike and Deborah Vankin. "Artists Return to MOCA Board." Los Angeles Times, 19 March, p. D. Perret, Dorothee. "Optic Nerve: Catherine Opie in Conversation with Dorothee Perret," Paris, LA, Issue 11, Spring, p. 4 ­ 19. Meyer, Richard. "Star Turn," Artforum, Vol. 52, No. 5, January, p. 156 - 165. Dabkowski, Colin. "CEPA's 'Art of Sport' A Scattered Look Into Sports Culture," The Buffalo News, 3 October. Cooper, Ashton. "Baldessari, Kruger, Opie, Ruscha Join L.A. MOCA Director Search Committee," Blouin Artinfo, 25 September. Boehm, Mike. "MOCA Adds Artists Who Resigned from Board to Its Director Search Team," Los Angeles Times, 24 September. Blanch, Andrea. "Interview With Catherine Opie," Musйe Magazine, 24 July. Black, Ezra Jean. "Catherine Opie: Regen Projects," Artillery Magazine, May, p. 47. Walker, Alissa. "Catherine Opie Discusses her Three LA Art Exhibitions," LA Weekly, 14 March. Nyad, Diana. "Catherine Opie: A Life of Total Immersion," Huffington Post, 22 February 22. Myers, Holly. "Catherine Opie Reveals a Remarkable Range at Regen Projects," Los Angeles Times, 7 March.
2012 2011 2010
Mohseni, Yasmine. "A Q + A with Catherine Opie About her Bold New Body of Work at Regen Projects," ArtInfo, 15 March. Boone, Lisa. "Catherine Opie: 'In & Around LA' Opens at Hollywood Gallery," Los Angeles Times, 19 February. Merrick, Heidi. "Shooting Star," Foam Magazine, February. Eagan, Maura. "What She Wore," T Magazine, 14 February. Lower, Jenny. "Eye of the Beholder: Catherine Opie's 17th Century Experiment," Los Angeles Magazine, 6 March. Harnish, Tracey. "Catherine Opie: Bearing Witness to the Sublime," Huffington Post, 6 March. Mizota, Sharon. "Catherine Opie: From the Outside In," KCET, February. Boone, Lisa. "'Catherine Opie: In & Around L.A.' Opens at Hollywood Gallery," Los Angeles Times, 19 February. Appleford, Steve. "Catherine Opie's Documentary Photography is on Display," Los Angeles Times, 27 January. Kothenschulte, Daniel. "Portfolio: Catherine Opie," Monopol, December. Bryant, Eric. "Catherine Opie," Art + Auction, February. Rappolt, Mark. "Catherine Opie: Stephen Friedman Gallery," Art Review, January - February. Hodge, Brooke. "Seeing Things: Ranch House Romance," T Magazine, 1 March. "Catherine Opie," The New Yorker, 2 April. Rosenberg, Karen. "Catherine Opie: 'High School Football,'" The New York Times, 29 March. Campbell, Andy. "Catherine Opie," Artforum, 21 July. Smith, Roberta. "This Gay American Life, In Code or In Your Face," The New York Times, 17 November. Baker, Stacey. "How to Revisit an Iconic Photograph," The New York Times, 23 September. Perrazoli, Federica. "Catherine Opie," Kings Zine, No. 1. Denson, Roger R. "Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage," The Huffington Post, 23 August. Patrick, Martin. "Tender Touch: Review," New Zealand Listener, May, p. 45 - 46. "Nothing if Not Tender: review of 'Tender is the Night' at City Gallery, Wellington," ARTnews New Zealand, June, p. 12 - 13. Feeney, Mark. "Opie's Shining Light," The Boston Globe, 16 April. Bergeron, Chris. "ART EXHIBIT: Catherine Opie photographs it as she see it," Patriot Ledger, 21 April. "The Opie Bunch," Out Magazine, February, p. 52 - 53. Larsen, Mona. "Maskulint-og fшlsmont," Dagsavisen, 15 January, p. 54 - 55. Rшd, Arve. "Amerikanske Landskaper," DN lшrdag, 15 ­ 16 January, p. 78. Spurkland, Marte. "Amerikansk Fotoball," DN2, 14 January, p. 48. Row, D.K. "Review: Catherine Opie at the Portland Art Museum and City/County Employee Exhibit," The Oregonian, 23 December. Buckley, Richard. "L.A. а l'art libre," Vogue Paris, December, p. 240 - 247. Green, Tyler. "Our Avatars, Ourselves," Modern Painters, December 2010/January 2011, p. 28 ­ 29. Knight, Christopher. "An L.A. Assembly," The Los Angeles Times, 1 November, p. D1, D6. Bartelik, Marek. "Ars Homo Erotica: National Museum Warsaw," Artforum, October, p. 294 295. Bradner, Liesl. "Friday Night Lives Captured," The Los Angeles Times, 22 August, p. E2. Velasco, David. "Catherine Opie: Gladstone Gallery," Artforum, Summer, p. 350. "Catherine Opie," D Magazine, La Repubblica, 12 June, p. D22. "Catherine Opie," The New Yorker, 26 April, p. 12. Rosenberg, Karen. "Different Angles on the Portrait," The New York Times, 14 April, p. C1, C5. Breese, Kristine Stiven. "The Strip-Mall Sensibility," UCLA Hammer Magazine, January, p. 28 -
2009 2008 2007 2006
29. EXIT, 2010, p. 136-137. Reilly, Maura. Feminist Studies, Spring, p. 161. Kellner, Amy. "Catherine Opie," Vice, July. Molesworth, Helen. "Social Problem," Artforum, March, p. 101 - 102. O'Sullivan, Michael. "The Story Behind the Work," The Washington Post, 9 January 9, p. WE19. Combs, Chris. "Women's Work: 'Role Models' Plays with Feminism," Express Night Out, 8 January. Frolick, Stuart. "Return on Investment: Catherine Opie," CalArts Magazine, Fall/Winter, pp. 6-7. Dykstra, Jean. "Opie: The Community of Difference," Art in America, December. Schaffer, Johanna. "Ambivalenzen der Sichtbarkeit (Uber die visuellen Strukturen der Anerkennung)," 2008. Bielfeld, DE. Trannscript Verlag, p. 128 - 130. Knight, Christopher. "Sitting Pretty: 'American Photographer' Gives a Full Portrait of Catherine Opie," The Los Angeles Times, 9 December, p. E1, E5. Aletti, Vince. "Same Difference," The New Yorker, 3 November. Strick, Jeremy. "Top Five: What to See This Month: Catherine Opie," ArtReview, October, p. 46. Schwendener, Martha. "Dykes! Tutus! Off-ramps! The Guggenheim Mounts a Catherine Opie Retrospective," The Village Voice, 7 October. Campbell, Clayton. "Catherine Opie: Small Town Girl Making a Big City Statement," The Magazine, September, p. 38 ­ 39. Benedictus, Leo. "Catherine Opie's Best Shot," The Guardian, 9 October. Wilton, Kris. "Catherine Opie," ArtInfo, 3 October. Cotter, Holland. "A Retrospective of Many Artists, All of Them One Woman," The New York Times, 26 September, p. B29. Bedford, Christopher. "Regen Projects, Los Angeles, USA," frieze, September, p. 189. "Catherine Opie American Photographer," The Los Angeles Times, 7 September, p. F24. Burton, Philippa. "You've Been Framed," Diva, September, pp. 37 - 39. Campbell, Clayton. "Catherine Opie Regen Projects," Flash Art, July/September, p. 250 ­ 251. Schad, Ed. "Catherine Opie Regen Projects," ArtReview, June, p. 154. "Weekend Hangs," Angeleno, June, p. 131. Knight, Christopher. "Stopped at the 50-yard Line," The Los Angeles Times, 2 May, p. E14 - E15. Beil, Kim. "'Glass Love: Contemporary Art and Surf' at Santa Barbara Contemporary Arts Forum (SBCAF)," art ltd., March, p. 18. Olivares, Rosa, et. al., "Uniformes/Uniforms," Exit: Image & Culture, no. 27, p. 91, 177. Keeker, Korry. "Capturing Juneau's Essence," Juneau Empire, 7 September. Heartney, Eleanor. "Worldwide Women," Art in America, June/July, p. 154 - 164. Schjeldahl, Peter. "Women's Work: Feminist art at the Brooklyn Museum," The New Yorker, 9 April, p. 73. Genocchio, Benjamin. "Welcoming Gardens, Whispering 'Photograph Me,'" The New York Times, 11 March, p. 10. Patterson, Tom. "America: Photos Make You Think About It," RelishNow, 4 March. Scott, Joe. "Home & Away," Go Triad, 14 March. Viegener, Matias. "In and Around Whose Home?," X-TRA, Winter, p. 24 ­ 27. Sheets, Hilarie M. "Catherine Opie: Gladstone," ARTnews, November, p. 180. Colpitt, Frances. "Report from Santa Fe I: A Slow-Motion Biennial," Art in America, October, p. 69 - 75. Saltz, Jerry. "Lonely Hunter," The Village Voice, 21 September. Timberg, Scott. "UCLA Celebrates Its New Art Center," The Los Angeles Times, 14 September. Myers, Terry R. "Catherine Opie," ArtReview, September, p. 142. Kinney, Tulsa. "Exposed: Cathy Opie's California," artillery, September, p. 26 - 27, 31.
