Susan Kaprov (born 1946, New York City) is an American multi-disciplinary artist whose work spans the fields of photography, painting, graphic design, and installation art. [1]
Kaprov became widely recognized in 1975 for photomontages that combined the use of scanners, Haloid Xerox machines, and office copiers. [2] In 2019 sixteen of these experimental works were acquired by the Whitney Museum of American Art. [3]
Susan Kaprov studied biology and art history at the City University of New York (CUNY) and received a Bachelor of Science degree in 1970. [1] From 1971 to 1973, she studied architecture, graphic design, and fine arts at Dartmouth College and New York City Technical College in 1979. [1]
In 1975 Kaprov's self-portraits and photomontages were seen at the Rosa Esman Gallery [4] and then in a group exhibition later that year. [5] When these self-portraits debuted to the public at The Vassar College Art Gallery in September 1976, art critic Peter Frank identified Kaprov as one of the most successful artists in the medium at that time. [2]
The exhibition at Vassar College was followed a group exhibition at the Museum of Modern Art titled, "Prints: Acquisitions 1973–1976" [6] [7] In 1978 Kaprov's first solo show at the Terry Dintenfass Gallery titled "Parts of a World" presented a new print portfolio titled "Remembrance of Things Present" (1977–78) [8] in addition to a selection of paintings. [9] Her next series, titled "White Light Drawings", was exhibited at the Hayden Planetarium in New York City. [10]
In 1981 the Brooklyn Museum acquired "20th Century Dilemma I" [11] [12] This installation reflected a collaged, grid structure on a monumental scale. By 1989 Kaprov had produced public art installations for a number of several organizations. [13]
In 2004 Kaprov produced "Time Travelers" for the Wilcox Technical High School in Meriden, Connecticut. [14] "Urban Helix" (2006) a fired, enamel-on-glass installation was commissioned as a permanent installation at New York University's Polytechnic Institute. [15]
In 2011, Kaprov was selected from a national competition to create a ten-minute, single-channel animated sports video for the University of Iowa’s Carver–Hawkeye Arena, [16] merging live-action sports team footage with original hand-drawn animation. [17]
In 2013, Kaprov conducted a participatory puzzle-making project, entitled Piecing it Together at the Museum of Modern Art. [18] Two more commissions [19] [20] were completed between 2012 and 2014 respectively.
Examples of Kaprov's work are represented in the collections of the Metropolitan Museum of Art, [21] the Museum of Modern Art, [22] the Smithsonian, [23] the Brooklyn Museum [24] the Rose Art Museum, [25] the art gallery at Rowan University, [26] and the Visual Studies Workshop. [27]
Kaprov was married to the physicist David Stoler until his death in 2018. [38]
Martha Rosler is an American artist. She is a conceptual artist who works in photography and photo text, video, installation, sculpture, and performance, as well as writing about art and culture. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war, as well as architecture and the built environment, from housing and homelessness to places of passage and systems of transport.
Anni Albers was a German textile artist and printmaker credited with blurring the lines between traditional craft and art.
Besides surface qualities, such as rough and smooth, dull and shiny, hard and soft, textiles also includes colour, and, as the dominating element, texture, which is the result of the construction of weaves. Like any craft it may end in producing useful objects, or it may rise to the level of art.
Colab is the commonly used abbreviation of the New York City artists' group Collaborative Projects, which was formed after a series of open meetings between artists of various disciplines.
The feminist art movement in the United States began in the early 1970s and sought to promote the study, creation, understanding and promotion of women's art. First-generation feminist artists include Judy Chicago, Miriam Schapiro, Suzanne Lacy, Judith Bernstein, Sheila de Bretteville, Mary Beth Edelson, Carolee Schneeman, Rachel Rosenthal, and many other women. They were part of the Feminist art movement in the United States in the early 1970s to develop feminist writing and art. The movement spread quickly through museum protests in both New York and Los Angeles, via an early network called W.E.B. that disseminated news of feminist art activities from 1971 to 1973 in a nationally circulated newsletter, and at conferences such as the West Coast Women's Artists Conference held at California Institute of the Arts and the Conference of Women in the Visual Arts, at the Corcoran School of Art in Washington, D.C..
