File:B. Collura Prince at Smack Mellon 2019.jpg

Sculptural installation by Bonnie Collura, "The Prince" exhibition (Smack Mellon, New York, 2019; counterclockwise Matriarch/Heavy Metal/ Jesus, Skin of a Dancing Ghost: Jesus, Guardian Blue, Skin of a Dancing Ghost: Lincoln, Mortality/Evening/Lincoln; all 2018). The image illustrates a key longstanding of work by Bonnie Collura in the 2000s, when she created sculptures, textiles, performances, videos and installations that form "The Prince Project" (2005–present). The project examines male hero cultural through a feminist lens and a surrogate "Prince" figure that takes various forms referencing four male archetypes: Jesus, St. Sebastian, C-3PO and Abraham Lincoln. This image shows Collura's 2019 Smack Mellon exhibition and several Prince character made as both solid sculptures and corresponding soft-form constructions. This body of work and individual piece were publicly exhibited in prominent exhibitions and discussed by critics in major art journals and daily press publications.

Artist Bonnie Collura. Copyright held by the artist.

Bonnie Collura

Installation image

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key body of work by Bonnie Collura beginning in 2005–present: her sculptures, textiles, performances, videos and installations that form "The Prince Project." The project critiques cultural patterns involving male heroes through the creation of a Golem, or surrogate persona embodied in various forms, pieced together from aspects of four male archetypes: Jesus, St. Sebastian, C-3PO and Abraham Lincoln. Collura re-interpreted these creation myths, as well as the shared martyr wound of these figures, in feminist terms that suggest the potentially disruptive energy of women. 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 longstanding body of work, which has brought Collura continuing recognition through exhibitions, coverage by major critics and publications and museum attention. Collura'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 Bonnie Collura, 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.