File:Jennifer Bolande Milk Crown 1987.jpg

Sculpture by Jennifer Bolande, Milk Crown (cast porcelain, 2" high x 7" diameter with white glass plinth on 41" x 17" x 17" pedestal, 1987). The image illustrates a key body of work by Jennifer Bolande begun in the 1980s when she produced her amalgams of found image and sculpture focused on liminal and peripheral spaces, transitional moments in flux, and perception. In this work, she explored an image (Harold Edgerton's iconic, high-speed 1957 image of a splashing milk drop in) through a "life cycle" of various physical and experiential states. The work consists of a delicate cast-porcelain rendering which converts an ephemeral event into a solidly permanent object, commenting on the original's effort to capture the invisible. This body of work and individual piece were publicly exhibited in prominent exhibitions and discussed by critics in major art journals and daily press publications.

Artist Jennifer Bolande. Copyright held by the artist.

Jennifer Bolande

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key body of work and artistic strategy in Jennifer Bolande's career that began in the 1980s: her amalgams of found image and sculpture rooted in conceptualism, Pop, Arte Povera and the so-called Pictures Generation. These works often focused on liminal and peripheral spaces, and transitional moments in flux, exploring perception, the quirkiness of physical phenomena, and its subjects across different media, while marking and collapsing distinctions between objects, images, memory and embodied experience. They frequently involve a sense of filmic expectation and potentiality, of events just completed or about to occur that some writers have deemed "frozen movies." 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 foundational body of work, which brought Bolande initial recognition through exhibitions, coverage by major critics and publications and museum acquisitions. Bolande'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 Jennifer Bolande, 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.