User:Babyfrankenstein/sandbox

“Opie investigates the ways in which photographs both document and give voice to social phenomena in America today, registering people’s attitudes and relationships to themselves and others, and the ways in which they occupy the landscape” (Art 21).

She wants to create a way to have viewers look at someone that they may not particularly want to know (Art 21).

Her photographs become an investigation not only in color, but in relationship and community as well (Art 21).

In Art 21, she describes her landscapes as a series that relates to identity through architecture.

“At the core of her investigations are perplexing questions about relationships to community, which she explores on multiple levels across all her bodies of work (Art 21).

In Opie’s images of icehouses on frozen lakes and surfers in the ocean, she is building this sense of community that is talked about in Art 21.

“Opie investigates the ways in which photographs both document and give voice to social phenomena in America today, registering people’s attitudes and relationships to themselves and others, and the ways in which they occupy the landscape” (Art 21).

“Working between conceptual and documentary approaches to image making, Opie examines familiar genres—portraiture, landscape, and studio photography—in surprising uses of serial images, unexpected compositions, and the pursuit of radically different subject matters in parallel” (Art 21).

Opie’s work also creates dialogue surrounding the history of photography and documentary photographs. “Whether documenting political movements, queer subcultures, or urban transformation, Opies images of contemporary life comprise a portrait of our time in America, which she often considers in relation to a discourse of opposition” (Art 21).

In her Art 21 interview, she explains how Hans Holbein was a large inspiration for her work. This is yet another way in which history informs contemporary art.