American photographer Catherine Opie combines portraiture and documentary photography in her photographic series titled Domestic. At the center of this series lies the idea of community and the question of how community is constructed, a theme which unites Opie’s seemingly disparate bodies of work. Domestic depicts lesbians from across the United States in scenes of domesticity, living as couples, families, and housemates. Using formal portrait conventions to aestheticize the images, Opie photographed her subjects in and around their actual homes to create images that are documentary in essence. The series works to represent the lesbian community, which Opie felt had been underrepresented in American fine art photography, as well as present an alternative to the heteronormative view of domestic life in America.

This thesis proposes that California contemporary photographer Catherine Opie's Being and Having series (1991) and her Portrait series (1993-1996) parody the constraining binary gender discourse and stereotypes that emanate from it. In her art Opie uses familiar codes and identity discourses associated with traditional portrait photography and typological photographs to promote a postmodern and fluid model of gender identity. Her manipulation of photographic technique and subject matter validates cultural stereotypes of gender at the same time that it destabilizes them. Opie also simultaneously highlights fallacies such as the presumed objectivity and evidential force that is associated with the discourse of portrait photography as a documentary field. By presenting her portraits of lesbians to broad-based audiences in such a blatant and stylized manner, Opie comments on the limitations of society's continued reliance on gender non-nativity and physiognomic modes of identifying communities.

Both Sharon Hayes’s "In the Near Future" (2005-2009) and Catherine Opie’s photographs of assemblies and rallies (2007—) take protest as a topic of investigation. Hayes enacts solo protests in urban centers and documents her project’s iterations; Opie attends organized marches and demonstrations and photographs the gathered crowds. Yet while both projects perform or picture protest in the present-day, neither is wholly of this moment. In her staged actions, Hayes holds the signs and slogans of earlier social movements, and both she and Opie create and consider the images they capture in relation to experiences and visual records which predate them. This thesis considers the ways in which expectations and desires for present and future moments are rooted in understandings of social or political pasts, investigating the work of Hayes and Opie alongside the events of Occupy Wall Street and the histories of the movements these artists reference: ACT UP (AIDS Coalition to Unleash Power), Queer Nation, and the Memphis Sanitation Strike of 1968. Focusing on the role of the documentary image in the creation and remembrance of historical events, the paper looks at how the longing to reinhabit a pictured past becomes incorporated within a desire to feel historical, and how fantasies of the past and future are absorbed into the charged space of present. Concentrating first on this temporal rearrangement (referred to by Hayes as an “unspooling of history”) and turning next to the reengagement and embodiment of symbolic imagery, this thesis explores how works by Hayes and Opie emphasize disappointment in the present scene while simultaneously endeavoring to establish alternative spaces of social and political possibility—both new sites and reimagined worlds of belonging. / text

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