First edition in large paper covers. 95 pp. Small curls to the corners of the cover, minor wear to covers, the rear cover has a small edgetear and vertical crease, some soiling to the foredge. Good.

Dennis Oppenheim: Rétrospective de l'œuvre, 1967-1977 = Dennis Oppenheim : retrospective-work, 1967-1977 (French Edition)

Reference

Oppenheim, Dennis

Foreign Language Study & Reference

Le Musée

Dennis Oppenheim: Selected Works, 1967-90: And the Mind Grew Fingers

Biographies & Memoirs

Arts & Literature

Abrams

Photography has become an increasingly pervasive medium of choice in contemporary art practice and is even employed at times by artists who do not necessarily consider themselves to be photographers. How did this come to be? The Last Picture Show will address the emergence of this phenomenon of artists using photography by tracing the development of conceptual trends in postwar photographic practice from its first glimmerings in the 60s in the work of artists such as Bernd &amp; Hilla Becher, Ed Ruscha and Bruce Nauman, to its rise to art-world prominence in the work of the artists of the late 70s and early 80s including Sherrie Levine, Richard Prince and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities. Bringing together a newly commissioned body of scholarship with reprints of important historical texts, The Last Picture Show seeks to define the legacy that has produced a rich body of photographic practice in the art world today.

The Last Picture Show: Artists Using Photography 1960-1982 (WALKER ART CENT)

Arts & Photography

WEISS, David

Graham, Dan

Beuys, Joseph

Baldessari, John

Dibbets, Jan

Nauman, Bruce

Flood, Richard

Anselmo, Giovanni

Gronnert, Stefan

Lee, Pamela

Batchen, Geoffrey

Fischli, Peter

Bochner, Mel

Charlesworth, Sarah

Export, Valie

Acconci, Vito

Ader, Bas Jan

Boltanski, Christian

Broodthaers, Marcel

Kruger, Barbara

Lewitt, Sol

Collections, Catalogs & Exhibitions

Walker Art Center

Art at the Edge of the Law examines the fine line that artists have often trod between the legal and the legally ambiguous. Frequently the transgression is conceptual rather than directly confrontational, as in Richard Prince's copyright infringements or Gregory Green's pirate station, though no less powerful for that (Barton Lidice Benes's assemblages involving his own HIV-infected blood, for example). Among the artists included are Janine Antoni, Gregory Green, Dennis Oppenheim, Richard Prince, Tom Sachs, Fred Tomaselli and Tom Friedman.

Art At The Edge Of The Law

Green, Gregory

Thompson, Michael

Klein, Richard

Friedman, Tom

Lombardi, Mark

Tomaselli, Fred

Antoni, Janine

Sachs, Tom

PRINCE, Richard

Russ, Lawrence

Boggs, JSG

de Luna, Michael

Hatfield, Jeffrey

Kerbel, Janice

Tourlentes, Stephen

The Aldrich Museum of Contemporary Art

Dennis Oppenheim: Body to Perfomance, 1969-73

Kaye, Nick, and Oppenheim, Amy van Winkle (Edited by)

Skira

A recurrent theme that characterizes the work of Dennis Oppenheim (Electric City, Washington, 1938), one of the most unusual and adventurous of contemporary American artists, is the encounter between art and nature. His first work using land, in Oakland, was produced in 1967. From the beginning of the Seventies, his work began to take a wide variety of forms, from performance art to installations, from video to the production, at the end of the decade, of the machine pieces, three-dimensional structures animated by mechanical devices. In 1986, the work of the artist took another turn: his works, enormous imaginary objects, mutant and distorted, are all pervaded by a new violent and playful irony. This book presents Oppenheim's sculptural upside-down church Device to root out evil. Produced for Venice, this glass and aluminum sculpture, 12 metres high, 6 metres long, and 4 metres deep, balances only on the tip of the bell-tower.

Dennis Oppenheim (Venezia Contemporaneo)

Celant, Germano

Ente Zona Industriale Di Porto Marghera

Individual Artists

Distributed Art Pub Inc

New York-based Dennis Oppenheim has been active in many realms: conceptual and performance art, earthworks and photography. He was recently recognized with a Lifetime Achievement Award at the 2007 Vancouver Sculpture Biennale. Following his early earthworks, Oppenheim began creating the whimsical, architecturally-derived public sculpture for which he is known today--works such as "Tempest in a Teacup" (1992), a steel and glass piece located in the mountains of Andorra, which responds to the proximity of the sky and changing weather conditions. This overview of public commissions includes recent works like the large, football-shaped "Electric Field" (2006) at Oregon State University, which employs fluorescent lights to portray the strategic movements possible in a game.

Dennis Oppenheim: Public Projects

Betsky, Aaron

Levy, Aaron

Charta

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