Killed Negatives, After Walker Evans (Untitled)

Lisa Oppenheim

Killed Negatives, After Walker Evans (Untitled), 201524.8 x 31.8cmSign in to view price
Details
MaterialGallery
two hand printed black and white, and colour photographsThe approach
Description
Human-crafted. AI-refined.

The top image is a black and white photograph depicting two individuals, likely men, standing on a city street. The composition is balanced, with the figures positioned in the center of the frame. The individuals are wearing hats and coats, suggesting an urban setting and a chilly environment. The overall tone is somber and reflective. The bottom image is a simple, minimalist composition featuring a single, round object against a dark background. The object appears to be a sphere or orb, possibly a celestial body like a planet or moon. The image has a contemplative and abstract quality, inviting the viewer to ponder the significance of the solitary form. Both artworks, though vastly different in subject matter and style, seem to share a sense of introspection and a desire to capture a moment of quiet contemplation. The contrast between the urban setting of the first image and the vast, cosmic expanse of the second suggests a juxtaposition between the human experience and the larger, natural world. ...

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Lisa Oppenheim
Artist
Lisa Oppenheim
B.1975, American

Lisa Oppenheim's work is heavily inspired by research, particularly in the history of photography. Oppenheim utilizes various research methods, such as exploring photographic archives, libraries, collections, and online resources as starting points for her layered and sometimes starkly abstract work. Through delving into documentary archives, investigating the neglected outtakes of renowned photographers that were removed from the historical record for various reasons, Oppenheim collects and resurrects them in her imagery. These obscure finds and missing links also have technical parallels in her work. Oppenheim's images often feature fragments and experiment with exposure, suggesting the nuances of what is visible and invisible, revealed and concealed by the camera's mechanics. Her multifaceted work encapsulates photography's most intricate function: the ability to remain entirely silent while appearing to describe the world in infinite detail. ...