2005 2004 2003
Diaz, Karla. "Catherine Opie: Orange County Museum of Art," Beautiful/Decay, Issue P, p. 42. Knight, Christopher. "Sharp But Blurred Around the Edges," The Los Angeles Times, 4 August, p. E1, E27. Mendenhall, Lauri. "The Power of Portraiture," Coast, August, p. 182, 184. Jones, Amelia. "Rupture," 123 Parachute, July ­ September, p. 22, 30. "Catherine Opie: Cathy Lebowitz interviews Josefina Ayerza," Lacanian ink, #27, Spring, p. 150 155. Walsh, Daniella. "Picture Imperfect," The Orange County Register, 9 July. Wang, Jen. "California Visionary," C Magazine, June/July. Knight, Christopher. "Classic Paint Job," The Los Angeles Times, 21 June, p. S32. "Fabulous Photos of Catherine Opie," Newport News, 9 June. "Opie Photo Exhibit Debuts at OC Museum of Art," The Current, 2 June. Dykstra, Jean. "Road Trip," ArtReview, June, p. 40 - 42. Walsh, Daniella. "The Radar Art," Riviera, May. Genocchio, Benjamin. "More Than Meets the Eye: Catherine Opie and her Camera Find Beauty in the Mundane," The New York Times, 29 January. Myers, Holly. "State of the Art 2005: Catherine Opie," LA Weekly, 28 October 28 ­ 3 November, p. 52. Neil, Dan. "What a Rush," The Los Angeles Times Magazine, 6 March, p. 13. Robinson, Sara Joyce and Lisa P. Sutton, eds., Faultline: Journal or Art and Literature, vol 14, Spring, p. 64 ­ 67. Sheets, Hilarie M. "Armand Hammer's Orphan Museum Turns into Cinderella in Los Angeles," The New York Times, 6 October, p. B1, B9. Gardiner, Virginia. "Suburban sprawl," Dwell, September, p. 140 ­ 142. Lee, Cynthia. "Visual Road Trip," UCLA Magazine, Summer, p. 14 ­ 15. Valdez, Sarah. "Catherine Opie at Regen Projects," Art in America, May, p. 170 ­ 171. Ybarra, Michael. "Portraying the Divine," The Los Angeles Times, 17 April, p. B2. Rosenberg, Karen. "Last Shot Hang Ten," New York Magazine, 12 April, p. 118. Hainley, Bruce. "Catherine Opie," Artforum, April, p. 164 ­ 165. Exley, Roy. "Catherine Opie," ArtReview, April International Edition, p. 100. Green, Tyler. "Artist, Leather Dyke, PTA Mom," Black Book Progressive Culture, Spring, p. 86 90. Aletti, Vince. "Show World," The Village Voice, 22 March. Hoban, Phoebe. "7BRs, Ocn Vu, WrldClass Art," The New York Times, 14 March, p. 1, 30 - 31. Kimmelman, Michael. "Touching All Bases At the Biennial," The New York Times, 11 March, p. E27, E38. Opie, Catherine. "My Favorite Weekend: Catherine Opie," The Los Angeles Times, 4 March, p. E63. Williams, Gilda. "Catherine Opie," Art Monthly, 4 March, p. 28. Young, Paul. "Money, Power and Picasso's Bathroom," V Life, February/March, p. 80 ­ 87. Miles, Christopher. "Los Angeles Critics' Picks," Artforum, February. Knight, Christopher. "A Curator and Her Compatriot," The Los Angeles Times, 20 February, p. E2. Roug, Louise. "She's the Viewfinder," The Los Angeles Times, 17 February, p. E2. Myers, Holly. "From Frozen Lakes to Malibu Coast," The Los Angeles Times, 30 January, p. E25. McIntosh, Jacqui. "The Subtler Side of Surfing," The Guardian, 28 January 28. Gleadell, Colin. "Object of the Week," The Daily Telegraph, 19 January 19. Evans, Leslie. "Catherine Opie's Surfers," West Adams-Normandie, 13 January. "L.A. Moment: Ghost Riders," Los Angeles Magazine, January, p. 24. Opie, Catherine. "Tempesta Di Ghiaccio." Case da Abitare, December, p. 15 ­ 16. Sheets, Hilarie. "There's No Piece Like Home," ARTnews, December, p. 103.
2002 2001
Fox, Catherine. "'Terrain' Well Worth Traversing," The Atlanta Journal-Constitution, 30 November, p. K6. Key, Philip. "Still Happening Years Later," Daily Post, 21 November. Davis, Laura. "Yoko Maps Course for Tate," Daily Post, 6 November 6, p. 3. Opie, Catherine. "The Great Wide Open," Sleek Magazine, Fall, p. 67 - 77. Muchnic, Suzanne. "Watch Your Step," ARTnews, Summer, p. 127. Boriani, Glenda. "Micropolitics," Tema Celeste, March/April, 2003, p. 113 [ill.]. Gluckstern, J. "'Elegy' Captures the of Formerly Iconic Buildings," The Daily Camera, 9 February. Chandler, Mary Voelz. "Photos Build Art Among Ruins," Rocky Mountain News, 24 January. Muchnic, Suzanne. "With All Its Hang-Ups, the L.A. Gallery Scene Thrives," The Los Angeles Times, 24 November. Vine, Richard. "In Her Image," Art in America, November, p. 75. Coomer, Martin. "On the Way There," Time Out London, 9 - 16 October, p. 57. Koroxenidis, Alexandra. "Fusion Cuisine," frieze, October, p. 102. Turner, Jonathan. "Italy's Mini-Boom," ARTnews, September, p. 90. Denny, Ned. "Enigma of Arrival," New Statesman London, 30 September. Taylor, John Russel. "Road from Nowhere," The Times London, 24 September. Gьner, Fisun. "Everyday Drive By Shooting," The Times London, 23 September. RCJ. "RCJ's Best London Shows," The Times London, 21 September. Sumpter, Helen. "Get A Move On," The Big Issue London, 16 September. Gilbert, Andrea. "Fusion Cuisine," Contemporary Magazine, September, p. 88. Boxer, Sarah. "If a Medium Loses Its Message, Is It Still a Medium?," The New York Times, 9 August, p. B28. Alexandra Koroxenidis. "Through the Eyes of Women," Herald Tribune, 29 July 29. "Open City: Street Photographs Since 1950," Journal of the Print World, Summer, p. 27 - 29. Garrett, Craig. "Platinum Oasis," Flash Art, July - September, p. 58. O'Sullivan, Michael. "Hirshhorn's Gritty 'Open City'," The Washington Post, p. 45 - 46. Gopnik, Blake. "Just Point and Shoot. (But Plan First.)," The Washington Post, 23 June, p. G1, G6. Shaw-Eagle, Joanna. "Reflecting on modern society," The Washington Times, 22 June, p. D1 D5. Boxer, Sarah. "The Street Game Is to Be Distinctive Without Seeming to Work at It," The New York Times, 5 July. Myers, Holly. "Opie Landscape Photos Put Sentimentality on Ice," The Los Angeles Times, 24 May, p. F26. Drohojowska-Philp, Hunter. "For Her, It's Always About Community," The Los Angeles Times, 12 May, p. 53 ­ 54. Frank, Peter. "Catherine Opie, Pick of the Week," LA Weekly, May. Herbert, Martin. "Catherine Opie," Tema Celeste, March/April, p. 77. Glover, Michael. "Catherine Opie," ARTnews, April, p. 144. Pluk, Issue 4, January - February. Zappaterra, Yolanda. "Catherine Opie, Stephen Friedman," Time Out London, 9 ­ 16 January. Tuchman, Phyllis. "Who Is Hot Today?" Town & Country, January, p. 57. Perree, Rob. "Portfolio, Catherine Opie," Kunstbeeld, no. 3, p. 27 ­ 31. Guner, Fisun. "Art Review, Catherine Opie," Metro, 6 December. Pinsent, Richard. "Adroitly controlled mise-en-scene at Entwistle," The Art Newspaper, Issue 120, December, p. 67. Cork, Richard. "Richard Cork's Best London Exhibitions, Catherine Opie," The Times Guide, December 2001, p. 15 - 21. Hofer, Manuela. "fe/male Undergroud," an schlage, August, p. 34 - 35. Lloyd, Ann Wilson. "Art Under the Arch," Art in America, July, p. 43 .
