File:Arnold Zimmerman Fools Congress Part 2 1999.jpg

Sculpture by Arnold Zimmerman, Fool's Congress Part 2 (unglazed terra cotta, 72" x 144" x 50", 1999. Installation, Neuberger Museum of Art). The image illustrates a key mid-career body of work in Arnold Zimmerman's art in the latter 1990swhen he created metaphorical, salt-fired porcelain pieces in the modeled, figurine tradition. These works featured amorphous, polyp-like figures writhing in sexual hijinks or violence, and culminated in this 12-foot wide, unglazed terracotta sculpture. It depicts a macabre chorus of semi-abstract vertical forms capped by rudimentary heads and connected by tubular limbs and tendrils. The red clay material conveys a sense of characters (intended as public officials) "burning" with hypocrisy and shame. Critics related this sculpture and its emphasis on exaggeration and the bizarre to the work of Hieronymus Bosch and Pieter Bruegel and the grotesque, suggesting the blend of humor, deformity and anthropomorphic form offered moralizing lessons about human pretense, ambition, labor and folly. This work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications and acquired by a major museum.

Artist Arnold Zimmerman. Copyright held by the artist.

Arnold Zimmerman

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key mid-career body of work in Arnold Zimmerman's art in the latter 1990s: his metaphorical, salt-fired porcelain pieces in the modeled, figurine tradition, which often depicted amorphous, polyp-like figures writhing in sexual hijinks or violence. Critics related this sculpture and its emphasis on exaggeration and the bizarre to the work of Hieronymus Bosch and Pieter Bruegel and the grotesque, suggesting the blend of humor, deformity and anthropomorphic form offered moralizing lessons about human pretense, ambition, labor and folly. Because the article is about an artist and his work, the omission of the image would significantly limit a reader's understanding and ability to understand this key stage and body of work, which brought Zimmerman ongoing recognition through exhibitions, coverage by major critics and publications, and museum acquisitions. Zimmerman'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 Arnold Zimmerman, 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.