Photographer Catherine Opie on How Holbein, Da Vinci, and Cindy Sherman Shaped Her View of the Body

Catherine Opie’s photograph Angelina Scheirl, 1993, from Phaidon’s Body of Art. Courtesy Regen Projects, Los Angeles © Catherine Opie.

Artspace | Karen Rosenberg

The photographer Catherine Opie emerged during the era of the culture wars with searing, confrontational portraits and self-portraits—works that simultaneously asserted queer identity, aspirational American domesticity, and membership in the art-historical fraternity of Holbein, Bronzino, et. al.. In one of her best-known works, Self-Portrait / Cutting (1993), Opie turned away from the camera to reveal a childlike image of a house and a stick-figure couple that had been carved into the skin of her upper back. Behind her was a rich background of green brocade, reminiscent of the one in Holbein’s Portrait of Thomas Cromwell

Read More