2000
"Kunst unterm Regenbogen," bussi, June, p. 35. Reilly, Maura. "The Drive to Describe: An Interview with Catherine Opie," art journal, Summer, p. 82 - 95. Solomon, Deborah. "Tastemaker, New in Town, Dives Into A Caldron," New York Times, 2 May, p. 9. Schleifer, Kristen B. "Catherine Opie," Art On Paper, March - April, p. 90. Pankratz, Helga. "Blickfang am Bahnsteig," lambda nachrichten, March, p. 35 - 36. Vincent, Steven. "Alice in Levittown," Art + Auction, February, p. 106 - 112. Wang, Michael. "Catherine Opie," The Harvard Photography Journal, p. 4 - 11. "Family Business." Flash Art, November - December, p. 48 . Gaines, Malik. "Opie's Opus," The Advocate, 19 December, p. 52. "Estate Projects," Art on Paper, December, p. 27. Lebovici, Elisabeth. "Destabilising Gender," Make, November, p. 18 ­ 19. Symth, Cherry. "Catherine Opie," Art Monthly, October, p. 33. Davies, Willis. "The Photographers' Gallery, London," Zoom, September/October. "Opie Eye," Gay Times, September. "Altered States of Catherine Opie," The Pink Paper, 22 September . Ellis, Samantha. "Last Chance," Evening Standard, 21 September. Kent, Sarah. "Sex Symbols," Time Out London, 6 ­ 13 September. "Manipolazioni e Natura in Ritratti Americani," MostreLondra, August/September. "American Dream," Harvey Nichols Magazine, September. Smyth, Cherry. "Signage on the Body," Diva, September, p. 6 - 11. "Catherine Opie Photographers' Gallery, London," Nova, September. Freedman, Cheryl. "Catherine Opie," What's on in London, 30 August. Cumming, Laura. "Putting the Pose Back into Pictures," The Observer, 28 August. Aidin, Rose. "Engendering Respect," Evening Standard, 21 August. Darwent, Charles. "American Life Laid Bare in Bodies and Malls," The Independent, 20 August. Paterson, Elaine. "Photography," Metro Life, 9 August. Williams, Frances. "Photo Realism," Time Out London, 9 August. Davies, Sophie. "Alt Culture," Time Out London, 9 August 9. "Twister Sister," Footloose, 9 August. "From Tomorrow," Evening Standard, 8 August. "What a Picture!" Girl About Town, London, 7 August. Lawson, Debbie. "Altered States of America," The Observer Magazine, 6 August, p. 8. Chapman, Peter. "Altered States of America," The Independent, 5 August. Sumpter, Helen. "Choice," Hot Tickets, 4 ­ 10 August, p. 38. Charles, Marissa. "Altered Egos-American Style," West End Extra, 4 August, p. 15. "What if God is a Women?" Aura Magazine, August, p. 44. Pinsent, Richard. "Altered States," The Art Newspaper, August, p. 25. "The Architecture of Gender," Axiom, August. JRT, "Catherine Opie," The Saturday Times, August, p.41. "Twisted Sister," Sainsbury's Magazine, August. "Catherine Opie," ZOO, August, p. 336. Rosenfeld, Kathryn. "Catherine Opie," New/Art Examiner, July/August, p.36. "Photographs For Grown Ups," Living Abroad Magazine, 31 July. "Gender Bender," Axiom, 28 July, pp.18, p. 43. Taylor, David. "Out There," Hot Tickets, 4 ­ 10 July, p. 5. Leffingwell, Edward. "Catherine Opie at Gorney Bravin + Lee," Art in America, July, p. 105. Israel, Nico. "Catherine Opie at Gorney Bravin + Lee," Artforum, Summer, p. 183. Schwendener, Martha. "Catherine Opie, 'Large-Format Polaroids'," Time Out New York, 8 ­ 15 June.
1999 1998
Coleman, Jonathan. "Taking Pictures in the Belly of the World's Largest Camera," The New Yorker, 5 June. "Sponsorship Opportunity at The Photographers' Gallery," Focus, May. "Family Affair: Renowned Photographer Catherine Opie Goes on the Road to Document Lesbian Families Where They Live," The Advocate, 30 April, p. 114 - 117. Aletti, Vince. "American Women," The Village Voice, 18 April, p. 69. "Catherine Opie 'Domestic' at Gorney Bravin & Lee," Washington Square News, 14 ­ 16 April, p. 38. "On View Homebodies," New York Magazine, 10 April, p. 111. Cotter, Holland. "Catherine Opie: Domestic" The New York Times, 7 April, p. B38. "Catherine Opie," The Village Voice, 29 March ­ 4 April, p. 83. Gockel, Cornelia. "Kunst aus Kalifornien," Sьddeutsche Zeitung, 13 December, p. 38. Marriner, Robin. "LA Revisited," Contemporary Visual Arts, Issue 25, p. 22 - 27. "The Modernist Document," Hour, 7 October, p. 34. Otten, Liam. "Catherine Opie, Photographer and Freund Fellow, To Speak," Record: Washington University in St. Louis, 30 September, p. 5. Thomas, Mary. "Russian Artist Builds a Dialogue and a Photographer Opens Our Eyes," Pittsburgh Post-Gazette, 4 September, p. B11. Schurenberg, Von Barbara. "Frohlich, hygienische, und keimfrei," Die Welt, 21 May, p. 12. Cotter, Holland. "Through Women's Eyes Finally," The New York Times Magazine, 16 May, p. 92 - 96. Vincent, Steven. "Impact Players," Art + Auction, 15 May, p. 75 - 81. Picker, Deborah. "Tall Tales: Catherine Opie looks in on Lesbian Domesticity," LA Weekly, 14 ­ 20 May, p. 35. Herbert, Martin. "Drive-By," Time Out London, 12 ­ 19 May. Darwent, Charles. "Vacant & Proud of It," The Independent on Sunday, 9 May, p. S5. Beech, David. "Drive By," Art Monthly, May, p. 31. Searle, Adrian. "Life Thru a Lens," The Guardian, 4 May 4, p. 12. Fulcher, Dawn. "Drive-by: New Art from LA," Contemporary Visual Arts, Issue 22, p. 86. Pagel, David. "A New View of Life on the Home Front," The Los Angeles Times, 23 April 23, p. F28. Rowlands, Penelope. "Previews: Catherine Opie," Art + Auction, 15 April, p. 75. Rawsthorn, Alice. "L.A. Story," British Vogue, April, p. 79 ­ 82. Sante, Luc. "It's Alive: Release," Metropolis, April, p. 88 - 93. Aletti, Vince. "Lesbian Domestics," Out, April, p. 16, 32 - 33. Zeiger, Mimi. "Casualfornia/Catherine Opie," Loud Paper, volume 2, issue 3, p. 14 - 17. Yablonsky, Linda. "Berlin Sprawl," Time Out New York, 5 ­ 12 November, p. 74. Pinto, Antonip Cerveira. "A Suspensгo da Utopia," A Semana, 9, p. 11. Faria, Oscar. "Dialogo Entre o Ceu e o Inferno," Publico, 9 October, p. 19. Rian, Jeff. "Sunshine & Noir and L.A. Times," Flash Art, October, p. 61, 67. Ollman, Leah. "A Multi-Sided Look at 'Lone Woman'," The Los Angeles Times, 2 October, p. F29 "Catherine Opie," BT Magazine, September, p. 56 - 57, 85. Muchnic, Suzanne. "L.A. Story," ARTnews, September, p. 150 - 153. Rickels, Laurence A. "Already Given at the Office: On Techno Feminism," Parallax, Issue 5, September 1998. Zimmer, William. "Landscape, the Site, the Meaning of Place," The New York Times, 9 August, p.12. Ise, Claudine. "'Babes' Aims to Demystify Expectations of Women," The Los Angeles Times, 24 July, p. F33. "Current Exhibition: Sunshine & Noir: Art in L.A. 1960-1997," Hammer Museum Cultural Programs Calendar, Fall.
