File:Sarah Oppenheimer S-337473 2017.jpg

Artwork by Sarah Oppenheimer, S-337473 (Aluminum, steel, glass and existing architecture, Total dimensions variable. Installation view: Wexner Center for the Arts, Columbus, 2017). The image illustrates a stage and body of work in Sarah Oppenheimer's career in the latter 2010s when she extended her architectural engagement with passageways and apertures to include movable and manually activated partitions that modulate or articulate movement and change. In this project, at Wexner Center for the Arts, she employed a human powered apparatus—the biased-axis rotational frame mounting system, for which she received a U.S. patent—that enabled viewers to set two open glass volumes suspended in midair in slow rotating motion around a diagonal axis. 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 a stage and body of work in Sarah Oppenheimer's career in the latter 2010s: her architectural projects that extended her engagement with passageways and apertures to include movable and manually activated partitions. These works utilized the concept of the "switch"—devices or junctures that modulate or articulate movement and change, such as open/closed, reflection/transparency, continuity/separation. They were installed in venues including Perez Art Museum Miami, Wexner Center for the Arts and Mass MoCA. Through their movement, they initiated a sequence of unexpected sightlines, thresholds, pathways and choreographies between artwork, viewer and built environment suggesting a conception of architecture as a controlled and controllable environment. 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.