The artist Catherine Opie is currently the subject of a major three-decade portrait survey, 'To Be Seen', at the National Portrait Gallery in London. The exhibition highlights Opie’s career-long commitment to representing the LGBTQ+ community, specifically the leather dyke scene in Los Angeles, through a lens that balances defiance with playfulness. Even her most provocative works, such as the 1993 self-portrait featuring a domestic scene carved into her back, are revealed to contain elements of humor and historical allusion that counter the despair of the AIDS crisis and personal heartbreak.
This analysis posits that seeking and depicting joy is a radical act of resistance during tumultuous political and social times. By drawing parallels between Opie’s photography, David Hockney’s vibrant landscapes, and David Byrne’s multidisciplinary performances, the piece argues that art serves a vital 'duty' to alleviate the sterility of despair. In the context of contemporary global conflicts, these artistic expressions of euphoria and visibility function as essential tools for survival and social activism.