1997
Muchnic, Suzanne. "Acquisition and Merger," ARTnews, Summer, p. 74. Allen, Rachel. "Lesbian Domesticity: An Interview with Catherine Opie," Los Angeles Forum for Architecture & Urban Design Newsletter, Spring, p. 2 - 3. Zellen, Jody. "Catherine Opie," Art Papers, May/June, p. 31. Byrd, Cathy. "'90s to the Nines," Art Papers, May/June, p. 12. "Art: Catherine Opie," The Village Voice, 21 April. Schmerler, Sarah. "Catherine Opie, 'Mini-Malls'," Time Out New York, 16 ­ 23 April, p. 48. Nittve, Lars. "Kunst in L.A.," Merian, April, p. 30 - 37. Glueck, Grace. "Catherine Opie: Mini Malls," The New York Times, 3 April, p. B33. Kaltenecker, Siegfried. "Schwindelnde Mдnner?," Springerin, March/May, p. 46-7. Hagoort, Erik. "Catherine Opie geeft homo's waardig portret," De Volkskrant, 21 February, p. 11. Verkerk, Corrie. "Gay Games meer dan spierkracht," Het Parool, 19 February, p. 1, 4. Myers, Terry R. "Catherine Opie," On Paper, January/February, p. 41 ­ 42. "Deceits and Fantasies: The Garden in Contemporary Photography," The American Federation of Arts: Exhibitions Program 1998, p. 39. "American Vernacular: Selections from the Permanent Collection," The Contemporary, Spring, p. 3. Bonazzi, Francesco. "Trash," Juliet, December/January. Gragg, Randy. "A Letter from L.A.," Sunday Oregonian, 21 December, p. 1, 8. "Szene Los Angeles: Catherine Opie," Art das Kunstmagazin, December, p. 36. Newman, Joe. "Hitting the High Roads: Catherine Opie," Photo District News, December, p. 177. Nilsson, Hakan. "Art Review: Sunshine and Noir, Louisiana, Humlebaek, Denmark," Flash Art, November/December, p. 74. Pioselli, Alessandra. "Trash: Quando I Rifiuti Diventano Arte," Segno, November/December. "Artworld: Awards," Art in America, November, p. 144. Helfand, Glen. "Of Heaven and Earth: Shows by Robert Gober and Catherine Opie," Bay Area Reporter, 23 October, p. 45, 54. Gottschalk, Karl-Peter. "Catherine Opie: Masterful," blue, October, p. 6. Knight, Christopher. "Art Review: Catherine Opie," The Los Angeles Times, p. 49 - 50. Lewis, Judith. "Concrete Love: Photographer Catherine Opie Brings L.A. to MoCA," LA Weekly, 3 ­ 9 October, p. 22 - 27. Larsen, Larrs Bang. "Sunshine & Noir: Art in LA 1960-1997," frieze, September/October, p. 93. "Wizards, Wonders, and Wonks," color illustrations photographed by Catherine Opie, New York Times Magazine, 28 September. "Catherine Opie: Focus Series Exhibition," The Contemporary, Museum of Contemporary Art, Los Angeles, Fall, p. 11. Knight, Christopher. "Itinerary Fall Follies: Art," The Los Angeles Times, 4 September. Nadotti, Maria. "E al Posto del Pennello Spunto la Spazzatura Viaggio nel Tempo, All'Alba del 'Trash'," L'Unita, 2 September 2. Vergine, Lea. "Trash: Noi Gettiamo via le Nostre Traccek l'Arte ne Suggerisce il Destino," Vernissage, September. "Trash," Rifiuti Solidi, July/August, p. 216. Huici, Fernando. "Delicias del Microondas," El Paнs, 12 July. Nomblot, Javier Rubio. "Cruising L.A.: El Mundo Fuera De La Burbuja," El Punto de las Artes, 4 ­ 17 July. Parreno, Jose Maria. "Los Angeles, Punto De Encuentro," ABC, 4 July. Mora, M. "El Arte Crudo De Seis 'Chicos Malos' de Los Angeles Se Muestra En Madrid," El Paнs, 1 July. Barnatan, Marcos Richardo. "La Mirada Despуtica," El Mundo, 28 June. Jernigan, Adam. "Fragmented Bodyscapes: An Excursion in the Photography of Catherine
1996
Opie," Masque, Volume 1, Issue 2, p. 43 - 49. Mizoguchi, Akiko. "Catherine Opie: Sexuality and Gender," BT Magazine, June, p. 18 ­ 27. Ericsson, Lars O. "Ljus och svarta fran L.A.," Dagens Nyheter, 23 May. Jonsson, Dan. "LA: s obarmhartiga ljus," Sydsvenska Dagbladet, 21 May. "Konsten och varldsstadens sjal," Arbetet Nyheterna, 18 May. Ohman, Richard. "Konstscen Los Angeles," Norvastra Skanes Tidningar, 18 May. Weirup, Torben. "Lysende spor," Berlingske Tidende, 17 May. Goodeve, Thyrza Nichols. "Signs of the Times: Q/A Thyrza Nichols Goodeve on Copy Shopping," Artforum, May, p. 25 - 26. Walsh, Daniella B. "Another Perspective on the Face," The Orange County Register, 27 April. Curtis, Cathy. "Something to Smile About," The Los Angeles Times, 22 April, p. F3 - F5. "Art: Composite Persona," Buzz Weekly, 18 ­ 24 April, p. 19. Trebay, Guy. "Dialogue of the Biennalites," The Village Voice, 1 April, p. 50 - 51. Rugoff, Ralph. "L.A.'s Female Art Explosion," Harper's Bazaar, April, p. 204 - 205, 246. "Catherine Opie: Houses and Landscapes," Shigoto No Kyoshitsu, Tokyo, Japan, April, p. 117. "Catherine Opie: Houses and Landscapes," Nihon Keizai Shinbun, Tokyo, Japan, 15 March, p. 40. Pincus, Robert L. "Fabricated Faces are Sign of Times in Art Today," The San Diego UnionTribune, 10 March, p. E5. "Catherine Opie: Houses and Landscapes," La Seine, March. "Rrose Selavy, A Point of Departure," Flash Art, March, p. 61. "Voice's Art Space: L.A. Portraits Houses and Landscapes," Studio Voice Multi-Media Magazine, March, p. 75 ­ 78. "Sub-Culture is Super-Culture," Hanatsubaki, March. "Catherine Opie: Houses and Landscapes," Marie Claire Nippon, March, p. 185. "Catherine Opie at Shiseido," Check Mate, March, p. 209. Conti, Rena and Moskowitz, Ivan. "The Salad Years," L.A. Muscle, February/March, p. 19. Yadegaran, Jessica. "Skewed Perceptions," The Daily Aztec, 6 February, p. 7. "Mike Kelley and L.A. Art Scene," BT Magazine, February, p. 51, 74. "Catherine Opie: Houses and Landscapes at Sheseido," An An, February, p. 138. "Catherine Opie: Houses and Landscapes," Tokyo Walker, 19 ­ 25 February, p. 119. "Catherine Opie," Weekly Pia, 25 February, p. 206. Rimanelli, David "A/Drift: Bard College," Artforum, February, p. 83. Pare, Andre-L. "Actualites/Expositions," etc, January/February, p. 44 - 47. Joselit, David. "Identity Politics: Exhibiting Gender," Art in America, January, p. 36 ­ 39. Bellinger, Jesse. "Would I Lie to You? A Look at the UAM Lie of the Land Exhibit," Daily Nexus, 16 January, p. 2A. Gustafson, Paula. "Fabrications," Xtra West, 10 January. "Impact: The Lie of the Land," The Independent, 9 January, p. 29, 41. Opie, Catherine. "A Brush with Genius: Catherine Opie on Hans Holbein the Younger's Portrait of Sir Thomas More," The Guardian, 7 January. Opie, Catherine. "Faces of L.A.: Lari Pittman," L.A. Weekly, 3 ­ 9 January, p. 49. Curtis, Cathy. "Art Outlook Includes Insights From All Angles," Orange County Calendar, 31 December, p. F2. Smith, Roberta. "Finding Art in the Artifacts of the Masses," The New York Times, 1 December, p. H43, H46. Williams, Gilda. "Evident," Art Monthly, December. Beard, Steve. "Exhibitions," Arena, December. Smith, Caroline. "Visual Arts: Pick of the Bunch," Attitude, December. Craddock, Sacha. "Around the Galleries," The Times, 27 November. Snow, Shauna. "Morning Report: Talking on Lesbian Stereotypes," The Los Angeles Times, 23
October, p. F2. Trebay, Guy. "Real Life Rock - Top Ten," Artforum, October, p. 30. "Drag Kings," WIENER, September, p. 60 - 61. Volk, Gregory. "Catherine Opie," Art in America, October, p. 118 ­ 119. Decter, Joshua. "Catherine Opie," Artforum, September, p. 109 - 110. Hill, Darryl. "Deconstructing Gender Dualism through Transgender Photography," Blackflash, Fall, p. 9 - 12. Couelle, Jennifer. "Fabrications," CV photo, Summer, p. 31. Dannatt, Adrian. Flash Art, May/June, p. 113 - 114. Atlas, James. "The Age of The Literary Memoir Is Now," The New York Times Magazine, 12 May, p. 29. Kandel, Susan. "Art Reviews: Catherine Opie," The Los Angeles Times, 3 May, p. F22. Catchlove, Lucinda. "Identity is a Drag," Hour, 25 April - 1 May. Aquin, Stephane. "Masculin feminin," Voir, 17 April, p. 11. Couelle, Jennifer. "Dis-moi ton sexe, je te dirai qui tu es..." Le Devoir, April. Byrd, Cathy. "Mighty Morphin: Transformers at Nexus," CL, 13 April, p. 28, 30, 34. Ferguson, Russell. "Catherine Opie," index, April, p. 28 - 31. Roth, Charlene. "The Light Under the Bushel," Artweek, April, p. 12 - 13. Boschma, Feike. "Beelden der objectiviteit," Fries Dagblad, 29 March. "Photography: La-La Land," The New Yorker, 18 March, p. 26. Aletti, Vince. "Deep House," The Village Voice, 19 March, p. 79. Artner, Alan G. "Persona non grata," The Chicago Tribune, 17 March, p. 3. Kimmelman, Michael. "Art in Review: Catherine Opie," The New York Times, 15 March. Servetar, Stuart. "Catherine Opie," New York Press, 13 ­ 19 March. Griffin, Tim. "Catherine Opie," Time Out New York, 13 ­ 20 March, p. 26. Thijsen, Mirelle. "Intimi en zelfkant van bestaan in 'Black & Blue'," Het Financieele Dagblad, 26 March. Marsman, Eddie. "Wat op elkaar lijkt is nog niet hetzelfde," Leeuwarder Courant, 15 March. Chayat, Sherry. "Cornell show exhibits multiple personalities," Syracuse Herald American, 10 March, p. 11 -12. Rijsdam, Jan. "Schone Schijn: Hollandse toestanden," Leidsch Dagblad, 9 March. Hurlburt, Roger. "MoCA LOCA," Sun-Sentinel. Tilroe, Anna. "De shoenendoos van de meloenenvrouw," NRC Handelsblad, 3 March. Bos, Eric. "Onschuld is verleden tijd," Brabants Nieuwsblad, 1 March. Judong, Anne and Peeters, Wim. "Catherine Opie," Gynaika, 1 March. "Black en Blue: aspecten van de samenleving in foto's," Gay Krant, 1 March. "Who's afraid of 'Black & Blue'," Koeverte Courant, 26 February. Snoodijk, Martijn. "Ontluisterent," Oor, 24 February. Lakke, Gerard. "Black and Blue toont het rauwe bestaan," UK, 22 February, p. 19. Turner, Elisa. "Thoroughly Modern MoCA," The Miami Herald, 18 February, p. 51. Artner, Alan. Chicago Tribune, 16 February, p. 56. "Catherine Opie," Provocateur, February, p. 30 - 38. Keunen, Mirjam. "Foto's zoals het leven zelf," Algemeen Dagblad, 15 February. Bos, Eric. "Beelden uit een kapotte wereld," Leidsch Dagblad, 13 February. Bos, Eric. "Het Feilliet van een maatschappij," Provinciale Zeeuwse Courant, 9 February. "Wie is er nog bang voor Black & Blue?" Loeks, 6 February. Weinstein, Michael. New City, 5 February. De Vries, Marina. "Acht keer het Amerikaanse alternatief," Het Parool, 5 February. Bos, Eric. "Indringende beelden van een verloren en beschadigde wereld," Nieuwsblad van het Noorden, 3 February. "Een spiegel van de tijdgeest," Groninger Dagblad, 2 February, p. AE15.
