Lisa Oppenheim

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Fish Scale, Véritable Hollandais (Version I), 2012
photogram, c-print, 106,5 x 86,5 cm

lisa-oppenheim

Fish Scale, Véritable Hollandais (version 7, 6, 8 & 4), 2012
unique photograms, 106.5 x 86.5 cm

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Fish Scale, Véritable Hollandais (Version VI), 2012
photogram, c-print, 106,5 x 86,5 cm

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Art for the Public (Twilight), 2009
two silver gelatin fiber-based prints

Art for the Public (Tilted Arc), 2009
silver gelatin fiber-based prints, 104.1 x 64.8 cm

Art for the Public (Sphere for Plaza Fountain), 2009
two silver gelatin fiber-based prints, 94.6 x 76.8 cm

Art for the Public (-), 2009
silver gelatin fiber-based prints, –

Art for the Public (Elegy to the Spanish Republic N0. 116), 2009
silver gelatin fiber-based print, 29.5 x 35 inches

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Passage of the moon over two hours, Arcachon, France, ca. 1870s/July 27, 2012., 2012, silver toned photograph, exposed to moonlight, unique in a series, 44 x 54 cm

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Passage of the moon over two hours, Arcachon, France, ca. 1870s/August 11, 2012., 2012, silver toned photograph, exposed to moonlight, unique in a series, 44 x 54 cm

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BillowingAs we were driving up to Norfolk yesterday I saw the Enfield fire; where a Sony distribution centre set ablaze by rioters was just pouring out smoke over the motorway. The sheer amount of smoke was quite surprising, and today smoke was still covering the motorway. I feel such despair at people who have taken to looting; so angry at the destruction people can cause, 2011/2012, (Version II)
unique photograph, 95 x 118 cm

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installation view from Equivalents at Harris Lieberman New York, 2012

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BillowingAs we were driving up to Norfolk yesterday I saw the Enfield fire; where a Sony distribution centre set ablaze by rioters was just pouring out smoke over the motorway. The sheer amount of smoke was quite surprising, and today smoke was still covering the motorway. I feel such despair at people who have taken to looting; so angry at the destruction people can cause. 2011/2012. (Version V), 2012
unique photograph, 95 x 118 cm

A Monstrous Column Of Roaring Flame. Star Oil Co. Loucke No. 3 On Fire Since Aug. 7 1913. Most Disastrous Fire in Caddo Oil Field And Largest Single Well Fire In History Of U.S. Of A. Daily Loss of Oil Estimated At 30.000 Barrels. 1913/2012 (Version VII), 2012

Burning of the Imperial Refinery, Oil City PA, 1846/2011 (Smoke II), 2011
unique photograms, exposed and solarized with fire, 40.6×50.8 cm

Burning of the Imperial Refinery, Oil City PA, 1846/2011 (Smoke I), 2011
unique photograms, exposed and solarized with fire, 40.6×50.8 cm

Man holding large camera photographing a cataclysmic event, possibly a volcano erupting, 1908/2012 (titled Version IV)

silver gelatin b/w photograph on bromide paper, exposed and solarized by fire light, 83.5 x 100.5 cm

Man holding large camera photographing a cataclysmic event, possibly a volcano erupting, 1908/2012 (titled Version II)
silver gelatin b/w photograph on bromide paper, exposed and solarized by fire light, 83.5 x 100.5 cm

all images courtesy the artist

For many years, the work of American artist LISA OPPENHEIM has articulated a materialist stance; rather than taking pictures of things in the world, she usually researchs or looks for images and objects that point to something larger and then develops strategies and techniques – mixing and matching photgraphy’s steps – in an attempt to explain the medium’s magic without diminishing it and to propose an alternative interpretation of our visual culture.

I am interested in exploring what remains unseen or underappreciated in visual culture yet structures what it is possible to see. My interest lies in damaged negatives from early 20th century reportage, the personal photographs posted on Flickr by soldiers serving in Iraq, the constellation above the location of a news photograph, as well as the meaning inherent in supposedly innocuous products like crayons and alphabet charts. – LISA OPPENHEIM

As a result, the final form depends on the original material and ranges from 16mm film installations to slide shows, photographs and photograms (pictures created without a camera, using a technique as old as photography itself), as well as prints and drawings. Beyond that, her work reveals fundamental questions of how we deal with the history of photography, as well as the visualisation of knowledge, of the relationship between documentation and abstraction, together with the technical conditions of the medium, not least the role of perception.

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