File:Margaret Fisher Splitting 1981.jpg

Performance still of Margaret Fisher performing Splitting (1977) at the Venice Biennale Carnevale in 1980. Photo credit: Maurizio Zanetti. The image depicts an early performance and choreographic work in Margaret Fisher 's career from the late 1970s/early 1980s, which demonstrates her unconventional approach, which she labels "cellular movement," developed out of studies of yoga and contact improvisation. This work and similar works were performed in prominent venues in the U.S. and internationally, and discussed in major performance art journals and daily press publications.

Artist Margaret Fisher. Copyright held by the artist, The Drama Review.

Margaret Fisher (artist)

Performance still

Yes

The image serves an informational and educational purpose as the primary means of presenting an early performance and choreographic work in Margaret Fisher 's career (late 1970s/early 1980s) that illustrates the unconventional she developed out of studies of yoga and contact improvisation, which she labels "cellular movement." Her style has been characterized as striking in presence, virtuosity and concentration and based on the body's energy impulses and movement from the joints, rather than patterns in space or movement across a stage; it uniquely features chiseled, repetitive gestures, a focus on smaller body parts rather than the torso for kinetic expression, rhythmic patterns akin to language or jazz, and movement on a horizontal, pictorial-like plane. 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 visualize this key, foundational elements of her work, which attracted international attention and reviews. Fisher '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 Margaret Fisher, 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.