Lisa Oppenheim: Artworks
Südfranzösische Landschaft,  (Version IV)
Lisa Oppenheim
Südfranzösische Landschaft, (Version IV), 1945
57.5 x 27.9cm
Pendant  (Version IX)
Lisa Oppenheim
Pendant (Version IX), 1943
55.8 x 45.8 x 3.9cm
Correct sitting position for 4666. Lewis W. Hine. See 4667 and 4671. Location: Boston, Massachusetts
Lisa Oppenheim
Correct sitting position for 4666. Lewis W. Hine. See 4667 and 4671. Location: Boston, Massachusetts, 2017
139.2 x 99cm
Landscape Portraits (Purple Heart) (Version I)
Lisa Oppenheim
Landscape Portraits (Purple Heart) (Version I), 2016
61 x 61cm
Killed Negatives, After Walker Evans (Untitled)
Lisa Oppenheim
Killed Negatives, After Walker Evans (Untitled), 2015
24.8 x 31.8cm
Heliograms (From The Catalogues Of The Kunstverein In Hamburg)
Lisa Oppenheim
Heliograms (From The Catalogues Of The Kunstverein In Hamburg), 2014
50 x 40cm
Man holding large camera photographing a cataclysmic event, possibly a volcano erupting,  (Tiled Version III)
Lisa Oppenheim
Man holding large camera photographing a cataclysmic event, possibly a volcano erupting, (Tiled Version III), 1908
83.5 x 100.5cm
Heliograms, July 8th, / July 13th
Lisa Oppenheim
Heliograms, July 8th, / July 13th, 1876
31 x 33cm
Man holding large camera photographing a cataclysmic event, possibly a volcano errupting,  (Tiled version V)
Lisa Oppenheim
Man holding large camera photographing a cataclysmic event, possibly a volcano errupting, (Tiled version V), 1908
89 x 72cm
Passage of the moon over two hours, Arcachon, France Ca. s/2012, April 11
Lisa Oppenheim
Passage of the moon over two hours, Arcachon, France Ca. s/2012, April 11, 1870
39.4 x 49.5cm
Calendar,
Lisa Oppenheim
Calendar,, 1875
128.5 x 146.5cm
Calendar, 1707-1762
Lisa Oppenheim
Calendar, 1707-1762, 2013
128.5 x 146.5cm
The Language of Flowers False Message (Iris) I
Lisa Oppenheim
The Language of Flowers False Message (Iris) I, 2013
35.6 x 27.9cm
The Language of Flowers Message (Iris) I
Lisa Oppenheim
The Language of Flowers Message (Iris) I, 2013
35.6 x 27.9cm
Heliograms,  (January 15
Lisa Oppenheim
Heliograms, (January 15, 1876
33 x 31cm
Gelbe Tulpen,  (Version III)
Lisa Oppenheim
Gelbe Tulpen, (Version III), 1909
50.3 x 40.3cm
Sonnenblumen,  (Version III)
Lisa Oppenheim
Sonnenblumen, (Version III), 1919
60.3 x 50.5cm
Gelbe Tulpen  (Version VI)
Lisa Oppenheim
Gelbe Tulpen (Version VI), 1909
50 x 40cm
The Sun at its Zenith - Ocean () (Version I)
Lisa Oppenheim
The Sun at its Zenith - Ocean () (Version I), 1856
34.5 x 46.5cm
Gladiolus,  (Version III)
Lisa Oppenheim
Gladiolus, (Version III), 1900
90 x 60cm
Red Ranunculus,  (Version III)
Lisa Oppenheim
Red Ranunculus, (Version III), 1900
90 x 60cm
Olive Tree and Wall to Stop Locusts,  (Diptych)
Lisa Oppenheim
Olive Tree and Wall to Stop Locusts, (Diptych), 1915
67.5 x 90cm
Clematis,  (Version III)
Lisa Oppenheim
Clematis, (Version III), 1900
90 x 60cm
Fairly correct standing position of 4665. Lewis W. Hine. See 4668. Location: Boston, Massachusetts
Lisa Oppenheim
Fairly correct standing position of 4665. Lewis W. Hine. See 4668. Location: Boston, Massachusetts, 2017
135.5 x 78.2cm
Mountain of Signs, II
Lisa Oppenheim
Mountain of Signs, II, 2017
94.6 x 65.4cm
Mountain of Signs, I
Lisa Oppenheim
Mountain of Signs, I, 2017
76.2 x 65.4cm
Landscape Portraits (Apple) (Version IV)
Lisa Oppenheim
Landscape Portraits (Apple) (Version IV), 2016
61 x 61cm
Fish Scale, Véritable Hollandais (Version 29)
Lisa Oppenheim
Fish Scale, Véritable Hollandais (Version 29), 2012
106.5 x 86.5cm
Fish Scale, Véritable Hollandais (Version 28)
Lisa Oppenheim
Fish Scale, Véritable Hollandais (Version 28), 2012
106.5 x 86.5cm
Jacquard Weave (SST 211/SST 211a)
Lisa Oppenheim
Jacquard Weave (SST 211/SST 211a), 2014
177.8 x 142.24cm
Killed Negatives, After Walker Evans (Untitled)
Lisa Oppenheim
Killed Negatives, After Walker Evans (Untitled), 2015
24.8 x 31.8cm
Leisure Work III (Version III) (Bottom)
Lisa Oppenheim
Leisure Work III (Version III) (Bottom), 2013
106.5 x 86.5cm
Passage of the moon over two hours, Arcachon, France Ca. s/2012, April 17
Lisa Oppenheim
Passage of the moon over two hours, Arcachon, France Ca. s/2012, April 17, 1870
39.4 x 49.5cm
Goldener Apfelbaum,
Lisa Oppenheim
Goldener Apfelbaum,, 1903
74.9 x 44.5cm
Fleurs et Fruits  (Version V)
Lisa Oppenheim
Fleurs et Fruits (Version V), 1943
50 x 40cm
Nature Morte  (Version V)
Lisa Oppenheim
Nature Morte (Version V), 1943
60 x 50cm
The approach
Gallery
The approach
London

The Approach is co-directed by Jake Miller and Emma Robertson. Located in Bethnal Green above The Approach Tavern, for over twenty years it has operated an internationally recognised programme from its East London base. The gallery is known for discovering artists and establishing their careers as well as making inter-generational curated group shows a strong focus. The list of represented artists includes the Estates of important overlooked female artists Heidi Bucher and Maria Pinińska Bereś, as well as seminal British collage artist John Stezaker, together with established and emerging artists including Magali Reus, Peter Davies, Lisa Oppenheim, Sandra Mujinga, Pam Evelyn, Sara Cwynar, Sam Windett and Caitlin Keogh. Over the years the gallery has operated parallel programmes in additional gallery spaces in London’s West End (The Approach W1) and in Shoreditch (The Reliance). The gallery is currently based solely in its original East End location and continues to expand its programme, showcasing its represented artists in the main gallery space, and both represented and non-represented artists in The Annexe, a smaller, more experimental space at the back of the building. ...

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