For Opie, photographing is about “understanding what it is to be inclusive.”
The debut exhibition at New Mexico State University explores the nuances of labor — in birth, in childrearing, and in intergenerational collaboration.
The two artists unveiled a new line of shell cameos made into rings, earrings, cufflinks, and pendants at the opening of the Venice Biennale.
The artist has launched a Kickstarter to fund her project, which is partially an homage to Catherine Opie’s “Dyke Deck,” updated to celebrate a wider spectrum of queerness.
Now on view at Regen Projects, Opie’s silent ode to the city is solely told with still, black-and-white images.
LOS ANGELES — If you visited LA this summer, it would have been hard for you to ignore the presence of Robert Mapplethorpe.
Like a closed curtain at the beginning of a performance, a red, wavy material with the name “Elizabeth Taylor” emblazoned in white lettering fills the frame.
MIAMI — The exhibition of over 100 women artists currently on view at the Rubell Family Collection is difficult to review because the works do not all fit into the space and the decision was made to rotate them over the course of the show.
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
LOS ANGELES — Photography is a schizophrenic medium. It has long served documentary, fashion, and scientific purposes, only more recently has it gained mainstream recognition as a fine art. These dichotomies carry over to the Photo LA fair.
For its first original web series, Ovation TV has launched a talk show about art called Touching the Art. And why not?
On the third floor, 2014 Whitney Biennial curator Stuart Comer professed to “provide a kaleidoscopic glimpse of this historic moment,” emphasizing work that seemed in flux and in transition from one medium to another, one state to another, or even across borders and identities.