From butch alter egos to radical images of motherhood, the photographer rises to the challenge of capturing her community in imposing and glorious style Catherine Opie has done for butches what Hans Holbein the Younger did for the Tudor nobility. Since she graduated in the late 1980s, amid the Aids crisis, Opie has made portraits of her community, friends and family, adopting unflinching realism, saturated colours, and dramatic tonal contrasts from the 16th-century portrait painters. Many of Opie’s most famous portraits – included in her new exhibition at the National Portrait Gallery – use these devices deliberately, a declaration that these people deserve, as the title of the show underlines, to be seen. Opie has always been interested in construction – how we can be transformed by costume, posture, pose, role-play. This show is a testament to that, and her love of tattoos, piercings and body modifications (she does live in LA, after all). She’s especially drawn to the performance and presentation of masculinity – in the 1991 series Being and Having, one of the earliest bodies of work in the show and still one of Opie’s best known. She has 13 lesbian friends dress up as their masculine alter egos – Opie also appears as her own, Bo. They don a range of fake moustaches and are photographed close, so their faces fill the frame against an egg-yolk yellow background, the glue attaching the hair to their faces clearly visible. Their nicknames are engraved into name tags, like they’re trophies. Continue reading...