File:Valerie Hegarty Alternative Histories Plantation Dining Room 2013.jpg

Installation by Valerie Hegarty, Alternative Histories: The Canes Acres Plantation Dining Room (canvas, stretcher, paper, acrylic paint, foam, papier-mâché, wire, glue, gold foil, epoxy, fabric and thread, dimensions variable, 2013). The image illustrates a key later body of work in Valerie Hegarty's career in the 2010s when she produced installations employing trompe l’oeil constructions of paintings, domestic furnishings, and architectural spaces in order to examine American historical themes, art-historical movements and their ideological tenets, and romantic conceptions of nature and the past. In this work, she introduced sculptural interventions into the Brooklyn Museum's decorated, period rooms, including a flock of attacking crows, dissolving portraits, and rugs overgrown with vegetation. This work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications and commissioned by major art institutions.

Artist Valerie Hegarty. Copyright held by the artist.

Valerie Hegarty

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key later body of work in Valerie Hegarty's career in the 2010s: her installations and painting-sculptures employing trompe l’oeil constructions of paintings, domestic furnishings, and architectural spaces from American or personal history undergoing various processes of transformation such as deterioration, rot or assault. These works explored her interest in the mutative energy of growth, decay and regeneration and examined American historical themes involving colonization, slavery, Manifest Destiny, nationalism, art-historical movements and their ideological tenets, romantic conceptions of nature, and environmental degradation. 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 later stage and body of work, which brought Hegarty ongoing recognition through exhibitions, commissions and coverage by major critics and publications. Hegarty'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 Valerie Hegarty, 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.