File:Steven Siegel To See Jennie Smile 2006.jpg

Public artwork by Steven Siegel, To See Jennie Smile (paper, 2006, North Carolina Museum of Art, Raleigh, NC, USA). The image illustrates a longstanding body of work in Steven Siegel's career from the 1990s and 2000s, when he focused on temporal, outdoor newspaper installations designed to have an evolving, symbiotic relationship with their environments (usually wooded areas and parks), including weathering and decomposition. The structures generally take monolithic, concentrated forms, such as hives, walls, towers, or in this case, cylinders. Most of these works were commissioned by museums and arts institutions, as in this work, at the North Carolina Museum of Art, Raleigh, NC. This project has been commissioned by and publicly exhibited in a prominent public institution and discussed in major art journals and daily press publications.

Artist Steven Siegel. Copyright held by the artist.

Steven Siegel

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating a longstanding body of work in Steven Siegel's career from the 1990s and 2000s, which brought his first wide recognition: his time-bound, outdoor newspaper installations. He often designed the outdoor works to have an evolving, symbiotic relationship with their environments, including weathering and decomposition over long exhibition periods; they often blur boundaries between natural and constructed forms. The structures generally take monolithic, concentrated forms, such as cylinders, hives, walls or towers. They reference time through their layers of dated newsprint, methodical reiterative construction process, and gradual disintegration. 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 visualize this key developmental phase of his career, which brought early, widespread recognition through exhibitions in major venues, coverage by major critics in publications, and public commissions. Siegel'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 Steven Siegel, 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.