File:Lewis deSoto End of Desire.jpeg

Installation by Lewis deSoto, End of Desire (2000–10; Headlands Center for the Arts, 2001). The image illustrates a key mid-career body of work by Lewis deSoto: his sound and projection installations exploring beliefs about land and universe, transcendence and transience and sensory experience. This image depicts an installation in which he erected a wooden pier above a room strewn with overpoweringly fragrant cocoa hulls; it was deemed a "Zen joke" about temptation and resistance in one review. This work was publicly commissioned and exhibited by prominent venues and discussed in major art journals and daily press publications.

Artist Lewis deSoto. Copyright held by the artist.

Lewis deSoto

Installation view

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 mid-career body of work by Lewis deSoto beginning in the 1990s when he created a series of sound and projection installations that drew upon Native American culture, California settings and enigmatic arrangements of objects in order to examine themes such as traditional and modern attitudes about land and universe, transience and sensory desire. These works were characterized by their use of quotidian objects, video projection, moody lighting, diverse sound elements and emphasis on viewer participation in his work involving movement and space. Because the article is about an artist and his art, the omission of the image would significantly limit a reader's understanding and ability to understand this key body of work, upon which deSoto's notability is largely based. This work brought him continuing recognition through exhibitions in major venues, coverage by major critics and publications, and museum exposure. DeSoto'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 Lewis deSoto, 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.