​Seminar og boklansering

Catherine Opie—Et øye med verden

Velkommen til halvdagsseminar om Catherine Opie i anledning den første retrospektive utstillingen av hennes fotografier i Europa, på Henie Onstad Kunstsenter, Høvikodden

6. oktober 2017, 14-17 på Henie Onstad Kunstsenter

Dette blir en unik mulighet til å oppleve utstillingen sammen med kunstneren selv og høre Russell Ferguson og Natalie Hope O´Donnell diskutere arbeidene hennes i en større kontekst. Begge har vært viktige bidragsytere til den omfattende utstillingskatalogen som blir lansert samme dag.

Seminaret er gratis, men påmelding er obligatorisk. Samtalene vil foregå på engelsk. Begrenset antall plasser.

Påmelding her innen 3. oktober

Slik kommer du deg til Henie Onstad Kunstsenter

Mer informasjon om utstillingen


PROGRAM

14.00: Introduksjon og velkommen ved Tone Hansen

14.15: Runde i utstillingen med Catherine Opie

15.00-15.45: Q&A Catherine Opie og Russell Ferguson

15.45-16: Kaffepause med noe å bite i

16-16.30: Bodies that Matter—Catherine Opie’s Portraits. A talk by Natalie Hope O’Donnell

16.30-16.45: Spørsmål fra salen

J.D., 2008, C-print, 30 x 22 1/4 inches (76.2 x 56.5 cm), ©Catherine Opie. Courtesy Regen, Projects, Los Angeles & Peder Lund, Oslo
J.D., 2008, C-print, 30 x 22 1/4 inches (76.2 x 56.5 cm), ©Catherine Opie. Courtesy Regen, Projects, Los Angeles & Peder Lund, Oslo

ABOUT THE CONTRIBUTORS

Catherine Opie is one of the most prominent artists of her generation. Born in Sandusky, Ohio, on April 14, 1961, Opie is best known for her provocative portraits and formal landscapes. Often combining these two elements in her work, Opie explores how our identities are formed in relation to the places we inhabit and the communities of which we are a part. As no other photographer of her generation, Opie has represented communities never before given a voice, stressing the performativity of gender as bodies that matter and create social change.

Moving from Ohio at the age of thirteen, Opie spent her teenage years in Rancho Bernardo, California, a neighborhood on the outskirts of San Diego. Pursuing an early interest in documentary photography, initially influenced by her awareness of Lewis Hine, Opie moved

to San Francisco and enrolled herself at the San Francisco Art Institute. Opie would eventually take inspiration from artists such as August Sander, Walker Evans, and Dorothea Lange. Upon completing her Bachelor of Fine Art in 1985, she returned to Southern California and in 1988 earned a Master of Fine Arts at the California Institute of the Arts in Valencia.

Opie has exhibited extensively in important group exhibitions such as Persona Cognita (1994) at the Heide Museum of Modern Art in Australia; Oh Boy, It’s a Girl (1994) at the Kunstverein München, Munich, and the Kunstraum, Vienna; and Féminin - Masculin: Le sexe de l’art (1995–1996) at the Centre Pompidou, Paris. In 2008–2009, the Solomon R. Guggenheim Museum in New York presented a mid-career survey of her work. The Los Angeles County Museum of Art held an important solo exhibition of her work in 2010, as did the Institute of Contemporary Art in Boston in 2011. Opie has also exhibited at Museum of Contemporary Art in Chicago, Walker Art Center in Minneapolis, The Photographers’ Gallery in London, Regen Projects in Los Angeles, Centre d’Art Contemporain Genève in Switzerland, and Kunstmuseum Wolfsburg in Germany.

Based in Los Angeles for the last twenty years, she is the recipient of numerous awards, including the Smithsonian’s Archives of American Art Medal (2016), the President’s Lifetime Achievement Award from the Women’s Caucus for Art (2009), and the United States Artists Fellowship (2006). In 2016, Opie was inducted into the National Academy, an election that recognizes the artist’s exceptional creative work and contribution to the arts. Since 2001, Opie has worked as a tenured professor of photography at University of California at Los Angeles (UCLA) and continues to document American contemporary life through her photography. The 2017 exhibition at Henie Onstad Kunstsenter, Norway, is the first solo exhibition of her work in Europe.

Russell Ferguson is professor at the UCLA Department of Art. He joined the department in January 2007 and was chair until 2013. From 2001 through 2007, he was Deputy Director for Exhibitions and Programs as well as Chief Curator at the Hammer Museum, Los Angeles. From 1991 to 2001, he was at the Museum of Contemporary Art, Los Angeles, first as Editor, then as Associate Curator. Ferguson has organized group exhibitions at the Hammer such as Perfect Likeness (2015), an examination of contemporary photography, and solo exhibitions by Francis Alÿs (2007–2008), Wolfgang Tillmans (2006–2007), and Christian Marclay (2003). At the Museum of Contemporary Art, he organized In Memory of My Feelings: Frank O’Hara and American Art (1999), an exploration of the circle of artists that revolved around the poet, as well as survey exhibitions of the work of Liz Larner and Douglas Gordon (both 2001–2002). Ferguson is the editor of two collections of critical writing: Discourses: Conversations in Postmodern Art and Culture (1989), and Out There: Marginalization and Contemporary Cultures (1990), both published by MIT Press.

Natalie Hope O’Donnell is Senior Curator at the Munch Museum in Oslo, where she curates the off-site contemporary art program Munchmuseet on the Move (2016–2019). Past curatorial projects include the retrospective of Norwegian artist Hariton Pushwagner at MK Gallery and Museum Boijmans Van Beuningen; The First Supper Symposium with Pussy Riot, Judith Butler, and Rosi Braidotti; Sofia Hultin, I’m Every Lesbian – Oslo; Jon Benjamin Tallerås, wander ponder going yonder; Fadlabi, På Gebrokkent II; and Marthe Ramm Fortun, Stones to the Burden. Her educational background includes a BA in Modern History and Politics from the University of Oxford (2002) and an MA in Curating Contemporary Art from the Royal College of Art, London (2008). She holds a PhD from the Oslo School of Architecture entitled Space as curatorial practice: the exhibition as a spatial construct (2016), which examined three exhibitions at Henie Onstad Kunstsenter in the period 1970–1972. O’Donnell chairs the Norwegian Association of Curators and retains interests in curating as a spatial process, queer performative art practices, and the exhibition as a historical and cultural text.

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