File:Charles Ross DwanLightSanctuary.jpg

Installation image of Charles Ross, Dwan Light Sanctuary (1996). The image illustrates a key body of work in Charles Ross's career beginning in the 1980s, when he began producing large-scale public art commissions in architectural spaces throughout the United States and in Japan and Australia. These most often employed multiple large-scale prisms strategically placed to choreograph sunlight through the spaces. This image shows the Dwan Light Sanctuary, a structural artwork located in Montezuma, New Mexico on the campus of the United World College, which Ross collaborated on with Virginia Dwan and architect Laban Wingert. Ross contributed solar spectrum artwork in the form of 24 enormous prisms placed in the structure's apses and skylights and astronomical design elements such as the building's orientation. The prisms cast immense rainbows in slashing patterns and shades that move around the open interior's curved plaster wall and twenty-three-foot-high ceiling. This work has been discussed in major art journals and daily press publications.

Artist Charles Ross. Copyright held by the artist.

Charles Ross (artist)

Installation image

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key body of work in Charles Ross's career beginning in the 1980s: his public art commissions produced in a variety of architectural spaces throughout the United States and in Japan and Australia. These works have employed prisms, sometimes in the form of a sculptural column, but most often in groups strategically placed to choreograph sunlight through their spaces, which change with conditions. He has created them for places of contemplation, such as the The Class of 1959 Chapel at the Harvard Business School (1992) and (this work) the Dwan Light Sanctuary (1996), among others. 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 body of work, which brought Ross continuing recognition through highly visible commissions and locations and coverage by major critics and publications. Ross'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 Charles Ross, 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.