File:MedrieMacPhee-2020-Take-Me-to-the-RIver.jpg

Painting by Medrie MacPhee 610-3356 (Plywood and existing architecture, fourth floor opening dimensions: 84" × 16", Mattress Factory, Pittsburgh, 2008). The image illustrates a later stage and body of work in Medrie MacPhee's career in the 2010s: her oil painting series in which she collaged disassembled and flattened pieces of clothing onto canvasses. These paintings are characterized by broad, blocky color compartments and garment fragments including pockets, zippers, seams and buttons fit together like irregular puzzle pieces, taut compositions and tactile, rugged surfaces. The shapes function abstractly and as recognizable objects and references to the body, or—in this case—other real-world references such as quasi-topographical maps or fragmented circuitry suggested by painted white seams, piping or waistbands that plot out surface areas. This painting and similar works have been publicly exhibited in prominent venues, discussed in major art journals and daily press publications, and commissioned by museums.

Artist Medrie MacPhee. Copyright held by the artist.

Medrie MacPhee

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a later stage and body of work in Medrie MacPhee's career from the 2010s after she made a significant departure by collaging disassembled and flattened pieces of clothing onto her oil canvasses. These paintings employ broad, blocky areas of a single hue and tactile, rugged surfaces with the color compartments punctuated by garment details such as pockets, zippers, seams and buttons that function abstractly and as recognizable objects and references to the body. In later works of this series, she uses tauter compositions that fit the color blocks and collaged garments like irregular puzzle pieces extending edge to edge, which are plotted out with seams, piping or belt-looped waistbands painted white. 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 key development in her career, which brought a new wave of recognition through exhibitions in major venues, coverage by major critics in publications, and museum commissions. MacPhee's work of this type and this work in particular is discussed in the article and by prominent critics cited in the article.

There is no free equivalent of this or any other of this series by Medrie MacPhee, 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.