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Secret Selves.” the New Yorker (March 13, 2017) Pp Levy, Ariel. “Secret Selves.” The New Yorker (March 13, 2017) pp. 58 – 67 [ill.] PROFILES SECRET SELVES Catherine Opie’s photographs expose hidden truths about people and places. BY ARIEL LEVY n the course of a thirty-year ca- nity, which Opie saw as chasing re- “‘Self-Portrait/Cutting’ was about long- reer, the photographer Catherine spectability at the expense of sexual ing,” Shaun Caley Regen, Opie’s gal- Opie has made a study of the free- radicals like her and her friends, who lerist since 1993, told me. “It was about Iways of Los Angeles, lesbian families, were avid practitioners of sadomas- an unattainable ideal—two women, a surfers, Tea Party gatherings, Amer- ochism. “The leather community was house, whatever it was she felt she ica’s national parks, the houses of Bev- really disowned,” Opie said. “The ho- couldn’t have—cut into her back.” erly Hills, teen-age football players, mophobia in relation to AIDS was so In the intervening decades, Opie the personal efects of Elizabeth Tay- deep. People who weren’t in the leather has moved from marginal radical to lor, the Michigan Womyn’s Music community were, like, ‘Well, they’re establishment fixture. In 2008, the Festival, Boy Scouts, her friends, mini- perverts.’ ” But, above all, the two self- Guggenheim devoted four floors to malls, and tree stumps. But her most portraits were pictures of Opie’s se- “Catherine Opie: American Photog- famous photographs are probably two cret selves. It was as if her invisible rapher,” a major mid-career retrospec- that she took of herself, early in her desires were exposed by the camera, tive that attracted some three thou- working life. In “Self-Portrait/Cut- her most intimate means of commu- sand people a day. Several luminous ting,” which Opie made in 1993, when nication since childhood. shots that Opie took of Lake Michi- she was thirty-two years old, she stands Really, what Opie liked best about gan hung in the Obama White House. shirtless with her back to the camera transgressive sex was the way it cre- Opie is a tenured professor at U.C.L.A., in front of an emerald-green tapestry, ated a feeling of family. “S/M was all and sits on the boards of the Los An- which ofsets her pale skin and the about community for me,” she said geles Museum of Contemporary Art rivulets of blood emerging from an one afternoon, sitting in her sunny and the Andy Warhol Foundation. She image carved into her back with a kitchen in Los Angeles, with its gleam- earns more than a million dollars in a scalpel: a childlike scene of a house, ing stainless-steel stove and Heath- good year. Recently, when the Smith- a cloud, and a pair of smiling, skirt- tile backsplash. On a bench by the sonian Archives of American Art gave wearing stick figures. In “Self-Por- window was a pillow with a needle- Opie a medal at a gala on the Upper trait/Pervert,” made the following year, point inscription that read, “Grand- East Side, the host noted that it Opie is faceless and topless and bleed- mothers are a special part of all that’s was his first opportunity to honor a ing again: she sits in front of a black- cherished in the heart.” Opie, who is pillar of the “‘Los Angeles leather- and-gold brocade with her hands fifty-five, smiled wistfully when she dyke community.’” folded in her lap, her head sealed in recalled that era: “You dress up with Opie is so prominent in the South- an ominous black leather hood, the your friends; you do things together ern California art world that friends call word “pervert” carved in oozing, or- in the dungeons.” At the time, she was her “the mayor of Los Angeles,” but her nate letters across her chest. taking photographs of her cohort, with photographs have remained quietly sub- They are unnerving images—“ ‘Per- their tattoos and piercings, in formal versive. “Often, in my work, I think about vert’ is too intense for me now,” Opie compositions and vibrant colors that what’s iconic—and what is the way to told me recently—and they had a par- evoked the Renaissance paintings of reimage something that’s iconic,” Opie ticularly jarring efect at the time she Hans Holbein. Opie felt that she was said. Surfers don’t surf in her photo- made them. When the photographs creating a portrait gallery of her own graphs: they wait for waves, a motion- were exhibited at the Whitney Bien- “royal family.” There was something less line of silhouettes in a smoky sea. nial, in 1995, they were “like shock not just regal but disarmingly heart- Freeways are empty of cars, because troops crashing