File:Barbara Takenaga Ozma 2009.jpg

Painting by Barbara Takenaga, Ozma (acrylic on linen, 70" x 60", 2009). The image illustrates a body of work in the early mature period of Barbara Takenaga's career in the later 2000s, when she continued to expand her formal vocabulary in terms of their patterning, arrangement and palettes. These paintings explored subdued palettes evoking loss (grays, white, black, pale greens and turquoises, and metallic golds and silvers) and forms suggesting ambiguous, otherworldly environs, bent, skewed grids and lattices like three-dimensional, topographic maps of black holes, and—as in this work—molecular frameworks or biological forms, such as the suction-cup undersides of sea stars and octopi. This series of work has been publicly exhibited in prominent venues, discussed widely in national art and daily press publications, and collected by major art institutions.

Artist Barbara Takenaga. Copyright held by the artist.

Barbara Takenaga

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a body of work in Barbara Takenaga's career in the later 2000s: her early mature works in which she expanded her formal vocabulary in terms of patterning, arrangement and palettes. These paintings often explored subdued palettes evoking loss and forms suggesting ambiguous, otherworldly environs, molecular and biological frameworks, and bent, skewed grids and lattices like three-dimensional, topographic maps of black holes that approached Op art. 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 a key developmental phase and shift in her art, which brought her wide recognition from art journals, daily press publications, and museum collections. Takenaga'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 Barbara Takenaga, 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.