File:Katharine Kuharic Super Bowl Sunday 2003.jpg

Painting by Katharine Kuharic, Super Bowl Sunday (oil on linen, 36" x 24", 2003; St. Louis Art Museum collection). The image illustrates a key mid-career body of work in Katharine Kuharic's painting in the 2000s, when she focused on socio-politically focused themes, drawing on found imagery appropriated from local newspapers and magazines, flyers, and junk mail. These paintings reconfigured such imagery into packed compositions examining American overabundance, consumerism, and boom-and-bust real estate and financial markets—in this case, seven mandala- or flower-forms composed of fanned-out consumer products hovering over a devastated, rubble-strewn landscape with a bombed out, tiled bathroom and tangle of twisted pipes. This work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications and acquired by a major museum.

Artist Katharine Kuharic. Copyright held by the artist.

Katharine Kuharic

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key middle body of work in Katharine Kuharic's career in the 2000s: her paintings that shifted toward more socio-politically focused themes, drawing on found imagery appropriated from local newspapers and magazines, slick-printed flyers, and junk mail. These paintings reconfigured such imagery into packed compositions examining American overabundance, consumerism, and boom-and-bust real estate and financial markets, taking a tone that was simultaneously critical and celebratory. Critics have characterized them as "magic realist," "hyperbolic realist," and surreal, noting Kuharic's complex, labor-intensive techniques, including the collaging, drawing, re-collaging and re-drawing of appropriated imagery—before hand-transferring compositions onto canvas—and old-master-like painting process. 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 mid-career stage and body of work, which brought Kuharic initial recognition through exhibitions at museums and coverage by major critics and publications. Kuharic'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 Katharine Kuharic, 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.