File:Andrew Spence Red Line 2005.jpg

Painting by Andrew Spence, Swivel Chairs (oil on canvas, 84" x 60", 1988). The image illustrates a mid-career stage and body of work in Andrew Spence's career in the 2000s when he shifted toward more enigmatic, formal compositions and cryptic titles and content driven by emotions rather than objects. These works featured both more varied and simple two-color palettes, as in this case, which alternated in terms of figure and ground to complicate readings. They often rotated or repeated simple linear forms—zigzags, letters, obscured outlined forms, or in this work, stylized flames. This work and similar works have been publicly exhibited in prominent venues, discussed in major art journals and daily press publications, and acquired by museums.

Artist Andrew Spence. Copyright held by the artist.

Andrew Spence (artist)

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a mid-career stage and body of work in Andrew Spence's career beginning in the 2000s: his still-minimalist paintings which shifted from singular, iconic images in limited colors toward enigmatic, formal compositions with comparably cryptic titles, more saturated and varied palettes., and content driven by emotions rather than objects. These works often alternated in terms of figure and ground to complicate readings and rotated or repeated simple forms (zigzags or letters, outlines of obscured forms), creating rhythmic visual puzzles that, given time, snapped into recognizability for viewers. Because the article is about an artist and his work, the omission of the image would significantly limit a reader's understanding and ability to visualize this key development in his career, which brought ongoing recognition through exhibitions in major venues, coverage by major critics in publications and books, and museum acquisitions. Spence'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 Andrew Spence, 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.