1995 1994
Ruyters, Marc. "Expo. Freeways," Weekend Knack, 31 January, p. 72. Eelbode, Erik. "Catherine Opie," De Witte Raaf, January/February, p. 31. "Miami Defines the Nineties," Flash Art, January/February. D'Hoore, Sylvie. "Lege snelwege," De Gentenaar, 26 January. Eelbode, Erik. "Desolate snelwegen, haarscherpe studiofoto's. Niet risicoloos spel van de Americkaanse fotografe Catherine Opie," De Morgen, 13 January. "VREEMd-MAKEN," Obscuur, 4 January, p. 16 - 17. "Portraits of L.A. '95 Issue," L.A. Weekly, 29 December ­ 4 January, p. 25. Smith, Cherry. "Eu estava presa em um corpo de sapatao," Folha de Sгo Paulo, 12 July. Kandel, Susan. "A Biennale or a Bust?" The Los Angeles Times, 25 June, p. 7, 92. Selwyn, Marc. "Report from Los Angeles," Flash Art, May/June, p. 96 - 99. Helfand, Glen. "On a Bender," Wilde, May/June, p. 21 - 22. Hoving, Thomas. "Art for the Ages," Cigar Aficionado, Summer, p. 214 - 226. Archer, Bert. "Bending gender-bending," XTRA!, 26 May, p. 33. Livingstone, David. "RuPaul: dragging theory into practice," The Globe and Mail, 18 May. Lee, Robert W.G. "Fabrications," Parachute, 1995, p. 65. "Opie and Company," Out Magazine, May 1995, p. 58. Haye, Christian. "Catherine Opie at Jack Hanley," frieze, March/April, p. 71 ­ 72. Knight, Christopher. "Toning It Down at the Whitney," The Los Angeles Times, 16 April, p. 5, 54. Cotter, Holland. "Catherine Opie," The New York Times, 14 April, p. C4. Smith, Roberta. "Void, Self, Drag, Utopia (And 5 Other Gay Themes)," The New York Times, 26 March, p. 40. Kimmelman, Michael. "A Whitney Biennial That's Generous, Sensuous and Quirky," The New York Times, 24 March, p. B1, B6. Solomon, Deborah. "All Persuasions, No Whiners," The Wall Street Journal, 24 March, p. A10. Clabburn, Anna. "Persona Cognita," World Art, January, p. 108. Bonetti, David. "3 Singular Visions," San Francisco Examiner, 1 December. Relyea, Lane. "Best & Worst 1994," Artforum, December, p. 69, 105. Kotz, Liz, "Erotics of the Image," Art Papers, November/December, p. 16 ­ 20. Cohen, Michae. "Catherine Opie," Flash Art, November/December, p. 98. Trioli, Virginia. "Daddy looks nice in a dress," review of "Persona Cognita," The Age, 8 October, p. 11. Sierra-Hughes, Marie. "Many sides of self on show," Herald Sun, October. Pagel, David. Art Issues, September/October, p. 45. Chandler, Matthew. "Artists question self-identity," Doncaster and Templestowe News, 14 September. Zellen, Jody. "Catherine Opie," Art + Text, September, p. 85 - 86. Knight, Christopher. "Big Burb," Design Quarterly 162, Fall, p. 1 - 12. DeGenevieve, Barbara. "Letting Us Look: Scandalous Genders or Blur Baby Blur," Camerawork: A Journal of Photographic Arts, Fall/Winter, p. 46 - 47. Burana, Lily, Linnea Due, and Roxxie, eds. "Dagger on Butch Women," Cleis Press, p. 157, 161. Smith, Roberta. "Body of Evidence," Vogue, August, p. 150 - 154. Rugoff, Ralph. "Alter Natures," L.A. Weekly, 24 - 30June, 1994, p. 43 - 44. McKenna, Kristine. "Welcome to Opie's World," The Los Angeles Times, 24 June, p. 8, 90. Kandel, Susan. "A Piercing Look: at Regen Projects," The Los Angeles Times, 9 June, p. F7. Bonetti, David. "Gallery Watch: Give 'em that ol' tired religion," San Francisco Examiner, 15 April, p. D-10, 11. Saltz, Jerry. "L.A. Rising," Art + Auction, April, p. 88 - 91, 122. Knight, Christopher. "A Suggestion of Cultural Edginess," The Los Angeles Times, 10 March, p. F1, F11. Goldberger, Paul. "The Art of His Choosing," The New York Times Magazine, 26 February, p. 30
1993 1992 1991 1990 1989 1988
- 39, 52, 55, 61 - 62. Knight, Christopher. "A Bicoastal Flashback," The Los Angeles Times, 18 February, p. F1, F28. Anderson, Michael. "Invitational '93," Art Issues, January/February, p. 43. Schmidt, Barbara U. "Jenseits polarer Differenzen," Frauen Kunst Wissenschaft. Schmidt, Barbara U. "When Gender Attitudes Attack the Norm," Kritik, Heft Nr. 3,. Goetz, Joachim. "Auf dem Weg zum Klon," Landshuter Zeitung, 8 September. Miller, Francine Koslow. "Currents '93: Dress Codes," Artforum, November, p. 110 - 111. DiMichele, David. "Fresh Work: Invitational '93 at Regen Projects," Artweek, 4 November, p. 22. Kandel, Susan. "'Invitationals' Controlling Personas," The Los Angeles Times, 14 October, p. F12. Lippard, Lucy. "In the Flesh; Looking Back and Talking Back," Women's Art Magazine, September/October, p. 4 - 9. Lord, Catherine. "Down There: Babes in Toyland," Art + Text, September, p. 30 - 33. Darling, Michael. "Voices Carry," Santa Barbara News-Press, p. 29 - 31. Rugoff, Ralph. "Three Projects From LA curated for frieze by Ralph Rugoff," frieze, March, p. 18 ­ 21. McQuaid, Cate. "His and Hers: In the ICA's Dress Codes," The Boston Phoenix, 12 March. Sherman, Mary. "Clothes Call," The Boston Herald, 12 March. Temin, Christine. The Boston Globe, 10 March. Kotz, Liz. "The Body You Want, Liz Kotz interviews Judith Butler," Artforum, November, p. 83. "Violence," Framework, Volume 5, Issue 2 and 3. Cottingham, Laura. The New York Quarterly, 15 December, p. 37. Hirsch, David. New York Native, 2 December. Smith, Anna Marie. "The Feminine Gaze: Photographer Catherine Opie Documents a Lesbian Daddy/Boy Subculture," The Advocate, 19 November, p. 82 - 83. Helfand, Glen. Art Issues, September/October. Oversight at CalArts, vol. 2. Frank, Peter. "Catherine Opie Pick of the Week," L.A. Weekly. "The Master Plan," Off Ramp at Santa Monica School of Architecture, Spring. Beckman, L., and Lucky K. Sorenson. Los Angeles Magazine, Vol. 2, Spring. "Annual Critics' Choice," L.A. Weekly, Vol. 11, 9 ­ 15 December. Revenge, Vol. 1.
