«Aspen», the magazine in a box, Vol. 1 No. 8, Roaring Fork Press, New York, NY, 1966 [Walker Art Center, Minneapolis, MN]
Feat.: David Antin, Terry Atkinson, Jo Baer, Michael Baldwin, Philip Glass, Dan Graham, Jackson Mac Low, George Maciunas, Robert Morris, Dennis Oppenheim, Yvonne Rainer, Steve Reich, Edward Ruscha, Richard Serra, Robert Smithson, La Monte Young
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Dennis Oppenheim (American, 1938-2011), Lauching Structure Project for Genova, (From Firework Series), 1981. Pencil and watercolour on paper, 137 x 106 cm.
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dennis oppenheim
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New York City, 23 April 1985 at Mr. Chow restaurant: Michael Heizer, David Hockney, Leroy Nieman, Dennis Oppenheim, Stefano, Bill Wegman, John Chamberlain, Andy Warhol, Julian Schnabel, Armand Arman, Alex Katz, Keith Haring, Kenny Scharf, Tony Shafrazi, Red Grooms, Jean-Michel Basquiat, Francesco Clemente, Robert MappleThorpe, Ronnie Cutrone, Sandro Chia. Plus: Nam June Paik, Jennifer Barlett, Jack Goldstein, Jenny Holzer, Barbara Kruger, Les Levine, Sol Lewitt, Marisol, Peter Max, Meredith Monk, Larry Rivers, Survival Research Labs (Mark Pauline, Mat Heckert, Eric Berner), Mark van den Broek, Tom Wesselman and Greer Langton. © Michael Halsband /Landov
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Dennis Oppenheim (1938-2011) - Reading position for second degree burn, 1970
c-print (61 x 57,5 cm)
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[photo is Dennis Oppenheim, Annual Rings, 1968]
* * * *
Space for Change to Take Place
By Henri Nouwen
Hospitality means primarily the creation of a free space where the stranger can enter and become a friend instead of an enemy. Hospitality is not to change people, but to offer them space where change can take place. It is not to bring men and women over to our side, but to offer freedom not disturbed by dividing lines. It is not to lead our neighbor into a corner where there are no alternatives left, but to open a wide spectrum of options for choice and commitment.
[from "Reaching Out"]
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Dennis Oppenheim, Rocked Hand. Film strills from 4 minute, 8mm color film (One hand covering the other). Aspen, Colorado (1970)
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Top: 2- Stage Transfer Drawing. ( Advancing to a Future State),
Boise, Idaho. Erik to Dennis Oppenheim, 1971.
Bottom: 2- Stage Transfer Drawing. ( Returning to a Past State), Boise, Idaho Dennis to Erik Oppenheim, 1971.
Source: The Estate of Dennis Oppenheim
How does drawing extend beyond actual marks made on a surface? Find out in my post "Lineage Drawing," where I describe the impact of a 1970s collaboration between conceptual artist Dennis Oppenheim and his children. Read it via the URL here: https://theartsandeducation.wordpress.com/2023/01/02/lineage-drawing/
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Land Art, (original in colour, reproductions in black and white), Series of films organised by Gerry Schum for Fernsehgalerie, April 15, 1969, Featuring works by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets, Walter de Maria, Mike Heizer films made with Gerry Schum [The Estate of Barry Flanagan, London]
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Dennis Oppenheim
Dennis Oppenheim was an American conceptual artist his main focus in Oppenheim's career was to have work on site and the context behind the work, with all that Oppenheim also wanting to want the artwork to be memorable and aesthetic for the viewer. I found this artist from reading a book about walking and his work stood out to me due to the unique style of materials and form.
Dennis Oppenheim at Storm King. Courtesy of Dennis Oppenheim Estate. Oppenheim went for a futuristic approach with this artwork, it reminds me of a tent and at the same time keeps me very calm due to the cool colours of the grass as well as the structure being blue however upon researching about this artwork it came with controversy which many famous artworks do as it gets the biggest reaction, the structure is of a blue shirt resemble what people made in the factory's and almost creating this artworks to help move on form that period and almost to show how far they have calm and making something negative to positive.
From looking more in depth to Oppenheim's work I could see that his interests were within making greenhouses but in futuristic twists without taking it away from the fact that you could still tell it was a greenhouse, kind of like making very large-scale vessels that you can fit people into, and people can walk and explore what he has built. I would say that Oppenheim accomplished his goal in that he did successful making sculpture on large scale with great context behind it all while making it aesthetic for the viewer.
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Barbenheimer...
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