There is no direct reference to Trump’s America in Catherine Opie’s To Be Seen, the US photographer’s first large museum exhibition in Britain, featuring key works going back to the 1990s. Mythic and personal, the images depict the American landscape and American family. Above all, they are concerned with the 64-year-old’s career-long interest in the representation of gay, lesbian and queer Americans missing from mainstream art history. Most of the photos were taken long before the Trump presidencies and yet, browsing the show, it feels like a powerful rebuke to the current administration – so much so that it brings on a mood of almost hysterical relief.
For 27 years, Opie taught photography at the University of California, Los Angeles, and would tell her students that it was part of the mission of the serious artist to show “an example in a public space of what it is to be brave”. So it is with To Be Seen, which features some of Opie’s most famous and bravest works, from her portraits of friends to denizens of LA’s 1990s leather dyke scene: the iconic, androgynous Pig Pen, a friend who appears in a series of shots, looking coolly at the camera, daring the viewer to define them; her Being and Having series, an early challenge to gender norms featuring 13 butch lesbians posing in stick-on, Halloween-grade facial hair, in an absurdist performance of masculinity; and Dyke, in which Opie’s friend Steakhouse – speaking of brave – poses with her back to the camera, the word “dyke” tattooed in large ornate script across the back of her neck.
