A Quote by Dennis Oppenheim

You can't understand how strange it was to be a sculptor who exhibited photographs. (On exhibitions of his earthworks and land art pieces.) — © Dennis Oppenheim
You can't understand how strange it was to be a sculptor who exhibited photographs. (On exhibitions of his earthworks and land art pieces.)
I've exhibited quite a few of my photographs. I expand them digitally till they're very big. It's an art school thing, I suppose.
I didn't know Michael Heizer until I was preparing for my "Earthworks" show in 1968, and somebody called and told me to look at his work. Heizer had already made land art before any of the others and was deeply into it. But he was very young and working out West, so I wasn't aware of his work until he came and showed it to me.
I think the four land artists I showed all worked within a few years of each other. And they were standard bearers, I suppose, for land art. They each did very separate things. Apparently, later in California, a lot of artists started working in that medium and there was something of a rush of earthworks. But I wasn't involved with that.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
Jealousy was plainly exhibited when I fondled a large doll, and when I weighed his infant sister, he being then 15? months old. Seeing how strong a feeling of jealousy is in dogs, it would probably be exhibited by infants at any earlier age than just specified if they were tried in a fitting manner
I was practically driven to Rome in order to obtain the opportunities for art culture and to find a social atmosphere where I was not constantly reminded of my color. The land of liberty had no room for a colored sculptor.
In '68 I was 13 years old, so I was a child, but I felt a lot of excitement in listening to things, looking at the pop art coming over from America. My father was an art collector, and he was coming home with these strange pieces of art that weren't exposed in museums. At the time, it was quite revolutionary, very adventurous.
I wanted to jeopardize my own image. With my image I had already produced art pieces such as videos of photographs.
The sculptor Frosty Myers and I met when we were bidding against each other at an auction. He's an eccentric, a liberal with a collection of rifles, and his stuff is big art. We share a love of tractors. I'm trading him one for a piece of art.
There are several kinds of land on reservations. And all of these pieces of land have different entities who are in charge of enforcing laws on this land.
We sort of understand how painkillers work. You take one, and it reduces your headache. We don't understand how photographs work. And that, to me, is an essential problem as a practitioner.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt
We know that the white man does not understand our ways. One portion of land is the same to him as the next, for he is a stranger who comes in the night and takes from the land whatever he needs. The earth is not his brother, but his enemy, and when he has conquered it, he moves on.
The art of fiction does not begin until the novelist thinks of his story as a matter to be shown, to be so exhibited that it will tell itself.
Strange bent over these things, with a concentration to rival Minervois's own, questioning, criticizing and proposing. Strange and the two engravers spoke French to each other. To Strange's surprize Childermass understood perfectly and even addressed one or twoquestions to Minervois in his own language. Unfortunately, Childermass's French was so strongly accented by his native Yorkshire that Minervois did not understand and asked Strange if Childermass was Dutch.
I make video art pieces, take photographs, and dabble in acting ever since my screen test for 'Memoirs of a Geisha' with Steven Spielberg. But music is my first love and always will be my priority.
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