File:Diana Cooper The Multicolor One.jpg

Wall relief by Diana Cooper, The Multicolor One (acrylic, felt tip markers, felt, acetate, paper, pipe cleaners, and pom poms on canvas, wall and floor, 87" x 107"x 37", 1997–8). The image illustrates a key earlier body of work in Diana Cooper's career in the later 1990s and early 2000s, when she produced canvases and wall reliefs combining expansive, Sharpie-marker doodles and ramshackle small constructions in dense, labyrinthine networks, grids and mazes with organic, informational and technological allusions. These pieces became increasingly varied, elaborate, and sculptural, often spilled off canvases onto walls and floors. This works were described as Rube Goldbergian freestanding or wall reliefs offering technological (mock switchboxes, controls and wires, computer circuitry diagrams and manic instructions) and anatomical allusions regarding the entropy of systems. This work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications.

Artist Diana Cooper. Copyright held by the artist.

Diana Cooper (artist)

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key earlier body of work in Diana Cooper's career in the later 1990s and early 2000s: her canvases and wall reliefs, which combined expansive, Sharpie-marker doodles and ramshackle small constructions that accumulated to form dense, obsessive networks, grids and mazes. Reviews noted the labyrinthine designs for their graphic skill, sense of improvisation, and play of organic (cells), informational (maps, architectural plans) and technological (electrical circuitry, computer chips, bar codes, pixels) allusions. Over time, this work became increasingly varied and elaborate, employing casual, crude building techniques and small hand-made objects that spilled off canvases onto walls and floors. 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 understand this early stage and body of work, which brought Cooper initial recognition through exhibitions and coverage by major critics and publications. Cooper's work of this type and this series 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 Diana Cooper, and the work no longer is viewable, 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.