a mannerly art-world felt in those pictures. As the Los An- Opie shoots them at dawn on Sundays, party,” the critic Holland Cotter wrote geles art critic David Pagel put it, in when they become something architec- in the Times. Among other things, 1994, “The strangest and most telling tural and still, as elegiac as the Pyramids “Pervert” was a fierce response to Jesse quality that Opie manages to smug- of Giza in the nineteenth-century pho- Helms and his allies in Congress who gle into her images of aggressive misfits tographs of Maxime Du Camp. For a campaigned against funding AIDS re- is a sense of wholesomeness.” portrait of Diana Nyad, who, at sixty- search. (The disease, Helms reasoned, Opie grew up in the Midwest. She four, became the first person to swim was the consequence of “deliberate, was going to be a kindergarten teacher from Cuba to Florida, Opie photo- disgusting, revolting conduct.”) It was before she became a photographer. graphed her naked, from behind, show- COURTESYREGEN ANGELESPROJECTS, LOS AND LEHMANN MAUPIN, HONG& NEW KONG YORK also a statement to the gay commu- She always wanted to be a mother. ing the ghostly white flesh that had been 58 THE NEW YO R K E R , MARCH 13, 2017 TNY—2017_03_13—PAGE 58—133SC.—CREDIT FIX BW_V2 In Opie’s “Self-Portrait/Nursing,” her chest bears the scar of an inscription from her days as an S/M practitioner: “Pervert.” PHOTOGRAPHS BY CATHERINE OPIE TNY—2017_03_13—PAGE 59—133SC.—LIVE PHOTO—R29544—EXTREMELY CRITICAL PHOTOGRAPH TO BE WATCHED THROUGHOUT THE ENTIRE PRESS RUN—PLEASE USE VIRTUAL PROOF 4C silver-framed photograph of Taylor and Richard Burton. Another showed the silky sleeves of Taylor’s bath- robes, in lavender and pale gray. The pictures were so intimate that you could almost smell them. “Because she’s such an iconic movie star, if you lost the personal—or the person!— then you’d just feel like you were flip- ping through Architectural Digest,” Opie said. William Eggleston’s photographs of Graceland—a portrait of Elvis through his artifacts—were an inspi- ration for the Taylor portfolio, and the pictures share a feeling of haunted stillness. They add up to a life, how- ever glamorous, that has evaporated. Taylor died unexpectedly during Opie’s project. “It became this last document,” Opie said, “so my editing had to carry a certain kind of rever- ence: This is it. This is the sum.” Scrolling through images on her computer, Opie said, “Same thing happened with 9/11.” By chance, she had been photographing Wall Street a few weeks before the terror- ist attack on the World Trade Cen- ter. Suddenly, the pictures—under- •• stated black-and-white images of the labyrinth of the financial district, covered by her bathing suit, ofset by cite containers of carefully organized without a human being or a moving the leathery brown of the rest of her eyeshadow; her sitting room, with its vehicle in sight—had a diferent body. Nyad’s skin had become a kind of blue velvet sofas. The two never met— meaning. Opie pulled up a photo- photogram, marked by her quest, and they were connected through a mu- graph in which the Twin Towers are in Opie’s portrait one sees both the her- tual accountant—but Taylor was often visible in the background. “They look oine who managed an unfathomable home while Opie was shooting. “One like ghost buildings,” she said. feat and the vulnerable geriatric who time, she called her private assistant, She flipped to an image of the nearly died in the process. and he ran up and told me, ‘Elizabeth Cocoa Exchange Building, with its It is as if Opie were able to photo- would really like those Christmas dec- Flatiron-like curve, flanked by parked graph aspects of people and mini-malls orations photographed,’ ” Opie said. vehicles on Pearl and Beaver Streets. and Yosemite Falls that are invisible “Then she peeked at me through the “This could very easily be a Berenice to the rest of the world. Her pictures curtains.” Abbott photograph—except for the ask how sure we are about what we Opie told me this sitting on the cars,” Opie said, and smiled. “The know to be true. “There’s a certain floor of the archive room in a five- history of photography is full of those kind of equality I’m trying to create, thousand-square-foot space in the signifiers. And I love that kind of which is what I believe American de- Brewery Arts Complex, in downtown shit.” There is almost no sky in any mocracy is about,” Opie said. “If I were L.A., where she had recently moved of the pictures; Opie shot them all to pass judgment on, say, football play- her studio.
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