File:Diana Cooper Orange Alert UK.jpg

Installation by Diana Cooper, Orange Alert UK (acetate, acrylic, felt, neoprene, paper, foam core, corrugated plastic and map pins, dimensions variable, 2003–8. MOCA Cleveland/Postmasters Gallery). The image illustrates a key earlier body of work in Diana Cooper's career in the 2000s, when she produced installations and furniture-like sculptures that increasingly colonized their exhibition spaces, extending two-dimensional drawing sensibilities and geometries into three dimensions. This often relied on lines, grids, repeated motifs, assembled objects, wall patterns using reduced palettes and simple shapes as basic units. In this case, she employed taut linear, radiating arrangements of reds, oranges and yellows, that were inspired by the color-coded, post-9/11 terrorist alert system. Reviews linked her approach to modernist and minimalist artists, as well as accumulative postmodern artists.. This work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications and acquired by a major museum.

Artist Diana Cooper. Copyright held by the artist.

Diana Cooper (artist)

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating a mid-career body of work by Diana Cooper in the 2000s: her installations and furniture-like sculptures that increasingly colonized their exhibition spaces with repeated motifs, assembled objects and wall patterns. This work extended two-dimensional drawing sensibilities and geometries into three dimensions, often relying on lines, grids and reduced palettes and simple shapes as basic units to translate thoughts, experiences, emotions and information into abstract visual language. Reviews linked her approach to modernist and minimalist artists, as well as accumulative postmodern artists. 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 early stage and body of work, which brought Cooper initial recognition through exhibitions, commissioned works and coverage by major critics and publications. Cooper'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 Diana Cooper, and the work no longer is viewable, 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.