File:Dawn DeDeaux Goddess Fortuna and Her Dunces 2011.jpg

Installation by Dawn DeDeaux, Goddess Fortuna and Her Dunces in An Effort to Make Sense of It All (multimedia installation for Prospect New Orleans, 2011). The installation illustrates a key, career-long part of Dawn DeDeaux's art—her mixed-media installations, videos and performances, which have used new technologies to explore issues involving class, race, justice, the environment, and culture. This image depicts part of her 2011 20,000-square-foot, multimedia "Prospect.2" installation, which drew on John Kennedy Toole’s New Orleans novel, A Confederacy of Dunces, encompassing a three-story mansion and its balconies and courtyard. Combining the book's emphasis on fate, disasters and resurrections and her own symbolism, it featured a wagon with carnival-float wheels set over an erupting fountain, funhouse-like tableaux, 77 mannequins in dunce hats, occult and Confederate references, and projected spinning visuals. This work and similar works were publicly exhibited in prominent venues, discussed in major art journals and daily press publications, and commissioned by arts institutions.

Dawn DeDeaux. Copyright held by the artist.

Dawn DeDeaux

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key, career-long body of work in Dawn DeDeaux's practice: her mixed-media installations, videos and performances, which stretch from the 1980s to present. These works have used new technologies—electronic, digital and multimedia—to reach wider audiences with work addressing social issues, including class, race and justice (her work based on an arts program she created in a New Orleans prison), the environment, and cultural expressions of her native New Orleans. 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, longstnading body of work in her oeuvre, which brought widespread recognition through exhibitions in major venues, coverage by major critics in publications, and museum commissions. DeDeaux's work of this type and this work is discussed in the article and by critics cited in the article.

There is no free equivalent of this or any other of this series by Dawn DeDeaux, and the work no longer exists in this form, 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.