File:Nancy Macko Honeycomb Wall 1993.jpg

Installation by Nancy Macko, The Honeycomb Wall (mixed media, archival digital prints, vinyl signage affixed to 98 hexagonal wooden panels each 11.5" diameter, 14' x 20' approx., 1993-–94). The image illustrates a key mid-career phase in Nancy Macko's art in the 1990s when she turned from painting and printmaking to multimedia projects that drew upon honeybee society for content, structure, metaphorical themes and materials. As in this installation, this work made frequent use of the honeycomb's hexagonal structure, in this case through panels containing objects, images and text related to honeybees and the geometry, chemistry and history of honey. 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 Nancy Macko. Copyright held by the artist.

Nancy Macko

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key mid-career phase in Nancy Macko's art in the 1990s: her honeybee-focused projects, which drew upon honeybee society for her work's content, structure, metaphorical framework and material. These works related the honeybees' successful, female-governed social structures to feminist utopias, matriarchal cultures, and women's community, spirituality and sexuality, while also integrating the orderly central structure of beehives and honeycombs—the hexagon—as a visual metaphor for conveying the interdependence of living things. These projects employed a wide range of media—wall reliefs, found-object sculpture, digital and handmade images, installations and video—to create a multi-sensory cosmology of sound, scent, taste and sight. 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 Macko early recognition through exhibitions, coverage by major critics and publications and museum acquisitions. Macko'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 Nancy Macko, 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.