Tag Archives: Catherine Opie

ABORTION IS NORMAL — PART 2

Recognizing the ongoing threat to reproductive rights in the United States, ABORTION IS NORMAL—sponsored by the Downtown for Democracy Independent Expenditure Committee—is an “emergency art exhibition curated by Jasmine Wahi and Rebecca Pauline Jampol and organized by Marilyn Minter, Gina Nanni, Laurie Simmons, and Sandy Tait.”*

Part 2 of the show opens this week at Arsenal Contemporary in Manhattan.

Contributing artists include Allison Janae Hamilton, Ameya Marie Okamoto, Amy Khoshbin, Andrea Chung, Arlene Shechet, Barbara Kruger, Betty TompkinsCajsa von ZeipelCarrie Mae Weems, Carroll Dunham, Catherine Opie, Cecily Brown, Chloe Wise, Christopher Myers, Christen Clifford, Cindy Sherman, Delano DunnDerrick Adams, Dominique Duroseau, Elektra KB, Fin Simonetti, Grace Graupe Pillard, Hank Willis Thomas, Hayv Kahraman, Jaishri Abichandani, Jack Pierson, Jane Kaplowitz, Jon Kessler, Jonathan HorowitzJonathan Lyndon Chase, Judith Bernstein, Judith Hudson, Katrina Majkut, Louise Lawler, Lyle Ashton HarrisMarisa Morán Jahn, Michele PredMiguel Luciano, Mika Rottenberg, Nadine Faraj, Nan GoldinNarcissister, Natalie Frank, Rob Pruitt, Ryan McGinley, Sahana Ramakrishnan, Sarah Sze, Shirin Neshat, Shoshanna Weinberger, Shout Your Abortion, Sojourner Truth Parsons, Suzy Lake, Tatyana Fazlalizadeh, Viva Ruiz, Walter Robinson, Wangechi Mutu, Xaviera Simmons, Yvette Molina, and Zoe Buckman.

New editions by Paul Chan, Rashid Johnson, and Richard Prince are also available.

ABORTION IS NORMAL*

Opening Night

Tuesday, January 21, 6 pm to 8 pm.

Exhibition runs through February 1.

Arsenal Contemporary

214 Bowery, New York City.

Abortion is Normal, Galerie Eva Presenhuber, New York, January 9–18, 2020, Arsenal Contemporary, New York, January 21–February 1, 2020, from top: Nadine FarajYo Aborte, 2016; Judith Bernstein, Abortion is Normal, 2019; Lyle Ashton HarrisBillie #21, 2002; Cindy Sherman, Untitled, 2019; Marilyn MinterCuntrol, 2020; Shoshanna WeinbergerHair Between the Legs, 2015; Arlene ShechetTo Be Continued, 2018; Nan GoldinGeno by the lake, Bavaria, Germany 1994, 1994; Christen CliffordI Want Your Blood, 2013–2020 (detail); Rob Pruitt, American Quilts 2018: Neighbors, 2018; Catherine Opie, Nicola, 1993; Natalie Frank, Portrait 1, 2019; Laurie SimmonsMother Nursery, 1976; Ameya Marie OkamotoThe Notorious RBG, 2018; Barbara KrugerWho will write the history of tears?, 2011. Images courtesy and © the artists, the photographers, Downtown for Democracy, and Abortion is Normal.


HAMZA WALKER IN CONVERSATION

Join LAXART director Hamza Walker, OnrampArts founder Joy Silverman, and LAICA founder Bob Smith for a conversation about the changing cultural and socio-political landscape undergirding the role of alternative spaces over the past forty years.

“Since their flourishing in the mid 1970s, alternative art spaces have had an illustrious history—from the championing of new media and performance, which were outside the purview of commercial galleries, to the role they played in identifying and supporting artists that defined the 1980s, to their reconceptualization by a new generation of artists and curators in the early part of the 21st century.”*

 

ALTERNATIVE SPACES—THAT WAS THEN/THIS IS NOW, Saturday, June 23, at 2 pm.

