File:Olive Ayhens Colosseum of Chaos 2007.jpg

Painting by Olive Ayhens, Colosseum of Chaos (oil on canvas, 48" x 57", 2007). The image illustrates a key mid-career body of work by Olive Ayhens's beginning in the latter 2000s when she produced skewed, composite paintings that merged interiors and bird's-eye-view cityscapes in funhouse-like depictions. The work ranged from depictions of mazes of cords and science-lab gadgetry that suggested living organisms to—as in this work from her and "Interior Wilderness" series—to surrealistic landscapes collapsing nature and the built environment and juxtaposing escalators and rivers, jungles and hotel lobbies, bestiaries and superhighways. This work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications and acquired by major museums.

Artist Olive Ayhens. Copyright held by the artist.

Olive Ayhens

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key mid-career body of work by Olive Ayhens in the latter 2000s: her skewed, composite paintings that merged interiors and bird's-eye-view cityscapes in funhouse-like depictions. The work, which included her "Extreme Interiors" and "Interior Wilderness" series, incorporated visual influences including opulent Moorish and Northern Renaissance architecture, the technology of modern labs and office spaces, and malls. They often featured an intensification of line and color in their depictions of mazes of cords and gadgetry that suggested living organisms and, according to some critics, a "Pollock-like all-overness." 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 early, foundational body of work, which brought Ayhens early recognition through exhibitions, coverage by major critics and publications and museum acquisitions. Ayhens'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 Olive Ayhens, and the work no longer is viewable, 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.