File:Lynn Aldrich Installation view 2013.jpg

Exhibition installation by Lynn Aldrich, Installation image from "Uncommon Objects" exhibition, Alyce de Roulet Williamson Gallery, Art Center College of Design, 2013. Pictured: Subdivision, 1990 (foreground, Collection Museum of Contemporary Art, Los Angeles); Worm Hole, 2003 (background); Shelf Life, 1992 (left wall); and Constellation, 2005/2013 (right wall). The image illustrates an early body of work in Lynn Aldrich's career that began in the late 1980s, with the foreground image, in which she meshed high-cultural minimalist form with the symbolism of mass-produced objects, in order to offer open-ended commentary on suburban domesticity, bourgeois humanism, and Modernist artistic practice. This work and similar works have been publicly exhibited in prominent art venues, discussed in major art journals and daily press publications by prominent critics, and (in this work's case) acquired by museums.

Artist Lynn Aldrich. Copyright held by the artist.

Lynn Aldrich

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating an early body of work (foreground main work) in Lynn Aldrich's career that began in the late 1980s, in which she meshed high-cultural minimalist form with the symbolism of mass-produced objects, in order to create works that critics described as tartly conceptual, stunningly formalist arrangements that transformed mundane artifacts into inventive visual metaphors. Works such as Subdivision offered open-ended commentary on suburban domesticity, bourgeois humanism, and Modernist artistic practice. The image also provides an example of her works in installation and relation 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 major early developmental phase and body of work in her career, which attracted early attention, inclusion in major exhibitions national reviews, and museum acquisitions, as well as provide a sense of her work as a whole. Aldrich's work of this type and this work in particular is discussed in the article and by prominent critics cited in the article.

There is no free equivalent of this or any other of this series by Lynn Aldrich, 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.