File:Joan Moment Haloed Condom Relief Piece 1972.jpg

Painting by Joan Moment, Haloed Condom Relief Piece (acrylic, rubber latex, neoprene, gauze and condoms, 83.5" x 60", 1972). The image illustrates a key early body of work in Joan Moment's career in the early 1970s, when she produced works that drew on Funk, postminimalist abstraction, and the immediacy and directness of tribal art forms. This work often subverted outsider art and "women's work" traditions such as quilting and sewing through irreverent constructions and materials (in this case condoms and rubber latex), sexual references and iconic imagery. This work was part of her "Condom Relief Series" (1970–2), which examined sexuality and the vulnerability and physicality of the body through a feminist lens. It combines chance occurrence, a wriggling, warped grid and obsessive dot patterning akin to that of Australian Aborigine bark paintings and African clay vessels. These paintings were publicly exhibited in prominent venues, discussed in major art journals and daily press publications, and acquired by museums.

Artist Joan Moment. Copyright held by the artist.

Joan Moment

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key early body of work in Joan Moment's career in the early 1970s: her series drawing on Funk, the postminimalism of Eva Hesse, and tribal art forms, which fused intuitive aspects of contemporary abstraction to the immediacy and directness of naïve art. This work explored and subverted outsider art and "women's work" traditions such as quilting and sewing through unconventional, often irreverent constructions (balloon quilts, latex dresses) and materials, sexual references and iconic imagery. In terms of process and form, these works employed chance, warped modernist grids and tribal dot patterning. 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 foundational stage and body of work, which brought Moment early recognition through exhibitions in major venues and coverage by major critics and publications. Moment'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 Joan Moment, 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.