File:Erika Rothenberg House of Cards Foreigh Affairs.jpg

Multi-media work by Erika Rothenberg, House of Cards (installation of 90 satirical greeting cards, 1992, Museum of Modern Art, New York). The image illustrates a major body of work in Erika Rothenberg's career beginning in the early 1990s, when she began producing hand-painted, satirical greeting cards that examined a range of social and political issues. Each one employs the one-two punch strategy of typical greeting cards, with an innocuous cover with a "punchline" on the inside, which she displayed side-by-side in greeting store-styled installations, organized with section wall plaques (in this image, "Foreign Affairs"). This body of work comprised prominent exhibited, was widely discussed in major art journals and daily press publications, and acquired by major museums.

Artist Erika Rothenberg. Copyright held by the artist.

Erika Rothenberg

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating a major body of work in Erika Rothenberg's career beginning in the early 1990s: her satirical, hand-painted works mimicking the form and generic sentimentality of greeting cards, which examine a range of social and political ills and injustices. These works have been the focus of exhibitions beginning at the Museum of Modern Art (New York) in 1992 through gallery shows in Chicago, Los Angeles and New York from 2015 to 2018, displaying ongoing relevance in their explorations of commercialization, social complacency, and sensationalism. They were often presented in the greeting store-styled installations, organized with section wall plaques (reading "Abortion," "Politics," "Racism," "Religion," "Sexual Abuse," for example). 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 major body of work, which brought Rothenberg ongoing recognition through prominent exhibitions, coverage by major critics and publications, and museum acquisitions. Rothenberg'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 Erika Rothenberg, 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.