File:Kerry Tribe Aphasia Poetry Club.jpg

Film installation by Kerry Tribe, The Aphasia Poetry Club (Three-channel video projection with sound, 28:27 min., Installation view, 365 Mission, Los Angeles, 2015). The image illustrates a later body of work by Kerry Tribe in the mid-2010s, when she produced multi-channel video and mixed-media installations that explored communication, empathy and systems through various cognitive and neurological disorders. In this work, she supplanted documentary's typical "talking head" format with loose, associative portraits combining narration by three people with aphasia, photography and animation. The work's a tri-part format of video projection conveyed the sense of information overload and difficulty of expression that aphasics experience through scenes with disorienting and obstructed perspectives. These multimedia installations were publicly exhibited in prominent venues, commissioned by art institutions, and discussed in major art journals and daily press publications.

Artist Kerry Tribe. Copyright held by the artist.

Kerry Tribe

Installation image

Yes. The image will not affect the commercial 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.

The image has contextual significance serving an informational and educational purpose as the primary means of illustrating a key later body of work by Kerry Tribe: her multi-channel video and mixed-media installations centered on communication and empathy through disorders such as aphasia, which results from cerebral traumas such as strokes and reflects damage to the brain's language centers. These works frequently explored how such anomalies can reveal how typical systems function and present unexpected opportunities for shared understanding. Attention to the apparatus and form of various media arising out of the content often played a key role in structuring individual works. Because the article is about an artist and her art, the omission of the image would significantly limit a reader's understanding and ability to understand this later body of work, which brought Tribe continuing recognition through exhibitions in major venues, coverage by major critics and publications, and institutional commissions. Tribe's work of this type and this series, as well as this specific work, are 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 Kerry Tribe, so the image cannot be replaced by a free image.

The image use is minimal in that it conveys important information that a full artwork image at a limited fair-use size cannot due to the uniquely hyper-detailed nature of the work. By providing a close-up of the artist's style and imagery, it is significantly more informative for a viewer. It is also a further protection (along with the low resolution) against affecting commercial value.