File:Mia Westerlund Roosen American Beauties 1991.jpg

Sculpture by Mia Westerlund Roosen, American Beauties, concrete and pink granite, 2' x 28' x 16', 1991). The image illustrates a key body and development in the work in Mia Westerlund Roosen in the 1990s, when her sculpture began to use repetition and seriality as a generative device suggesting formal mutation or mitosis in several works and series. This sculpture often involved layered or lined, planar, flange- like shapes or—as in this work— large, irregular discs that invited organic associations with micro- and macro- or technological systems, or here, with breasts and machine forms. Critics described its juxtaposition of minimalist shapes, biomorphism, and hand-worked surfaces as comical, irrepressibly forceful, and feminist. This work was publicly exhibited in prominent exhibitions and discussed in major art journals and daily press publications.

Artist Mia Westerlund Roosen. Copyright held by the artist.

Mia Westerlund Roosen

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key body and development in the work in Mia Westerlund Roosen in the 1990s: her use of repetition and seriality as a generative device suggesting formal mutation or mitosis in several sculptural works and series. This sculpture often involved layered or lined, large, irregular discs or planar, flange- like shapes that invited organic associations with micro- and macro- or technological systems. They juxtaposed minimalist shapes, biomorphism, and hand-worked surfaces that ranged from disconcerting to humorous and were reminiscent of the work of Isamu Noguchi. 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 significant development and body of work, which brought Westerlund Roosen ongoing recognition through exhibitions and coverage by major critics and publications and museum acquisitions. Westerlund Roosen'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 Mia Westerlund Roosen, 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.