File:Ellen Driscoll Lenape As-Above-So-Below.jpg

Public artwork by Ellen Driscoll, As Above, So Below, Lenape creation story (mosaic, 1998, 45th St. crosspassage, Grand Central Terminal, New York). The image illustrates a body of work in Ellen Driscoll's career form the 1990s onward: her permanent, site-specific public artworks, which engage themes involving geography, history and movement across time and place. These projects range from large-scale glass murals and interior environments, to kinetic outdoor works to, in this case, a suite of mosaic murals. The overall work, As Above, So Below was commissioned by MTA Arts for Transit and consists of thirteen large mosaic, glass and bronze murals and related reliefs installed in the northern passageways of New York's Grand Central Terminal. They form a visual anthology of ancient and modern cosmological stories (here, a Lenape story) using iconic forms, multicultural designs, and photographic imagery, which relates to the terminal concourse's historic painted constellation ceiling and connects the daily commute to global time travel. This work was commissioned by a civic institution, publicly exhibited, and discussed in major art journals and daily press publications.

Artist Ellen Driscoll. Copyright held by the artist.

Ellen Driscoll

Installation view of multi-part public artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key body of work in Ellen Driscoll's career beginning in the 1990s and continuing throughout her career—her permanent public artworks, which both engage the specific geography and history of their sites and also connect to universal themes involving movement across time and place. These works have engaged with various sites and related historical people, stories, events and roles. They have included multi-part suites of mosaic murals, interior environments, kinetic outdoor mosaics and structures, multi-media installations, and an 800-foot glass mural, among others. 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 key body of work, which brought Driscoll increased recognition through coverage by major critics and publications and major institutional and museum commissions and exhibitions. Ellen Driscoll'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 Ellen Driscoll, 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.