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Born in London in 1958 to Norma Opie, a schoolteacher, and Roger Opie, an economics professor at New College, Oxford, Julian Opie was unsurprisingly a driven learner from an early age. During the years Opie was at Goldsmiths, the mood at the school was post-structuralist and anti-authoritarian. In the early 1980s, Opie found himself fascinated with the work of Michael Craig-Martin, a London-based Pop artist. From 1987 to 1989, Opie’s abstract works regained some of their direct concern with the everyday object.
Since the early 1990s, Opie has mastered his reinterpretation of the computer aesthetic, moving slightly away from his concerns with the mass-produced object (although that look still very much informs his art). Opie’s approach to the aesthetics of the mass-media age has become universally recognizable.
I have got all these resources from the internet which are public and obtained as such from search engines. He is most well-known for his process of digital manipulation, through which he distills photographs of his subjects down to their essential visual forms. After completing a foundation year at Chelsea College of Art, Opie received a BA from Goldsmiths College of Art, London, in 1982. Old ways of thinking about art, in particular the formalist modernism preached by influential art critic Clement Greenberg, had reached its apex in Minimalism and now a reaction was taking place.
Craig-Martin’s object drawings rejected the geometry of Minimalism as irrelevant; everyday items—books, chairs, tables—were the real primary forms of modern life. He was unsatisfied with some of his mid-1980s steel sculpture and worried he had exhausted his body of work. Opie became interested in the spatial distortion and architectural simplicity of certain Renaissance artists like Duccio and Cimabue, which he likened to the 2-D spatial realism of then-current computer graphics. Many of his artworks seem plucked from cyberspace, but their uncanny resemblances to real landscapes, people and things reveal that underneath it all, Opie’ works are carefully, individually designed, meticulously crafted and deeply personal.


He continues to work across media, creating everything from LED lightshows to, in his lenticular series, moving graphic art boxes.
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Although his process is reductive, the portraits are imbued with a wide range of emotion from aloof coldness to psychologically penetrating glances—all within a narrow economy of pictorial means. Opie and his peers made figurative art, in contrast to—and perhaps in reaction against—the abstraction that had been the norm for the past two decades.
Craig-Martin also taught Opie at Goldsmiths and respected the young artist’s similar, if very differently executed, vision. This, of course, turned out to be completely false, and by the late 1980s he had moved on to a new type of purely abstract works that played with the intersection of painting and sculpture. In the late 1990s and early 2000s, Opie began making the type of art he is best known for, graphic-outline portraits. No part may be reproduced without the advance written approval of Jonathan Novak Contemporary Art. Sexting is the act of sending naked pics and videos between mobile phones or when when your girlfriend, wife, or fuckbuddy sends you her naked picture to your smartphone.
From dirty hardcore pictures, webcam videos, to beautiful bikini beach teens we have it all! Blurring the lines between illustration, environmental design, and fine art, Opie has managed to further refine and update the visual clarity and bold impact of 1960s Pop Art. Although he has since returned to figurative work, the period of abstraction was crucial in the development of Opie’s signature style because his aesthetic was no longer hand-made, as it had been at Goldsmiths.
He also had a bout of bad health that prevented him from welding, so he began considering the possibilities of other media like aluminum and PVC. Opie produced Imagine you are walking (1993), a series of digital drawings of simple, slightly impossible perspectives down cartoonishly minimalistic streets. These include his famous album cover for Best of Blur (2000), in which each of the band’s singers is recognizable but similarly stylized—a few lines indicated nose, mouth and eyebrows, with small dots for eyes.
His work is held by a number of major museums including MoMA in New York, and the National Portrait Gallery and the Tate Modern in London.


Instead, by the late 1980s it looked machine-made—slick, smooth, hard-edged and regularized.
He began making sculptures that were indistinguishable from their gallery environments—works that looked like air vents, mirrors, and shelves—in other words creating reverse ready-mades. The works compared the idea of moving through the serial spaces of the postmodern city with the sensation of moving through virtual reality, and made use of linearity, simple color schemes and urban walking, all of which became trademark elements of the classic Opie style. The figures are three things at once: Opie-style people, band members, and flat, 2-D printed objects. As such, Opie was invited to work in any and all media that interested him, and he did, working in paint, sculpture, and film, as well as learning as much as he could about art history.
He added a pop-culture relevance to his pieces by choosing titles from newspaper headlines, prompting people to seek visual connections between the abstract shapes and the news. These pieces pointed out the degree to which modern abstraction had been co-opted and commoditized within consumer culture—it was impossible for gallery-goers to distinguish between abstract sculpture made to look like appliances and appliances made to look like abstract sculptures. Opie’s art in the 1990s often requested that the viewer “imagine” something: Imagine you are climbing was a jungle-gym-like abstract sculpture, Imagine you can order these a collection of both colorful rectangular sculptures and super-simplified acrylic paintings of the sculptures. Despite their extremely pared down composition, the figures even seem to be in certain moods, which speaks to the subtle brilliance of Opie’s graphic style: he blurs the boundaries between thing and person, finding the absolute edge at which a cartoonish, computer-graphic figure can still have individual human qualities, distilling things to their most basic forms. In 1989, Opie also worked with light installations, at the Night Lights show at the Newport Harbor Art Museum. He has transformed countless people into his signature style—including himself, with Julian (2013). Some of his works parodied old masters or reinterpreted their styles (Five Old Masters, 1984), while others dealt with themes like the colorful seriality of the contemporary suitcase (Project For Heathrow, 1985).
Opie was informed by the stark clarity of Minimalism, but he was less interested in abstraction, always grounding his work in the figurative representation of things and people.



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