PUBLICATIONS
2015 2014 2013
Confronting the Abject, William and Stephanie Sick Distinguished Professorship Monograph Series, no. 3: Catherine Opie, essay "Catherine Opie, Portraiture, and the Decoy of the Iconographic" by David J. Getsy, published by The School of the Art Institute of Chicago, Chicago, IL, 2015, pp. 15 ­ 37 [ill.] Schwartz, Alexandra, Come As You Are: Art of the 1990s, published by University of California Press, Oakland, CA, 2015 Baker, George, Ann Goldstein, Michael Maltzan, and Shaun Caley Regen, Regen Projects 25, published by Prestel, New York, NY, 2015 Union Station: 75 Years in the Heart of LA, published by Metro, Los Angeles, CA, 2014 Heartney, Eleanor, Helaine Posner, Nancy Princenthal and Sue Scott, The Reckoning: Women Artists of the New Millennium, published by Prestel Publishing, New York, NY, 2013 Hoffmann, Jens, ed., Lens Drawings, published by Marian Goodman Gallery and Valerio Publishers, Paris, France, 2013. Doyle, Jennifer, Hold it Against Me: Difficulty and Emotion in Contemporary Art, published by
2012 2011 2010 2009 2008
Duke University Press, Durham, NC, 2013. Sie. Selbst. Nackt., published by Hatje Cantz, Ostfildern, Germany and Museen Bцttcherstrasse, Bremen, Germany, 2013, pp. 132 ­ 133 [ill.] Rideal, Liz, Self Portrait, published on the occasion of the exhibition by Rosendahls, Esbjerg, Denmark, 2012. Kelsey, John and Brian Phillips, ed., Rodarte, Catherine Opie, Alec Soth, published by JRP Ringier: Zьrich, Switzerland, 2011. Myles, Eileen, Catherine Opie: Inauguration, published by Gregory R. Miller & Co., New York, NY, 2011. Medvedow, Jill and Anna Stothart, Catherine Opie: Empty and Full, published by Hatje Cantz, Ostfildern, Germany, 2011. Wagner, Ethan and Suzanne Modica, Stonescape: Guide to Exhibition 2011, published on the occasion of the exhibition Politics is Personal, Napa Valley, CA, 2011, pp. 26 ­ 27. Collection Vanmoerkerke, published by Rispoli Books, Brussels, Belgium, 2011, pp. 180-181 [ill.]. Maltzan, Michael, No More Play: Conversations on Urban Speculation in Los Angeles and Beyond, essay "Home: Conversation with Catherine Opie," published by the University of Southern California School of Architecture, Los Angeles, CA, in association with Hatje Cantz Verlag, Ostfildern, Germany, 2011, pp. 46-59. Wolfe, Ann M., ed., The Altered Landscape: Photographs of a Changing Environment, published by Rizzoli, New York, in conjunction with the exhibition at the Nevada Museum of Art, Reno, NV, 2011. Katz, Jonathan D. and David C. Ward, Hide/Seek: Difference and Desire in American Portraiture, Smithsonian Books, Washington D.C., 2010 [ill.]. Yoo, Hee-Young, ed., Trust: Media City Seoul 2010, published by Se-Hoon Oh, Seoul, Korea, 2010. Cooke, Lynne and Douglas Crimp, Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present, published by the Museo Nacional Centro de Arte Reina Sofнa: Madrid, Spain, 2010. Leszkowicz, Pawel, Ars Homo Erotica, published in conjunction with the exhibition at the National Museum in Warsaw, Poland, 2010. Ryan McGinley Everybody Knows This Is Nowhere, published by Dashwood Books for the exhibition at Team Gallery, New York, NY, March 18 - April 17, 2010. Costantino, Tracie and Boyd White, eds., Essays on Aesthetic Education for the 21st Century, Rotterdam: Sense Publishers, 2010. pp. 22- 26 [ill.]. En Todas Partes: Polнticas de la Diversidad Sexual en el Arte, published by Centro Galego de Arte Contemporбnea, Santiago de Compostela, Spain, 2009, [ill.]. Bedford, Christopher, Mixed Signals: Artists Consider Masculinity in Sports, published by Independent Curators International, New York, NY, 2009. Catherine Opie: An American Photographer, published by the Guggenheim Museum, New York, NY, 2008. Role Models: Feminine Identity in Contemporary American Photography, published by the National Museum of Women in the Arts, Washington, D.C., 2008, pp. 111-115 [ill.]. Goldstein, Ann, Rebecca Morse, Paul Schimmel, eds., This is Not to be Looked At, published by the Museum of Contemporary Art, Los Angeles, Los Angeles, CA, 2008 [ill.]. In Repose, curated by Lorie Mertes, published by the Galleries at Moore, Philadelphia, PA, 2008, p. 27 [ill.]. Bowers, Andrea and Catherine Opie, Andrea Bowers & Catherine Opie (Between Artists), published by A.R.T. Press, New York, NY, 2008.
2007 2006 2005
2007 International Incheon Women Artists' Biennale: Knocking on the Door, published by Incheon Metropolitan City, Korea, 2007, p. 146 [ill.]. Red Eye: L.A. Artists from the Rubell Family Collection, published by the Rubell Family Collection, Miami, Florida, 2007, p. 82 [ill.]. Darling Take Fountain, curated by Konstantin Kakanias, published by Kalfayan Galleries, Athens, Greece, 2007, pp. 56-57 [ill.]. All the More Real: Portrayals of Intimacy and Empathy, published by the Parrish Art Museum, Southampton, NY, 2007, pp. 106-7 [ill.]. Training Your Gaze: A Practical Introduction to Portrait Photography, published by AVA Publishing SA, Switzerland, 2007, pp. 22-3, 90, 92, 93,95 [ill.]. Global Feminisms: New Directions in Contemporary Art, published by the Brooklyn Museum, Brooklyn, NY, 2007, pp. 39, 65, 230, 280 [ill.]. Enwezor, Okwui, ed., The Unhomely: Phantom Scenes in Global Society, published by the 2nd International Biennial of Contemporary Art of Seville, Spain, 2007, pp. 236-7 [ill.]. Karnes, Andrea and Pam Hatley, ed., Pretty Baby, published by the Modern Art Museum of Forth Worth, TX, 2007, pp. 34-5 [ill.]. Multiple Vantage Points: Southern California Artists, 1980-2006, published by the Municipal Art Gallery, Barnsdall Park, Los Angeles, CA, 2007, pp. 64-5 [ill.]. Catherine Opie: Chicago (American Cities), curated by Elizabeth T.A. Smith, published by Museum of Contemporary Art, Chicago, IL, 2006. Catherine Opie: 1999 / In and Around Home, published by The Aldrich Contemporary Museum of Art, Ridgefield, CT, and the Orange County Museum of Art, Newport Beach, CA, 2006. Holland, Cherene and Amy Milgrub Marshall, eds., Couples Discourse, published by the Palmer Museum of Art, University Park, Pennsylvania, 2006, pp. 88-89 [ill.]. Vitamin Ph: New Perspectives in Photography, published by Phaidon Press, London, UK, 2006, pp. 200-203 [ill.]. Ellipse Foundation: Contemporary Art Collection, published by Ellipse Foundation Contemporary Art Collection, Cascais, Portugal, 2006 [ill.]. The Eighth Square: Gender, Life, and Desire in the Arts since 1960, published by Hantje Cantz, Ostfildern, Germany, 2006, p. 70 [ill.]. Still Points of the Turning World: Site Santa Fe Sixth International Biennial Exhibition, published by Site Santa Fe, NM, 2006, pp. 151-9 [ill.]. Dark Places, curated by Joshua Decter, published by Santa Monica Museum of Art, Santa Monica, CA, 2006, p. 16 [ill.]. Wolfe, Ann M., Suburban Escape, published by the Center for American Places, Santa Fe, NM, and San Jose Museum of Art, San Jose, CA, pp. 58, 62 [ill.]. Rinder, Lawrence, Art Life, published by Gregory R. Miller & Co., LLC, New York, NY, 2006, p. 58 [ill.]. Nairne, Sandy and Sarah Howgate, The Portrait Now, published by The National Portrait Gallery, London, UK, pp. 15, 20, 148 [ill.]. Schlegel, Eva, L.A. Women, published by Bundeskanzleramt Kunst, Vienna, Austria, 2006, pp. 54-7 [ill.]. Bollen, Christopher and Alix Browne, eds., Artists, photographed by Jason Schmidt, published by Edition 7L, Paris, France, 2006, p. 43 [ill.]. Richer, Francesca, and Matthew Rosenzweig, eds., No. 1: First Works by 362 Artists, published by D.A.P., New York, NY, 2005, p. 272 [ill.]. Bidibidobidibo, published by the Fondazione Sandretto Re Rebaudengo, Turin, Italy, 2005 [ill.]. Family Pictures: Contemporary Photography and Video from the Collection of the Guggenheim Museum, published by Galleria Gottardo, Lugano, Switzerland, 2005, pp.112-117 [ill.]. Farsites: Urban Crisis and Domestic Symptoms in Recent Cotemporary Art, published by San Diego Museum of Art, San Diego, CA, 2005, pp. 114-5 [ill.].
