File:D.Guerrero-Maciá Devil's Daughter 2020.jpg

Painting by Diana Guerrero-Maciá, The Devil’s Daughter is Getting Married (wool, dye, deconstructed clothing and textiles on canvas, 57.5" x 49.5", 2020). The image illustrates a later stage in Diana Guerrero-Maciá's career from the 2010s and early 2020s: her hybrid or "unpainted paintings" which shifted emphasis from text toward borrowed symbols and archetypal forms that she cut, dyed and stitched into bold, geometric compositions. These works connected ubiquitous icons with art historical references through graphic schemes. In the case of this work and series, she presented paper collages and monumental gridded fields of cut cloth ornamented with three-dimensional props and familiar design motifs, which explored the visual pleasure of decoration, as well as subtle narratives about the ambitions of modernist abstraction, needlework and feminism, and myth. This work and similar works were publicly exhibited in prominent venues, discussed in major art journals and daily press publications, and acquired by museums.

Diana Guerrero-Maciá. Copyright held by the artist.

Diana Guerrero-Maciá

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating later-stage paintings of Diana Guerrero-Maciá's career extending through the 2010s and early 2020s, when she shifted emphasis from text toward borrowed symbols and archetypal forms that she cut, dyed and stitched into bold, geometric compositions. These works connected ubiquitous icons (smiley faces, rainbows, targets, butterflies, hearts) with art historical references through graphic schemes, using diagrams or charts to reinvigorate their meanings and pose questions through cryptic personal and cultural references. These included meanings embedded within the work's deliberately analog, handmade processes and tactile materials, involving gender and sexual equality, environmental and military concerns, cosmic speculation, and art/craft hierarchies. 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 body of work, which brought continuing recognition through exhibitions in major venues, coverage by major critics in publications, and museum commissions. Guerrero-Maciá's work of this type and this work 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 Diana Guerrero-Maciá, 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.