File:John Moore Turnstile 2012.jpg

Painting by John Moore, Turnstile (oil on canvas, 70" x 68", 2012). The image illustrates a key body of work in realist painter John Moore's career extending from the 1980s to the 2020s, when he produced large-scale realist images of post-industrial images, that both celebrate and acknowledge the passing of the American industrial past. These works have depicted factories and mills, including the steel mills of Coatesville, Pennsylvania painted by the Precisionists. His later industrial images often composite elements, such as portals and architectural grids of glass brick and window mullions that structure his compositions and frames various details. In this work, Moore relocated a rusted gate from a Coatesville mill to the front of the Bangor Waterworks Building, creating an interplay of decrepit and pristine, near and far, light and dark, entrance and barrier. This body of work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications and acquired by major museums.

Artist John Moore. Copyright held by the artist.

John Moore (painter)

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key, longstanding body of work in the realist painter John Moore's career beginning in the 1980s: his post-industrial images, which both celebrate structures such as smokestacks, mills and factories and serve as elegies for the industrial past. Critics have compared them to the work of Precisionist artists such as Ralston Crawford and Charles Demuth, who portrayed sites including the steel mills of Coatesville, Pennsylvania. Moore's paintings were reconsiderations—of that site and others—from a subtly critical, post-industrial vantage point that weighed utopian promises against a present haunted by the decline of American manufacturing. Unlike Precisionist works, they show wear—peeling paint, smudged windows, aging metal, neglected brick walls, spaces absent machinery—and a concern for integrating the sites into their social fabric Because the article is about an artist and his work, the omission of the image would significantly limit a reader's understanding and ability to understand this major body of work, which brought Moore ongoing recognition through exhibitions, coverage by major critics and publications and museum acquisitions. Moore's work of this type and this work itself are 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 John Moore, 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.