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Alice Aycock and Dennis Oppenheim

December 10, 2020 – February 27, 2021

Installation Views Thumbnails

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Selected Works

Selected Works Thumbnails

Alice Aycock

Untitled Cyclone, 2017

aluminum, edition of 3 +1AP

105 x 117 x 123 in. / 266.7 x 297.2 x 312.4 cm

Inquire

Alice Aycock

Alien Twister, 2018

powder coated aluminum, edition of 3 +1AP

84 x 74 3/4 x 74 3/4 in. / 213.4 x 189.9 x 189.9 cm

Inquire

Alice Aycock

All the Wars in the World (Fire): Come and Get Me, 2020  
inkjet print and hand-painted watercolor on paper 
57 x 93 3/16 in. / 144.8 x 236.7 cm 

Inquire

Alice Aycock

The World Above - The in Between -The World Below, 2020
inkjet print and hand-painted watercolor on paper 
75 x 50 in. / 190.5 x 127 cm 

Inquire

Alice Aycock

The Mystery of the Highway in the Sky, Part 15, 2017

inkjet print and hand-painted watercolor on paper

24 x 50 in. / 61 x 127 cm

Inquire

Alice Aycock

Twister Variation 1, 2017

aluminum, edition of 5 + 2AP

39 x 28 x 30 in. / 99.1 x 71.1 x 76.2 cm

Inquire

Alice Aycock

The Riddle of the Flying Saucer #1, 2015/2017 
aluminum, edition of 3 +1AP
24 1/2 x 23 x 22 in. / 62.2 x 58.4 x 55.9 cm 

Inquire

Alice Aycock

Small Twist, 2013/2016

white powder coated aluminum, edition of 3 + 2AP

39 x 33 x 39 in. / 99.1 x 83.8 x 99.1 cm

Inquire

Alice Aycock

Devil Whirlwinds on the Clouds for 2 Players: From the Gameboard Series #6, 2012  
inkjet print and handpainted watercolor on paper 
66 x 47 in. / 167.6 x 119.4 cm 

Inquire

Alice Aycock

Devil Whirlwinds on Table-Moto for 2 Players: From the Gameboard Series #7, 2012

inkjet print and hand-painted watercolor on paper

50 x 61 3/4 in. / 127 x 156.8 cm

Inquire

Dennis Oppenheim

Architectural Cactus Grove, 2008

water jet cut aluminum sheet, composite, color corrugated sheet, acrylic, fiberglass grating, galvanized grating

installation with three elements, overall dimensions: 14 1/2 x 30 x 30 ft. / 4.4 x 9.1 x 9.1 m

Inquire

Dennis Oppenheim

The Last Dance, 2002   
bronze, edition of 8

1st piece: 16 3/4 x 8 3/4 x 13 in. / 42.5 x 22.2 x 33 cm 
2nd piece: 14 1/4 x 8 3/4 x 8 3/4 in. / 36.2 x 22.2 x 22.2 cm  

Inquire

Dennis Oppenheim

Snowman Factory, 1996

rolled steel, casters, rubber molds, cast fiberglass castings

10 x 40 x 90 ft / 3 x 12.2 x 27.4 m

Installed at Ace Gallery, New York, New York

Inquire

Dennis Oppenheim

Accelerator for Evil Thoughts, 1983   
hand tinted blue line print on linen mounted on rag board
40 x 60 in. / 101.6 x 152.4 cm

Inquire

Dennis Oppenheim

Detail from (An Armature for Projection - Launching Structure #2), 1982   
hand tinted blue line print on linen mounted on rag board
40 x 60 in. / 101.6 x 152.4 cm

Inquire

Dennis Oppenheim

The Diamond Cutter's Wedding, 1979   
pencil and colored pencil on vellum mounted on rag board
40 x 60 in. / 101.6 x 152.4 cm

Inquire

Dennis Oppenheim

Landslide, 1968

black and white photography, color photography, hand stamped aerial map mounted on museum board

