Review: "Catherine Opie: 700 Nimes Road," University of Michigan Museum of Art



Catherine Opie, Andy Warhol to Elizabeth (Self-Portrait Artist) from the 700 Nimes Road Portfolio, 2010-2011, pigment print, 16 ½ x 22 in., courtesy of the artist, Regen Projects, Los Angeles, and Lehmann Maupin, New York & Hong Kong.

The University of Michigan Museum of Art’s Catherine Opie: 700 Nimes Road is a star-studded two-for-one visual art spectacular. 50 photographs culled from over 3,000 taken in 2010-11 by Los Angeles-based photographer Catherine Opie at the residence of actress Elizabeth Taylor, the exhibit illustrates the six months this famed contemporary photographer spent taking photos at Taylor’s Bel Air residence through the coincidental period of Taylor’s death.

Drawn from two Opie photographic series—Closets and Jewels and 700 Nimes Road—where Opie had unlimited access to Taylor’s home, the display is organized by L.A.’s Museum of Contemporary Art with lead support provided by J.P. Morgan Private Bank; philanthropists Jamie McCourt and Gilena Simons, with UMMA support provided by the U-M Health System; Bank of America; Merrill Lynch; philanthropists Alan Hergott and Curt Shepard, with additional support provided by the U-M Departments of the History of Art; Screen Arts and Cultures; and American Culture.

As we all well know, Elizabeth Taylor had a way of galvanizing attention. And the range of these supporting groups indicates how galvanizing she rightly could be. For Catherine Opie: 700 Nimes Road is as fascinating a keyhole as we could imagine of this world-famous woman’s life.


Catherine Opie, Handbag Reflection from the 700 Nimes Road Portfolio, 2010-2011, pigment print, 22 x 16 ½ in., courtesy of the artist, Regen Projects, Los Angeles, and Lehmann Maupin, New York & Hong Kong

Opie herself is quite the celebrity. An award-winning photographer (and professor of photography at the University of California at Los Angeles) who works in the intersection of portraiture, landscape, and studio photography, Opie specializes in crafting transgressive imagery that knowingly blurs the intersection of private and public spaces. Mingling her expertise in a variety of photographic and printing technologies with social and political commentary, Opie has consistently produced photographs that document the shadows of our society.

By contrast, these 700 Nimes Road photographs are about as above the photojournalistic fold as Opie’s art gets. Inspired by southern photographer William Egglston’s 1984 photographs of Elvis Presley’s Graceland mansion, she and Taylor shared business manager Derrick Lee, and after negotiating with Taylor’s longtime executive assistant Tim Mendelson, Opie was given full access to 700 Nimes Road. She was busily peering in and around the corners of Taylor’s residence when the actress died of congestive heart failure on March 23, 2011

It’s this dramatic turn of events that makes 700 Nimes Road a masterful display of unceasingly studied and provocative photography. For it’s indeed a perfect melding of professional fine arts photography and screen diva as Opie never actually met Taylor in person through the course of her photographic work.

Thus what’s most fascinating about this non-meeting is the Elizabeth Taylor that Opie illustrates—and not the Elizabeth Taylor she might have met. After all, by the time of this assignment, Taylor had gone through umpteenth career cycles as a screen star ranging from guileless ingénue to international screen icon to television guest star. For Taylor shined bright at each turn of her lengthy career: Winner of two Academy Awards for Butterfield 8 (1960) and Who’s Afraid of Virginia Woolf? (1966), Taylor closed her acting career with a minor role in 1994’s The Flintstones for which she was nominated as Worst Supporting Actress by the Golden Raspberry Awards.


Catherine Opie, Holiday Ornament from the 700 Nimes Road Portfolio, 2010-2011, pigment print, 16 ½ x 22 in., courtesy of the artist, Regen Projects, Los Angeles, and Lehmann Maupin, New York & Hong Kong

Yet this was also hardly the extent of Taylor’s lifework. She was an astoundingly successful businesswoman who launched her own best-selling fragrances Passion in 1987 and White Diamonds in 1991 that led to an estimated $600 million to one billion dollar personal wealth. After her death, her estate was dispersed by Christie’s auction house for a then record-breaking $156.8 million dollars with an additional $5.5 million dollars for her clothing and accessories. And her final career turn was an equally winning philanthropist for HIV/AID activism culminating with a Presidential Citizens Medal in 2001.

That’s a lot acclaim for one lifetime. So perhaps the most remarkable aspect of Opie’s art photography is her uncanny condensation of each of these many Elizabeth Taylors with visual references to her many loves—seven husbands; with countless friendships—through the sheer effect of being Elizabeth Taylor.

We certainly learn more about what it meant to be Elizabeth Taylor through Opie’s photos than through the proverbial thousand words. In some photos, Taylor’s pets make their appearance rummaging about her personal items. Other photographs feature personal Taylor keepsakes (including one photo of the box holding ex-husband Richard Burton’s 1972 gift of the famed Taj Mahal diamond necklace on her 40th birthday), with other photos featuring her raft of celebrity friends in informal guise. Yet other photographs give us extraordinary visual details of Taylor’s personal routine ranging from a massive number of orderly stashed handbags in one closet to an astounding number of awards in her “trophy room” to a single holiday ornament floating in midair.


Catherine Opie, Trophy Room from the 700 Nimes Road Portfolio, 2010-2011, pigment print, 16 ½ x 22 in., courtesy of the artist, Regen Projects, Los Angeles, and Lehmann Maupin, New York & Hong Kong

Still, fine art will stand out in fine art photography exhibits. And a single signature Opie photograph of Taylor in the abstract as reflected through the visage of her celebrity makes 2010-11’s Elizabeth (Self-Portrait, Artist) archival pigment print a first among equals in this intriguing exhibit.

The bouncing signifiers in this photograph alone make it a superior artwork. For the photo features Opie photographing herself off a bounced image of Andy Warhol’s famed 1966 silkscreen Liz #6 [Early Colored Liz].

In a career unceasingly devoted to celebrity, Warhol’s Liz #6 [Early Colored Liz] is one of his most recognizable portraits. The silkscreen features a desaturated Taylor with a sharp near-monochromatic contrast with the exception of eggshell blue eye shadow and an equally strategic contrast between his framing red background and the actress’ signature brushy bouffant brunette hair. Inferring her beauty as much as painting it, Warhol creates an idealized, romanticized image of Elizabeth Taylor that represents her public image at the height of her glory.

Opie, on the other hand, is the blurred background image to the side of Taylor in Elizabeth (Self-Portrait, Artist). Crafting a superior art photo that bounces herself sideways off the print’s framing glass, Opie links Warhol, herself, and her subject’s idealized portrait in a single image that celebrates Taylor mystique as well as her own personal property autographed by Warhol with the phrase “with much love.”

In a single masterly image, Opie shows us how this actress held—and continues to hold—such strong affect on our emotions to this day. Opie’s Elizabeth (Self-Portrait, Artist) self-reflexively recalls Liz #6 [Early Colored Liz] today with as much love as Taylor was able to engender then.

John Carlos Cantú has written on our community's visual arts in a number of different periodicals.

University of Michigan Museum of Art: “Catherine Opie: 700 Nimes Road” will run through September 11, 2016. The UMMA is located at 525 S. State Street. The Museum is open Tuesday-Saturday 11 a.m.–5 p.m.; and Sunday 12–5 p.m. For information, call 734-764.0395.