Dennis Oppenheim

Lead Sink for Sebastian
1973

This is a black and white conceptual art piece featuring a series of photographic sequences. On the left, there are three vertical panels showing a figure performing a jump from a standing position to a handstand and back to standing. Below these panels, there is a signature and a date marked as "1973." On the right, there is a block of text describing the work, and below the text, there is a single image of a person seated in a chair, holding their head, appearing contemplative or distressed. The overall layout suggests a study of motion and human form, as well as an exploration of the physical and psychological states.
This is a black and white conceptual art piece featuring a series of photographic sequences. On the left, there are three vertical panels showing a figure performing a jump from a standing position to a handstand and back to standing. Below these panels, there is a signature and a date marked as "1973." On the right, there is a block of text describing the work, and below the text, there is a single image of a person seated in a chair, holding their head, appearing contemplative or distressed. The overall layout suggests a study of motion and human form, as well as an exploration of the physical and psychological states.

Not on view

Date
1973

Classification
Prints

Medium
Lithograph

Dimensions
Sheet: 30 1/16 × 22 1/4in. (76.4 × 56.5 cm)

Accession number
2013.6.6

Edition
78/81

Publication
Printed by Landfall Press, Inc.; published by John Gibson Gallery; published by Multiples, Inc.

Credit line
Whitney Museum of American Art, New York; purchase, with funds from the Print Committee

Rights and reproductions
© artist or artist’s estate

API
artworks/42362

Part of a series:

Projects

10 works

A composite artwork with a top section showing a streak of light against a dark background, and a bottom section displaying a grid of six black and white film frames with various light patterns, alongside handwritten notes and diagrams with a prominent blue line drawn across. The piece is dated 1973 and signed by the artist.
A composite image featuring a top section with a high-contrast photograph of a snowy landscape with a person walking along a curved path, a middle section showing a plaque with "United States Canada International Boundary Line," and a bottom section with a map and aerial photograph highlighting a geographical boundary. The image includes annotations indicating the size, location, subject, and date, as well as a signature and date in the lower right corner.
This is a composite image featuring three separate photographs. The main image shows an aerial view of agricultural fields with distinct geometric patterns created by the intersecting paths of farm machinery. To the right, there's a smaller photo of a tractor creating curved lines on a field. Below, a third image displays a network of lines representing a map with labeled locations such as "FIELD" and "SITE." The artwork includes text annotations and is signed and numbered by the artist in the lower left corner.
This image displays a collection of six photographs and prints arranged in a 2x3 grid on a beige background. The top row shows three photographs of natural textures: the left is labeled "EARTH, N.M.," depicting a cracked earth surface; the center is labeled "SALT, UTAH," showing a close-up of a salt formation; and the right is labeled "EARTH, N.J.," featuring a footprint in the sand. The bottom row has two large black-and-white prints of seed pod impressions on the left, and on the right, there is a tan-colored informational card titled "GROUND MUTATIONS 1969." The card explains the artwork was made with "9 mechanical screens and 3 hand cuts used over four types of surfaces." Below the card, the artist's signature and the date "78" are visible, along with the edition number "1/1 1993."
This image is a collage of three different elements. The top portion shows a grainy black and white photograph of a hillside with numerous rectangular shapes scattered across it, resembling graves or markers. On the bottom left, there is a smaller color photograph of a desert-like landscape with a road cutting through it. The bottom right features a vintage map with roads and locations marked, with a red circle around the word "LOCATION" indicating a specific area on the map. Handwritten text and numbers are present on the image, suggesting annotations related to the content or the creation of the collage.
This is a black and white conceptual art piece featuring a series of photographic sequences. On the left, there are three vertical panels showing a figure performing a jump from a standing position to a handstand and back to standing. Below these panels, there is a signature and a date marked as "1973." On the right, there is a block of text describing the work, and below the text, there is a single image of a person seated in a chair, holding their head, appearing contemplative or distressed. The overall layout suggests a study of motion and human form, as well as an exploration of the physical and psychological states.
This image displays a collage of various elements including a map, sketches, and photographs. On the left, there is a black ink sketch of a simplistic, abstract figure. In the center, a detailed map shows a coastal region with the word "LOCATION" and a circle marking a specific area. To the right, there is another abstract sketch consisting of dashed lines forming a geometric shape. Below these elements, there are two green-tinted photographs of a coastal landscape with overlaid red dashed lines highlighting certain features. Text annotations provide context, indicating the works relate to "FLAMINGOS" from 1971-1972 and "BEAMING" from 1971-1972, with additional details about the creation and exhibition of these pieces. The artist's signature and the year 1973 are noted at the bottom right.
This is a composite image with two distinct parts. The top half shows a black and white photograph of a large, imposing building with vertical windows and a shadow of a bare tree on its facade. In the foreground, there's a snowy landscape with several small figures and horses, suggesting an older time period or rural setting. The bottom half of the image is a blueprint-style drawing with handwritten notes and diagrams of circles connected by lines, labeled with technical terms and measurements, indicating some sort of planning or design process.
A collage featuring a map with two circular overlays marked "REMOVAL AREA" and "TRANSPLANT AREA" on the top half, and images of a cluttered room filled with scattered papers on the bottom half. The bottom images are accompanied by text describing an event from 1964. The overall tone is reminiscent of a historical or conceptual art piece.
A person is seen from behind, standing inside a large painted circle on a cracked and textured surface. Above, a series of black and white images capture various facial expressions, with text describing an art piece involving the registration of exterior stimuli through facial expressions, focusing on the emotion of fear.

Dennis Oppenheim
25 works in the collection

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Maya Man, A Realistic Day In My Life Living In New York City

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