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Assembly Line (With By-Products from a Mechanical Trance), Project for PCVA. Portland Oregon., 1980

Blue ink, pencil and watercolor drawing, on wove paper
38 × 50 in
96.5 × 127 cm
Bidding closed
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About the work
P
Phillips

Works on Paper from the Schulhof Collection

Framed

Works on Paper from the Schulhof Collection

Framed

Signature
Signed, titled, dated and annotated in pencil
Dennis Oppenheim
American, 1938–2011
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From a church standing on its steeple to rings carved in a snow-covered field, Dennis Oppenheim’s vast and unpredictable oeuvre spans Conceptual, Performance, Land, and Body Art, sculpture, video, and photography. “I have never been able to be what they call a signature artist,” he once said. “Most of my work comes from ideas.” Oppenheim was featured in the seminal “Earthworks” exhibition of 1968 alongside the likes of Robert Smithson; his earliest works were ephemeral pieces—patterns cut in wheatfields, a mound of dirt punctuated with wooden planks. He would take up Body Art after befriending Vito Acconci, producing pieces like Reading Position for Second Degree Burn (1970), for which he laid in the sun for five hours, sunburning the shape of a book onto his chest. In the decades after, his wide-ranging practice included several Pop-inflected public monuments, including giant Hershey’s Kisses and diamond rings.

Save
Save
view
View in room
share
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Save
Save
view
View in room
share
Share
About the work
P
Phillips

Works on Paper from the Schulhof Collection

Framed

Works on Paper from the Schulhof Collection

Framed

Signature
Signed, titled, dated and annotated in pencil
Dennis Oppenheim
American, 1938–2011
Follow

From a church standing on its steeple to rings carved in a snow-covered field, Dennis Oppenheim’s vast and unpredictable oeuvre spans Conceptual, Performance, Land, and Body Art, sculpture, video, and photography. “I have never been able to be what they call a signature artist,” he once said. “Most of my work comes from ideas.” Oppenheim was featured in the seminal “Earthworks” exhibition of 1968 alongside the likes of Robert Smithson; his earliest works were ephemeral pieces—patterns cut in wheatfields, a mound of dirt punctuated with wooden planks. He would take up Body Art after befriending Vito Acconci, producing pieces like Reading Position for Second Degree Burn (1970), for which he laid in the sun for five hours, sunburning the shape of a book onto his chest. In the decades after, his wide-ranging practice included several Pop-inflected public monuments, including giant Hershey’s Kisses and diamond rings.

Assembly Line (With By-Products from a Mechanical Trance), Project for PCVA. Portland Oregon., 1980

Blue ink, pencil and watercolor drawing, on wove paper
38 × 50 in
96.5 × 127 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Other works by Dennis Oppenheim