File:Michna-Bales Fallout SurvivalChances.jpg

Photograph by Jeanine Michna-Bales, Survival Chances, Indianapolis Civil Defense Headquarters, Indiana (from the Fallout series, 2016). The image illustrates a key type of photographic essay series in artist Jeanine Michna-Bales's career in which she explores existential threats, past and present. The image belongs to the series, Fallout (2013–2022), which examined documented intact, hidden or underground nuclear fallout shelters in fourteen American cities in conjunction with Cold War-era declassified government documents and old newspaper articles; this image includes text from Survival Under Atomic Attack (1950). Reviews described the unpopulated images as quiet studies in architecture that served as haunting time capsules revealing the era's sense of dread and instability 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 Jeanine Michna-Bales. Copyright held by the artist.

Jeanine Michna-Bales

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key type of photographic essay series in artist Jeanine Michna-Bales's career: her projects exploring existential threats, past and present, in this case the essay, Fallout (2013–2022), which examined documented intact, hidden or underground nuclear fallout shelters in fourteen American cities. She combined the photographs with related Cold War-era propaganda materials such as declassified government documents and old newspaper articles. In 2021, the project was paired with another by photographer Adam Reynolds documenting U.S. nuclear missile silos in a six-museum traveling exhibition, "Two Minutes to Midnight and the Architecture of Armageddon" (2021–6) and a book, Countdown. 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 recognized body of work, which has brought Michna-Bales ongoing recognition through exhibitions, a book, coverage by major critics and publications and museum acquisitions. Michna-Bales'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 Jeanine Michna-Bales, 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.