Long awaited, the first survey of the work of one of America's foremost contemporary fine art photographers For almost 40 years, Catherine Opie has been documenting with psychological acuity the cultural and geographic identity of contemporary America. This unique artist monograph presents a compelling visual narrative of Opie's work since the early 1980s, pairing images across bodies of work to form a full picture of her artistic vision. With more than 300 beautiful illustrations and made in close collaboration with Opie, the book marks a turning point in the consideration of this artist's work to date.

One of the defining artists of her generation, photographer Catherine Opie (*1961 in Sandusky, Ohio) is known for her portraits and landscapes. She has frequently combined these two elements by training her camera on how people take possession of different landscapes-from high-school football players on the field or ice fishermen on frozen lakes to surfers waiting for the next wave. Opie recently returned to the genre of street photography, elaborating on the relationship between people and places. This catalogue presents her latest photographs of political demonstrations and gatherings-ranging from the inauguration of President Obama to Tea Party rallies. Drawing on the long and illustrious tradition of American landscape painting and documentary photography, like that of Berenice Abbott and Robert Frank, Opie affords us a look at democracy in action.

In the tradition of Robert Frank's photographs of the 1956 Democratic National Convention in Chicago and William Eggleston's 1976 "Election Eve" series, 100 photographs offer an intimate political and personal view of one of the most public days of a nation: the inauguration of Barack Obama as the country's first black president on January 20, 2009.

California Condors, Boris Karloff as Frankenstein, Japanese horror films, and Gordon Matta-Clark have served as some of the various influences that make up the daring world of Rodarte.In only five years, Rodarte has upended the fashion scene, bringing Kate and Laura Mulleavy, the designers behind Rodarte, to the forefront of the discussion about contemporary design and visual culture.This is the first publication to examine the fashion design work and conceptual world of Rodarte and is created in collaboration with two of the art world's most sought-after and highly acclaimed photographers, Catherine Opie and Alec Soth.Each photographer, in collaboration with Kate and Laura Mulleavy, has developed an entirely new body of work specifically for the book, examining various facets of Rodarte's creative spectrum.Kate and Laura, who live and work between downtown Los Angeles and Pasadena, California, have consistently brought their love of nature, film, art, and science to bear in their unconventional and exquisitely crafted collections for Rodarte.An additional 16-pages inlay with John Kelsey's essay is inserted in the book. Designed by Patrick Li of Li Inc.

Catherine Opie's photographs include portraits and American urban landscapes, ranging from large-scale colour works to small black-and-white prints. A conceptual framework of cultural portraitism links her various photographic series. Opie has been presenting images of people, subcultures, landscapes and environments ever since the early 1990s. She is passionate about the rights of minorities, democracy and equality - and how people live their lives. Drawing inspiration from transgressive photography of Robert Mapplethorpe, Nan Goldin, and sex radicals, who provided a space for liberals and feminists, Opie has also done work ranging from the studies of master-plan communities to S and M erotica for lesbian owned sex magazines. Her portraits often document the queer community. Published on the occasion of the retrospective exhibition, Catherine Opie: Keeping an Eye on the World at Henie Onstad Kunstsenter, H�vikodden, Norway (6 October 2017 - 7 January 2018).

This catalog is published in conjunction with the exhibition "Catherine Opie: Chicago (American Cities)" which was organized by the Museum of Contemporary Art, Chicago, curated by Elizabeth A.T. Smith, James W. Asdorf Chief Curator and Deputy Director for Programs, and presented May 20 to October 15, 2006.

Long awaited, the first survey of the work of one of America's foremost contemporary fine art photographers For almost 40 years, Catherine Opie has been documenting with psychological acuity the cultural and geographic identity of contemporary America. This unique artist monograph presents a compelling visual narrative of Opie's work since the early 1980s, pairing images across bodies of work to form a full picture of her artistic vision. With more than 300 beautiful illustrations and made in close collaboration with Opie, the book marks a turning point in the consideration of this artist's work to date.

Who Says, Who Shows, What Counts invites readers to think critically about how artists, artworks, and museums engage with narratives of the past. Richly illustrated and written for a general audience, this book showcases the depth and breadth of more than fifty recent acquisitions to the Block Museum of Art's contemporary collection, including a wide-ranging selection of works by Dawoud Bey, Shan Goshorn, the Guerrilla Girls, Marisol, Kerry James Marshall, Catherine Opie, Man Ray, Cindy Sherman, Thomas Struth, Tseng Kwong Chi, and Kara Walker, among other artists. The book is a companion publication to the 2021 exhibition of the same name, presented to celebrate the museum's fortieth anniversary, and both draw inspiration from a work by conceptual artist Louise Lawler, Who Says, Who Shows, Who Counts (1990), and are organized around challenging questions of historical representation within artworks and institutions: How can art help us reflect upon, question, rewrite, or reimagine the past? Who has been represented in visual art, how, and by whom? How is history etched onto a landscape or erased from it? How do museums and dominant canons of art history shape our view of history and of the past? Who Says, Who Shows, What Counts demonstrates how an academic art museum's collection can facilitate multidisciplinary connections and tell stories about issues relevant to our lives.