File:Alyson Shotz Wave Equation.jpg

Installation image of Alyson Shotz, Wave Equation (stainless steel wire, silvered glass beads and aluminum, 120" x 144" x 117", 2010, installation at the Nasher Sculpture Center. Collection of Indianapolis Museum of Art). The image illustrates a key body of work in Alyson Shotz's career beginning in the 2000s: her large-scale abstract sculptures and installations evoking natural phenomena, invisible dimensions, and theoretical concepts such as string theory and dark matter. These works consisted of accumulations of common materials that hung like drawings in space that took the form of undulating, curtain-like objects, floating chandeliers, or in this work, delicate, weightless skeletal ellipses or web-like forms made of long, bowing strands of piano and steel wire filaments that reviews described as moving between presence and absence, interior and exterior, and static mass and illusory motion. This work was publicly exhibited in prominent exhibitions and venues, acquired by a major museum, and discussed in major art journals and daily press publications.

Artist Alyson Shotz. Copyright held by the artist.

Alyson Shotz

Detail

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key body of work in Alyson Shotz's career beginning in the 2000s, when she created large-scale abstract sculptures and installations characterized as minimalist or postminimalism works concerned with the investigation of perception, experiential boundaries, and ineffable phenomena. These works consisted of accumulations of common materials that hung like drawings in space, evoking natural phenomena, invisible dimensions, and theoretical concepts such as string theory and dark matter. They often took the form of expansive, undulating, translucent curtain-like objects, ghostly, floating chandeliers or weightless apparitions made of long, bowing strands of wire. 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 body of work, which brought Shotz wide recognition through museum and gallery exhibitions, museum acquisitions, and coverage by major critics and publications. Shotz'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 Alyson Shotz, 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.