File:Charles Ross PrismColumn 1979.jpg

Installation image: Charles Ross, The Colors of Light, The Colors in Shadows (prism column: acrylic and optical fluid, 100" x 14" each side); painted white column: wood, 90" x 12" each side); John Weber Gallery, 1979). The image illustrates a key body of work in Charles Ross's career beginning in the mid-1960s, when he began producing prism artworks, early forays into light-themed work. The liquid-filled, generally transparent forms functioned as geometric objects and perceptual vessels displaying different views and perspectives (often fragmented and dislocated) within their shapes. His early prisms were modestly scaled, minimal cubes to tall columns; later works, such as this one, took the form of columns or "walls" formed by side-by-side columns. This body of work has been discussed in major art journals and daily press publications.

Artist Charles Ross. Copyright held by the artist.

Charles Ross (artist)

Installation image

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key early body of work in Charles Ross's career beginning in the mid-1960s: his prism artworks, which were his first foray into light-themed work and which functioned as geometric objects and perceptual vessels displaying different views and perspectives within their shapes. They were generally transparent geometric forms of varying shapes made of acrylic and filled with liquid, which ranged from modestly scaled, minimal variations on cubes to tall columns to walls made of multiple prisms that created a complex fragmentation and dislocation of perspectives. Critics described them as described them as a threshold into a mode of elemental, imperceptible contemplation of cosmic realities. 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 key body of work, which brought Ross continuing recognition through highly visible commissions and locations and coverage by major critics and publications. Ross'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 Charles Ross, 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.