60 x 40 in. / 152.4 x 101.6 cm

Inquire

Alice Aycock

Untitled Cyclone, 2017

aluminum, edition of 3 +1AP

105 x 117 x 123 in. / 266.7 x 297.2 x 312.4 cm

Alice Aycock

Alien Twister, 2018

powder coated aluminum, edition of 3 +1AP

84 x 74 3/4 x 74 3/4 in. / 213.4 x 189.9 x 189.9 cm

Alice Aycock

All the Wars in the World (Fire): Come and Get Me, 2020  
inkjet print and hand-painted watercolor on paper 
57 x 93 3/16 in. / 144.8 x 236.7 cm 

Alice Aycock

The World Above - The in Between -The World Below, 2020
inkjet print and hand-painted watercolor on paper 
75 x 50 in. / 190.5 x 127 cm 

Alice Aycock

The Mystery of the Highway in the Sky, Part 15, 2017

inkjet print and hand-painted watercolor on paper

24 x 50 in. / 61 x 127 cm

Alice Aycock

Twister Variation 1, 2017

aluminum, edition of 5 + 2AP

39 x 28 x 30 in. / 99.1 x 71.1 x 76.2 cm

Alice Aycock

The Riddle of the Flying Saucer #1, 2015/2017 
aluminum, edition of 3 +1AP
24 1/2 x 23 x 22 in. / 62.2 x 58.4 x 55.9 cm 

Alice Aycock

Small Twist, 2013/2016

white powder coated aluminum, edition of 3 + 2AP

39 x 33 x 39 in. / 99.1 x 83.8 x 99.1 cm

Alice Aycock

Devil Whirlwinds on the Clouds for 2 Players: From the Gameboard Series #6, 2012  
inkjet print and handpainted watercolor on paper 
66 x 47 in. / 167.6 x 119.4 cm 

Alice Aycock

Devil Whirlwinds on Table-Moto for 2 Players: From the Gameboard Series #7, 2012

inkjet print and hand-painted watercolor on paper

50 x 61 3/4 in. / 127 x 156.8 cm

Dennis Oppenheim

Architectural Cactus Grove, 2008

water jet cut aluminum sheet, composite, color corrugated sheet, acrylic, fiberglass grating, galvanized grating

installation with three elements, overall dimensions: 14 1/2 x 30 x 30 ft. / 4.4 x 9.1 x 9.1 m

Dennis Oppenheim

The Last Dance, 2002   
bronze, edition of 8

1st piece: 16 3/4 x 8 3/4 x 13 in. / 42.5 x 22.2 x 33 cm 
2nd piece: 14 1/4 x 8 3/4 x 8 3/4 in. / 36.2 x 22.2 x 22.2 cm  

Dennis Oppenheim

Snowman Factory, 1996

rolled steel, casters, rubber molds, cast fiberglass castings

10 x 40 x 90 ft / 3 x 12.2 x 27.4 m

Installed at Ace Gallery, New York, New York

Dennis Oppenheim

Accelerator for Evil Thoughts, 1983   
hand tinted blue line print on linen mounted on rag board
40 x 60 in. / 101.6 x 152.4 cm

Dennis Oppenheim

Detail from (An Armature for Projection - Launching Structure #2), 1982   
hand tinted blue line print on linen mounted on rag board
40 x 60 in. / 101.6 x 152.4 cm

Dennis Oppenheim

The Diamond Cutter's Wedding, 1979   
pencil and colored pencil on vellum mounted on rag board
40 x 60 in. / 101.6 x 152.4 cm

Dennis Oppenheim

Landslide, 1968

black and white photography, color photography, hand stamped aerial map mounted on museum board

60 x 40 in. / 152.4 x 101.6 cm

Press Release

Dennis Oppenheim, Garden of Evidence, 2008, installed at Ace Gallery. © Dennis Oppenheim Estate.

Press Release

The Directors of Marlborough New York are pleased to present a special exhibition featuring several large-scale works by Alice Aycock alongside an installation by Dennis Oppenheim. The exhibition will be viewable on the ground floor of our newly renovated space located at 545 West 25th Street. This two-person exhibition follows Aycock’s highly successful summer exhibition in Stockholm at the Royal Djurgården hosted by the Princess Estelle Cultural Foundation. With memories of the Mudd Club, the Odeon, Debby Harry and ‘Heart of Glass,’ we take a moment to reunite two kindred spirits in a play of synergistic works that have long and deep histories of particular resonance with the downtown scene in New York.