2004 2003 2002
Baume, Nicholas, Getting Emotional, published by Institute of Contemporary Art, Boston, MA, 2005, p. 102 [ill.]. Ideal Worlds: New Romanticism in Contemporary Art, published by Schirn Kunsthalle Frankfurt with Hatje Cantz, Germany, 2005, pp. 194-215 [ill.]. Universal Experience, published by the Museum of Contemporary Art, Chicago, IL, 2005, p.112, [ill.]. Mahon, Alyce, Eroticism & Art, published by Oxford University Press, Oxford, UK, 2005, pp. 265-7 [ill.]. Kraus, Chris, Jane McFadden, and Jan Tumlir, L.A. Artland: Contemporary Art from Los Angeles, published by Black Dog Publishing, London, UK, 2005, pp. 126 ­ 129 [ill.]. Lazzari, Margaret and Dona Schlesier, Exploring Art, published by Thomson Wadsworth, Belmont, CA, 2005, p. 213 [ill.]. McDaniel, Craig and Jean Robertson, Themes of Contemporary Art: Visual Art After 1980, published by Oxford University Press, Oxford, UK, 2005, pp. 116-7, 146 [ill.]. 100 Artists See God, curated by John Baldessari and Meg Cranston, published by Independent Curators International, New York, NY, p. 68 [ill.]. 26th Sгo Paulo Biennial, curated by Alfons Hug, Sгo Paulo, Brazil, pp. 180-181 [ill.]. Contemporary Photography and the Garden: Deceits and Fantasies, published by Harry N. Abrams, New York, NY, pp. 114-117 [ill.]. Sexes image ­ pratiques et pensйes contemporaines, published by Beaux Arts Paris, France, 2004. That bodies speak has been known for a long time, published by Sabine Breitwieser for Generali Foundation, Vienna, Austria, 2004. Whitney Biennial 2004, curated by Chrissie Iles, Shamim M. Momin, and Debra Singer, New York, NY, p. 220 [ill.]. Hamburg Kennedy, Marla and Ben Stiller, Looking at Los Angeles, published by Metropolis Books, New York, NY, pp. 76-7, 92-3 [ill.]. Art, Lies, and Videotape: Exposing Performance, published by Tate, Liverpool, UK, 2003. Art and Photography, published by Phaidon, London, UK, p. 124. Cindy Sherman, published by Serpentine Gallery, London, 2003, p. 18 [ill.]. Family Ties: A Contemporary Perspective, published by Peabody Essex Museum, Salem, MA, 2003, p. 37 [ill.]. Just Love Me: Post Feminist Art of 1990s from Goetz Collection, published by Sammlung Goetz, Munich, Germany, 2003. Micropolitics: Art and Everyday Life 2001-1968, published by Consorci de Museus de la Comunitat Valenciana, Valencia, Spain, 2003, pp. 284-289 [ill.]. Subjective Realities: Works from the Refco Collections of Contemporary Photography, essay by Dave Hickey, published by Refco Group, Ltd., New York, NY, 2003, p. 182-83 [ill.]. Tu, Hung Q., Structures of Feeling, published by Krupskaya, San Francisco, CA, 2003, [ill.]. Catherine Opie: Skyways and Icehouses, essay by Douglas Fogle, published by the Walker Art Center, Minneapolis, MN [ill.]. American Visionaries: Selections from the Whitney Museum of American Art, introduction by Maxwell L. Anderson, published by Abrams, New York, NY, 2002, p. 231 [ill.]. Die Wohltat der Kunst, Post/Feministische Positionen der Neunziger Jahre aus der Sammlung Goetz, published by Sammlung Goetz and Staatliche Kunsthalle Baden-Baden, Germany, 2002, pp. 126 - 131 [ill.]. Edward Lucie-Smith, Art Tomorrow, published by Finest S.A/ Editions Pierre Terrail, Paris, France, 2002, p.199 [ill.]. formal social, published in conjunction with the exhibit "formal social," curated by Carina Plath, Westfalischer Kunstverein, Mьnster, Germany, 2002. Fusion Cuisine, published by Deste Foundation, Centre for Contemporary Art, Athens, Greece,
2001 2000 1999
2002, pp. 136-137 [ill.]. Hautnah: Die Sammlung Goetz, published by Museum Villa Stuck, Munich, Germany, p. 66-69, [ill.]. PhotoEspana 2002, published in conjunction with the exhibit "The Self," curated by Cha Fuku and the International Festival of Photography, Madrid, Spain, 2002. The Spirit of Family, published by Henry Holt, 2002, pp. 28,72 [ill.]. Wolf, Sylvia, Visions from America Photographs from the Whitney Museum of American Art, essay by Andy Grundberg, published by the Whitney Museum of American Art, New York, NY, 2002. Gonzalez, Jennifer, "Landing in California," Art/Women/California: Parallels and Intersections, 1950-2000, published by University of California Press in association with the San Jose Museum of Art, pp. 219-240 [ill.]. Phillips, Sandra S., "Women Artists in California and their Engagement with Photography," in Art/Women/California: Parallels and Intersections, 1950-2000, pp. 241-256 [ill.]. Open City: Street Photographs since 1950, published by the Museum of Modern Art Oxford, Oxford, UK, pp. 18, 168-173, [ill., cover]. Over Exposed: Essays on Contemporary Photography, published by The New Press, New York, NY, 2001. Bohn-Spector, Claudia and Jennifer Watts, eds., The Great Wide Open: Panoramic Photographs of the American West, published by Merrell Publishers Ltd., London, UK, 2001, pp. 104-107 [ill.]. Catherine Opie, essays by Kate Bush, Joshua Decter & Russell Ferguson, published by the Photographer's Gallery, London, UK, 2000. Catherine Opie: In between here and there, essay by Rochelle Steiner, published by the Saint Louis Art Museum, St. Louis, MO, 2000 [ill.]. Currents 82: Catherine Opie, published by the Saint Louis Art Museum, St. Louis, MO, October 6 ­ November 26, 2000 [ill.]. Auto Werke, essay by Joshua Decter, published by Hatje Cantz, with support by BMW Financial Services North America, Ostfildern, Germany, 2000, pp. 5-6 [ill.]. Beyond Boundaries: Contemporary Photography in California, published by The Friends of Photography, San Francisco, CA, 2000, p.26 [ill.]. Burke, Gregory and Hannah Scott, eds., Drive power>progress>desire, essays by Giovanni Intra, published by Govett-Brewster Publications, New Plymouth, New Zealand, 2000, p. 46 [ill.]. Frohn, Ursula and Christian Katti, eds., Escape¬_Space, published by Ursula Blickle, Stiftung, Germany, 2000, pp. 106-113 [ill.]. Hammond, Harmony, ed., Lesbian Art in America, published by Rizzoli, New York, NY, 2000, pp. 150-152 [ill., cover]. Made in California: Art, Image, and Identity, 1900 - 2000, Los Angeles County Museum of Art, Los Angeles, CA, 2000, pp. 16, 252-253 [ill.]. Magnetic North, Walker Art Center, Minneapolis, MN and Video Pool Inc., Winnipeg, Canada, October 2000, p. 50 [ill.]. Boyle, Kevin J., ed., Rearview Mirror: Automobile Images and American Identities, published by University of California Riverside Museum of Photography, Riverside, CA, 2000. Sites Around the City: Art and Environment, published by Arizona State University Fine Arts, Phoenix, AZ, 2000, p. 40 [ill.]. Cortes, Jose Miguel G., ed., Zona F, published by Espai d' Art Contemporani de Castello, Castello, Spain, 2000. Bauer, Silvia, "Beyond the Gender Principle," in Differences Within Gender Studies, Erich Schmidt Verlag, Berlin, Germany, 1999, pp. 86-105 [ill.]. Shaw, Nancy, ed., The Modernist Document/Le Document Moderniste, published by Leonard
1998 1997 1996
