File:Sarah Oppenheimer 610 3365 2008.jpg

Artwork by Sarah Oppenheimer, 610-3356 (Plywood and existing architecture, fourth floor opening dimensions: 84" × 16", Mattress Factory, Pittsburgh, 2008). The image illustrates an earlier stage and body of work in Sarah Oppenheimer's career when she produced projects using precise transformations of architecture, such as installed apertures, to disrupt, subvert or shuffle visitors' visual and bodily experience of the spaces. In this project, at Mattress Factory, she employed a roughly seven-foot-long hole in the museum’s fourth floor which tunneled down and out a third-floor window to enable a view outside the building. This project and similar works have been publicly exhibited in prominent venues, discussed in major art journals and daily press publications, and commissioned by museums.

Artist Sarah Oppenheimer. Copyright held by the artist.

Sarah Oppenheimer

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating an earlier stage and body of work in Sarah Oppenheimer's career from the latter 2000s: her sculptural and architectural projects that reconfigured the boundaries between exhibition spaces through the use of installed apertures that displaced views within and outside galleries. These projects were installed at institutions including the Saint Louis Art Museum, Mattress Factory and Museum of Contemporary Art San Diego, among others. They use precise transformations of architecture to disrupt, subvert or shuffle visitors' visual and bodily experience. Because the article is about an artist and her work, the omission of the image would significantly limit a reader's understanding and ability to visualize this key developmental phase of her career, which brought widespread recognition through exhibitions in major venues, coverage by major critics in publications, and museum commissions. Oppenheimer's work of this type and this work in particular is discussed in the article and by prominent critics cited in the article.

There is no free equivalent of this or any other of this series by Sarah Oppenheimer, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general workings of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.