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Extended Expressions, 1971, Photographic Documentation of performance, lithographic print
Dennis Oppenheim's art career grew and changed from a legendary scarcity of objects and refusal of the gallery system; to oversize and overwhelming motorized installations; to a contemporary turn towards large-scale Surrealism, with his life size "architectural mirages". He was an integral figure in advancing the definition of art--as idea, intervention, fleeting moment, large monument - and expanding the realm of art outside the gallery. More than any other contemporary artist, Oppenheim was pivotal in contributing to the foundational and defining moments of multiple art movements, most notably Performance, Conceptual, and Earth Art. Throughout his career, Oppenheim jumped between movements, materials, styles, and themes; maddening critics who tried to define him. Oppenheim stated, "I've always wanted to operate within the entire arena. Signature style has been suspicious to me; it reads as a limitation.” |
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Throughout his career, Oppenheim's work critiqued elitist art institutions. He once stated, "A museum is not a place I am dying to visit in any city. My interest in art is in an art that is yet to be made." This aversion to working inside the white cube of the gallery is an idea that has continued to influence significant artists working in land art and Public Art including Alan Sonfist, Christo and Jean-Claude, and Maya Lin.
Oppenheim was part of the early generation of Land artists, along with Robert Smithson, Walter De Maria, Nancy Holt, and Michael Heizer. They pioneered this new form of art in the 1960s, in which the earth itself served as the medium. Unlike many of his contemporaries, Oppenheim's early interventions into natural landscape took the form of removal, returning to the ancient sculptural principle of carving by, in the artist's own words, "taking away rather than adding." |
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Dennis Oppenheim Art, bio, ideas. (n.d.). The Art Story. https://www.theartstory.org/artist/oppenheim-dennis/