Jeanne_Silverthorne_Pneuma_Machine_2005.jpg (376 × 265 pixels, file size: 79 KB, MIME type: image/jpeg)
Summary edit
 | This is a two-dimensional representation of a copyrighted sculpture, statue or any other three-dimensional work of art. As such it is a derivative work of art, and per US Copyright Act of 1976, § 106(2) whoever holds copyright of the original has the exclusive right to authorize derivative works. Per § 107 it is believed that reproduction for criticism, comment, teaching and scholarship constitutes fair use and does not infringe copyright. It is believed that the use of a picture
qualifies as fair use under the Copyright law of the United States. Any other uses of this image, on Wikipedia or elsewhere, might be copyright infringement. |
| Description |
Sculptural installation by Jeanne Silverthorne, Pneuma Machine (in daylight and glowing in the dark), kinetic rubber sculpture, dimensions variable, 2005. The image illustrates a key body of work in Jeanne Silverthorne's career that began in the early 1990s, when she began presenting sprawling arrangements of cast, excavated studio objects, often forming Rube Goldberg-like systems or organisms that were unified by snaking skeins of wires, cables and tubes connected to cast outlets, transformers and fuse boxes. Later works, such as this one, incorporated kinetic elements and phosphorescent material. These works were exhibited in galleries and museums such as the Whitney and discussed widely by prominent publications and critics cited in the article. |
|---|---|
| Source |
Artist Jeanne Silverthorne. Copyright held by the artist. |
| Article | |
| Portion used |
Installation view, entire work |
| Low resolution? |
Yes |
| Purpose of use |
The sculptural installation image serves an informational and educational purpose as the primary means of illustrating a key, long-running body of work in Jeanne Silverthorne's career that began in the early 1990s: her sprawling arrangements of cast objects, often in the form of Rube Goldberg-like systems that were unified by snaking skeins of wires, cables and tubes connected to cast outlets, transformers and fuse boxes, and suggested defunct machines or organisms. These works were sometimes commissioned by museums such as the Whitney, Institute of Contemporary Art, Philadelphia, and ICA Boston, and explored the exhaustion of the modernist art project, inorganic versus organic, and functional versus functionless themes. 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 visualize this type of work and key component of her studio project. Silverthorne's work of this type and this work in particular has been exhibited in prominent venues and discussed by prominent critics and publications cited in the article. |
| Replaceable? |
There is no free equivalent of this or any other of this series by Jeanne Silverthorne, so the image cannot be replaced by a free image. |
| Other information |
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. |
| Fair useFair use of copyrighted material in the context of Jeanne Silverthorne//en.wikipedia.org/wiki/File:Jeanne_Silverthorne_Pneuma_Machine_2005.jpgtrue | |
File history
Click on a date/time to view the file as it appeared at that time.
| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 16:40, 6 July 2020 | | 376 × 265 (79 KB) | Mianvar1 (talk | contribs) | {{Non-free 3D art|image has rationale=yes}} {{Non-free use rationale | Article = Jeanne Silverthorne | Description = Sculptural installation by Jeanne Silverthorne, ''Pneuma Machine'' (in daylight and glowing in the dark), kinetic rubber sculpture, dimensions variable, 2005. The image illustrates a key body of work in Jeanne Silverthorne's career that began in the early 1990s, when she began presenting sprawling arrangements of cast, excavated studio objects, often forming Ru... |
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