File:Ellen Driscoll FastForwardFossil.jpg

Installation by Ellen Driscoll, FastForwardFossil; Part 2 (#2 harvested plastic, 30'L x 7'H x 14'W, 2009, Smack Mellon). The image illustrates a later body of work in Ellen Driscoll's career: her environmentally based installations of the 2000s, which critiqued contemporary culture's over-dependence on fossil fuels, rampant consumption, geopolitical imbalance and economic volatility. These installations were primarily made from found and repurposed, petroleum-based plastic jugs and drink containers and depicted cartography of resources, technology, consumption, and waste across three centuries, including miniature industrial structures, McMansions, abandoned shacks, and abstracted landmasses, as in this 28-foot landscape. This work was commissioned by a major museum, publicly exhibited in prominent exhibitions, and discussed in major art journals and daily press publications.

Artist Ellen Driscoll. Copyright held by the artist.

Ellen Driscoll

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating a later body of work in Ellen Driscoll's career from the latter 2000s, when she focused on environmental issues In a series of labor-intensive, cautionary projects primarily made from found and repurposed, petroleum-based plastic jugs and drink containers. The projects included drawings and ghostly landscapes of miniature vernacular structures (bridges, mills, oil rigs and refineries, dredging cranes), McMansions, abandoned shacks, and abstracted landmasses that employed disorienting shifts of scale and perspectives. They spanned 19th-century industry and 21st-century global upheavals involving development and resource exploitation, and critiqued contemporary culture's over-dependence on fossil fuels, rampant consumption, geopolitical imbalance and economic volatility. 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 key, later body of work, which brought Driscoll ongoing and new recognition through coverage by major critics and publications and museum commissions and exhibitions. Ellen Driscoll'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 Ellen Driscoll, 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.