& Bina Ellen Art Gallery, Montreal, Canada, Concordia University, Montreal, Canada, and The Canada Council for the Arts, Ottowa, Canada, 1999. Cantor, Ellen and Joachim Koester, Lost Paradise: Catherine Opie, curated by Alexandre Melo, Presenca Galeria, Porto, Portugal, 1998 [ill.]. Artenergie: Art in Jeans, published by Edizioni Charta, Milan, Italy, pp. 104-5 [ill.]. The Edge of Night: Urban Landscape Photography, essay by Susan H. Edwards, published by Hunter College, New York, NY, 1998. From the Corner of the Eye, curated by Martijn van Nieuwenhuyzen, Leontine Coelewij and Hripsime Visser, Stedelijk Museum, Amsterdam, Netherlands, 1998 [ill.]. Bonami, Francesco, ed., L.A. Times: Art e da Los Angeles nella Collezione Re Rebaudengo Sandretto, published by Fondazione Sandretto Re Rebaudengo, Turin, Italy, 1998 [ill.] New Langton Arts, essay by Susan Miller, New Langton Arts, San Francisco, CA, 1998. p. 155 [ill., cover]. Janus, Elizabeth and Marion Lambert, eds., Veronica's Revenge: Contemporary Perspectives on Photography, LAC, Switzerland, 1998 [ill.]. Borzello, Frances, Seeing Ourselves: Women's Self-Portraits, Thames and Hudson, London, UK, 1998, pp. 180, 183 [ill.]. O'Dell, Kathy, Contract with the Skin: Masochism Performance Art and the 1970s, University of Minnesota Press, Minneapolis, MN, 1998, pp. 80, 83, 109, 36 [ill.]. Emerson, Stephanie, ed., Catherine Opie, essays by Elizabeth A.T. Smith and Colette Dartnall, published by the Museum of Contemporary Art, Los Angeles, Los Angeles, CA, 1997 [ill.]. a/drift, curated by Joshua Decter, Center for Curatorial Studies at Bard College, Annandale-onHudson, NY, 1997 [ill.]. American Art 1975-1995 from the Whitney Museum: Multiple Identity, Castello di Rivoli, Museo d'Arte Contemporanea, Rome, Italy and Edizioni Charta, Torino, Italy, 1997. Lahs-Gonzales, Olivia, Defining Eye: Women Photographers of the 20th Century, Saint Louis Art Museum, St. Louis, MO, 1997. Crenzien, Helle and Lars Nittve, Sunshine & Noir: Art in L.A. 1960-1997, Louisiana Museum of Modern Art, Humlebaek, Denmark, 1997 [ill.]. Rrose is a Rrose is a Rrose: Gender Performance in Photography, Jennifer Blessing and the Guggenheim Museum of Art, New York, NY [ill.]. Sobel, Dean, Identity Crisis: Self-Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, WI, 1997. Torres, Jose Alvaro Perdice, Cruising L.A., Galeria Soledad Lorenzo, Madrid, Spain, 1997 [ill.]. Marcoci, Roxana, Diana Murphy, and Eve Sinaiko, eds., New, published by Harry N. Abrams, New York, NY, 1997. Art at the End of the 20th Century: Selections from the Whitney Museum of American Art, essay by Johanna Drucker, Whitney Museum of American Art, New York, NY, 1996, p. 19 [ill.]. Clearwater, Bonnie, ed., Defining the Nineties: Consensus-Making in New York, Miami, and Los Angeles, Museum of Contemporary Art, Miami, FL [ill.]. Persona, The Renaissance Society at The University of Chicago, Chicago, IL and Kunsthalle Basel, Basel, Switzerland, 1996 [ill.]. Jones, Amelia, ed., Sexual Politics, Hammer Museum, Los Angeles, CA 1996, pp. 35, 225, 261, 224 [ill.]. Snyder, Jill, In the Flesh, Aldrich Museum of Contemporary Art, Ridgefield, CT, 1996, p. 22 [ill.]. Fuku, Noriko, The Now Art Book, published by Shiseido and Korinsha Press & Co., Ltd., Kyoto, Japan, 1996, pp. 109-111 [ill.]. Chadwick, Whitney, Women, Art, and Society, revised and expanded second edition, published by Thames & Hudson, London, UK, 1996, p. 391, 396 [ill.]. Berger, Maurice, Brian Wallis, and Simon Watson, eds., Constructing Masculinity, published by Rutledge, New York, NY, p. 43 [ill.].
1995 1994 1993 1992 1991 1984
Fabrications, essay by Kim Fullerton, Toronto Photographer's Workshop, Toronto, Canada, 1995, [ill.]. feminimasculin: le sexe de l'art, Centre Georges Pompidou, Gallimard/Electra, Paris, France, 1995 [ill.]. Blake, Nayland, Lawrence Rinder, and Amy Scholder, eds., In a Different Light, City Lights Books, San Francisco, CA, 1995 [ill.]. Kertess, Klaus, 1995 Biennial Exhibition, published by the Whitney Museum of American Art and Harry N. Abrams, New York, NY, 1995 [ill.]. La Belle et la Bкte, essay by and curated by Lynn Gumpert, Musйe d'Art Moderne de la Ville de Paris, Paris, France, 1995 [ill.]. Pervert, essay by Catherine Lord, The Art Gallery, University of California, Irvine, 1995 [ill.]. Neumaier, Diane, ed., Reframings: New American Feminist Photographies, Temple University Press, Philadelphia, PA [ill.]. Love In the Ruins: Art and the Inspiration of L.A., text and curated by Noriko Gamblin, Long Beach Museum, Long Beach, CA, 1994 [ill.]. Oh boy, it's a girl! Feminism in der Kunst, curated by Astrid Wege, essay "Verstreute Notizen," by Judith Fischer/Uta Laib, Kunstverein, Munich, Germany, 1994, pp. 80-86 [ill.]. Engberg, Juliana, Persona Cognita, texts by Deb Verhoeven, Linda Williams, Margaret Morgan, Museum of Modern Art at Heide, Melbourne, Australia, 1994 [ill.]. Rugoff, Ralph, Transformers, Independent Curators Incorporated, New York, NY, 1994 [ill.]. Lippard, Lucy, Back Talk: Women's Voices in the 90s, Museum of Contemporary Arts, Santa Barbara, CA, 1993. Wasteland, Bas Vroege, Rotterdam, Netherlands, 1992. Situation, essay by Richard Meyer, "Exceeding the Frame: Recent Production by Lesbian and Gay Artists," 1991. Inside/Out, San Francisco Art Institute, San Francisco, CA, 1984.
HONORS AND DISTINCTIONS
2017 2013 2009 2008 2006 2004 1999 1997
2017 Queer | Art | Prize Sustained Achievement Award Julius Shulman Institute Excellence in Photography Award REDCAT Award Women's Caucus for Art President's Award for Lifetime Achievement Hanjin Shipping and Yang Hyun Foundation International Art Award United States Artists Fellowship San Francisco Art Institute President's Award for Excellence Larry Aldrich Award 2003 CalArts Alpert Award in the Arts Washington University Freund Fellowship 1997 Citibank Private Bank Emerging Artist Award Citibank Private Bank Emerging Artist Award
PUBLIC COLLECTIONS Albright-Knox Art Gallery, Buffalo, NY Bank of America, San Francisco, CA Center for Creative Photography, The University of Arizona, Tucson, AZ Centro Cultural Arte Contemporaneo, Mexico City, Mexico Collezione Patrizia e Augustino Re Rebaudengo Sandretto, Turin, Italy Frances Young Tang Teaching Museum, Saratoga Springs, NY Groninger Museum, Groninger, Netherlands
Guggenheim Museum, New York, NY Hammer Museum, Los Angeles, CA The Israel Museum, Jerusalem, Israel The Lambert Art Collection, Geneva, Switzerland Linc Group, Chicago, IL Long Beach Museum of Art, Long Beach, CA Los Angeles County Museum of Art, Los Angeles, CA Louisiana Museum of Modern Art, Humlebжk, Denmark The MacArthur Foundation, Chicago, IL Metropolitan Savings Bank, Mayfield Heights, OH Miami Art Museum, Miami, FL The Montreal Museum of Fine Arts, Canada Museum of Contemporary Art, Chicago, IL Museum of Contemporary Art, Los Angeles, Los Angeles, CA Museum of Fine Arts, Boston, MA Museum of Fine Arts, Montreal, Canada Museum of Modern Art, San Francisco, CA Norton Family Foundation, Santa Monica, CA Orange County Museum of Art, Newport Beach, CA The Prudential, Newark, NJ Refco, Inc., Chicago, IL Rubell Family Collection, Miami, FL Tate Gallery, London, United Kingdom Walker Art Center, Minneapolis, MN Whitney Museum of American Art, New York, NY Worcester Art Museum, Worcester, MA

C Opie, B Billboard, SS Park

File: catherine-opie.pdf
Title: CO_CV_1.5.18
Author: C Opie, B Billboard, SS Park
Author: Kathryn McKinney
Published: Thu Mar 8 22:33:24 2018
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Celebration of Faculty, 14 pages, 0.29 Mb
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