LAXART, 7000 Santa Monica Boulevard, Hollywood.

laxart.org/alternative-spaces-that-was-then-this-is-now

Catherine OpieHamza2013. © Catherine Opie. Image courtesy the artist and Regen Projects, Los Angeles.
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CATHERINE OPIE — THE MODERNIST

THE MODERNIST (directed by Catherine Opie by way of Chris Marker’s La Jetée) is a deadpan eulogy to the demise of traditional American liberalism in the months leading up to the conflagration of Election Night 2016.

Stosh Fila (a.k.a. Pig Pen)—possibly playing either a Tea Partier or the owner of several “Feel the Bern” buttons—goes about his daily task of researching and then torching several once-avant-garde-but-now-mainstream architectural landmarks in the hills of Los Angeles: works by A. Quincy Jones and Pierre Koenig, and the John Lautner-designed homes of Benedict Taschen and James Goldstein.

Reports of these Oedipal feats of arson are splashed over the front pages of the Los Angeles Times, along with headlines noting Hillary Clinton’s “historic” Democratic nomination and the race for 270 electoral votes.

Fila creates a wall collage of yesterday’s papers, and as November 8 approaches, takes a match to his own creation.

To view the 22-minute film, Michael Maltzan has designed a sleek cinema inside Regen Projects, and thirty-three MODERNIST stills have been hung along the walls of the gallery.

 

CATHERINE OPIE—THE MODERNIST, through February 17.

REGEN PROJECTS, 6750 Santa Monica Boulevard, Los Angeles.

regenprojects.com/catherine-opie

regenprojects.com/opie/press-release

Stosh Fila (a.k.a. Pig Pen)  in The Modernist (2017). Image credit: Regen Projects.

COPIE_TheModernist_07

THE ’90S AT REGEN PROJECTS

Regen Projects’ Spring 2017 show is an extraordinary survey of art from the 1990s.

WHAT I LOVED: SELECTED WORKS FROM THE ’90S includes Catherine Opie’s Vaginal Davis and Justin Bond; Glenn Ligon’s Untitled (I Remember the Very Day); Lari Pittman’s Existential and Needy; Karen Kilimnik’s Actresses sisters as murderers; erotic work from Wolfgang Tillmans, Marilyn Minter, and Cindy Sherman; Elizabeth Peyton’s Stephen Malkmus; Jack Pierson’s large collage tribute to ’50s iconography, Self Portrait (James Dean); Mike Kelley’s Party Girl; wall texts by Kara Walker and Lawrence Weiner; and an extensive series of drawings by Raymond Pettibon. Sixty works by 27 artists are on view.

WHAT I LOVED: SELECTED WORKS FROM THE ’90S, through April 13, 2017.

REGEN PROJECTS, Los Angeles

regenprojects.com/exhibitions/what-i-loved-selected-works-from-the-90s

Glenn Ligon, Runaways [detail] 1993 Suite of 10 lithographs 16 x 12 inches each Courtesy Regen Projects Los Angeles

Glenn Ligon, Runaways [detail]1993
Suite of 10 lithographs
16 x 12 inches each
Courtesy Regen Projects Los Angeles

 

PARIS, LA #11

PARISLA11_COVER-1

PARIS, LA

ISSUE #10 / SPRING 2014

PHOTOGRAPHY HERE AND NOW

CONTENTS

Optic Nerve | Catherine Opie in conversation with Dorothée Perret

Collisions Ahead | By Brendan Fowler and Sarah Lehrer-Graiwer

Perversion is Bliss | By Andrew Berardini and Torbjørn Rødland

Anarchy in the Belle Epoque | By Aaron Sandnes and Barlo Perry

Through a Glass, Darkly: a Mapplethorpe Portfolio | By OHWOW and the Robert Mapplethorpe Foundation

Out There | John Divola and Marius Engh in conversation with Dorothée Perret

Traces | By Marlene Marino

Still Life, and Mask | By Hanna Liden

COVER Ron, 2013 by Catherine Opie

CENTERFOLDChanel Summer 2014 Ad Campaign Remix by Pierre-François Letué

POSTERExterior: from Zuma Series, 1977-1978 | Interior: from Dogs Chasing My Car in the Desert, 1996-1998 By John Divola