Alice Aycock’s works are intriguing because of their resistance to easy explanations. An early influence was Rem Koolhaas’ Delirious New York: A Retroactive Manifesto for Manhattan. She studied with Robert Morris and the art historian Leo Steinberg at Hunter College where she received her MA. Aycock’s first large-scale architectural work Maze (1972) was created upon finishing her studies at Hunter College in 1971. Her subsequent early show at 112 Greene Street and her association with Gordon Matta-Clark put her solidly in touch with many of the prominent downtown artists of the seventies, such as Mary Miss and Jackie Winsor. Aycock entered into an intense relationship with Dennis Oppenheim, with whom she remained lifelong friends, and, along with Vito Acconci, were frequently associated by their mutual interests and even greater differences, as shown in the 1979 three-person exhibition at the ICA in Philadelphia entitled Machineworks. For a brief time, they even shared a common visual repertoire. By the late eighties, Aycock began to initiate a new phase of ‘shape shifting’ with monumental and permanent pieces such as her work at Storm King entitled Three-fold Manifestion II (1987). Works in this presentation are drawn from The Turbulence Series along with several recent large-scale drawings referencing waves, wind turbulence, turbines, gyroscopes, and vortexes of energy.

Regarding Dennis Oppenheim, Lóránd Hegyi wrote: "[He] is a creator escaping any kind of classification or system. Following this meeting with Robert Smithson, he first concentrated on realizations of Land Art (Annual Rings, 1968), then on Body Art (Reading Position for Second Degree Burn, 1970). In these various practices, using landscape or body, the central question for Dennis Oppenheim remains the question of sculpture. After these first forms of experimental “sculpture,” through the marking of a place or a body, the artist’s practice is turned toward the manufacturing of hybrid objects, monumental structures, or surprising combinations and installations. As a kind of engineer, Dennis Oppenheim then starts imagining complex and poetic machineries; often informed by preparatory drawings done afterward. Sculpture still, but caught in a dynamic movement, transitional, unsure. He uses fireworks, sound, light. He shows and mixes popular figures, animals, objects of everyday life, bringing to sight puzzling combinations and sets of scales."

The installation here presents three unique variations from the series Architectural Cactus (2008). For the cacti works, Oppenheim drew on characteristic forms of artworks of the 1950s and a kind of identification with the cacti’s compelling yet repelling status, also apparent in Iron/Cactus (1994) and The Last Dance (1994), which used nails as cactus spines. For a permanent work on a site with a forensics laboratory, Oppenheim drew on the attachment of cacti spines and the fitting together of clues. In Garden of Evidence (2008), six cacti were set within the artist’s landscape plan, which included colored glazed fingerprints on low walls and plantings in the form of DNA strands. All twelve unique variations were presented as a gallery installation, Architectural Cactus Grove in 2008, the three here have not been presented since.

Further, installed remotely at our new facility in Buchanan, New York, we are pleased to present Oppenheim’s Snowman Factory (1996), a rare installation not seen since it was first shown at Ace Contemporary New York in 2001. Oppenheim wrote in 1995: 

The Snowmen produced by the “Factory Complex” (which qualifies as an installation, or site sculpture) are generic monolithic sculptures not unlike what one usually sees throughout the world in sculpture parks and public spaces. Usually represented by a man or a house, these “conventional” sculptures occupied these spaces, and still do, and serve as the layperson’s conception of outdoor permanent sculpture… The origin of these images is their genesis, and in this way, the “Factory Complex” is a metaphor for the artist’s mind.

Aycock contributed a eulogy, excerpted from ArtForum, May 2011: "Dennis was a trickster, a shape-shifter, a flimflam man, a snake-oil salesman for art, and a rascal. He was highly intelligent, charismatic, and witty… Along with antique cars and motorcycles, Dennis loves dogs, Jackson Pollock, Bruce Nauman, birdhouses, dollhouses, papier-mâché, jack-o-lanterns, Halloween, tramp art, prison art, carnival art."

Marlborough New York follows New York State’s guidelines for physical distancing amidst the COVID-19 pandemic. Appointments are encouraged. To schedule an appointment, please call (212) 541-4900, or write gichan@marlborough gallery.com. It is essential that visitors wear a face mask and observe the six-foot social distancing rule at all times when interacting with our staff or with other visitors. For further information, contact dkwalla@marlboroughgallery.com.

 
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