Sylvia Sleigh was a Welsh-born naturalised American realist painter who lived and worked in New York City. She is known for her role in the feminist art movement and especially for reversing traditional gender roles in her paintings of nude men, often using conventional female poses from historical paintings by male artists like Diego Vélazquez, Titian, and Jean-Auguste-Dominique Ingres. Her most well-known subjects were art critics, feminist artists, and her husband, Lawrence Alloway.
Pat Steir is an American painter and printmaker. Her early work was loosely associated with conceptual art and minimalism, however, she is best known for her abstract dripped, splashed and poured "Waterfall" paintings, which she started in the 1980s, and for her later site-specific wall drawings.
Barbara Ann Rosenthal is an American avant-garde artist, writer and performer. Her existential themes have contributed to contemporary art and philosophy. Her pseudonyms include "Homo Futurus," taken from the title of one of her books and "Cassandra-on-the-Hudson," which alludes to "the dangerous world she envisions" while creating art in her studio and residence, located since 1998 on the Hudson River in Greenwich Village, NYC. She successfully trademarked "Homo Futurus" in 2022.
Marylyn Dintenfass is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures.
Heather T. Hart is a visual artist who works in a variety of media including interactive and participatory Installation art, drawing, collage, and painting. She is a co-founder of the Black Lunch Table Project, which includes a Wikipedia initiative focused on addressing diversity representation in the arts on Wikipedia.
Howardena Pindell is an American artist, curator, and educator. She is known as a painter and mixed media artist, her work explores texture, color, structures, and the process of making art; it is often political, addressing the intersecting issues of racism, feminism, violence, slavery, and exploitation. She is known for the wide variety of techniques and materials used in her artwork; she has created abstract paintings, collages, "video drawings," and "process art."
Margia Kramer is an American documentary visual artist, writer and activist living in New York. In the 1970s and 1980s, Kramer recontextualized primary texts in a series of pioneering, interdisciplinary multi-media installations, videotapes, self-published books, and writings that focused on feminist, civil rights, civil liberties, censorship, and surveillance issues.
Robin Winters is an American conceptual artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. As an early practitioner of Relational Aesthetics Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Recurring imagery in his work includes faces, boats, cars, bottles, hats, and the fool.
Mary Miss is an American artist and designer. Her work has crossed boundaries between architecture, landscape architecture, engineering and urban design. Her installations are collaborative in nature: she has worked with scientists, historians, designers, and public administrators. She is primarily interested in how to engage the public in decoding their surrounding environment.
Martha Neill Upton was a watercolorist, sculptor and studio quilt artist. Her quilted tapestries helped quilts become seen as fine art, rather than craft work, during the early 1970s. Her quilts were shown in the first major museum exhibition of non-traditional quilts, The New American Quilt at New York's Museum of Arts and Design, then called the Museum of Contemporary Craft, in 1976.
June Druiett Blum was a multimedia American artist who produced paintings, sculptures, prints, light shows, happenings, jewelry, art books, pottery, conceptual documentations, and drawings. She was also a feminist curator and activist who worked to advance the women's movement and increase visibility for women artists.
Ann Gillen is an American sculptor.
Ronald Markman was an American artist and educator best known for producing large colorful paintings and sculptures in a style that combined elements of Surrealism and pop art with a deep grounding in color theory. He integrated classical and popular culture, humor, as well as whimsy and riotous color to deliver social satire and a deeply personal vision of the world.
Elke Solomon is an artist, curator, educator and community worker. She is known for her interdisciplinary practice that combines painting, drawing, object-making, performance and installation. She has exhibited widely in the United States and abroad.
Suzi Ferrer, also known as Sasha Ferrer, was a visual artist based in San Juan, Puerto Rico from the mid-1960s to 1975. She is known for her transgressive, irreverent, avant-garde, art brut and feminist work.
Jonathan Green is an American writer, historian of photography, curator, teacher, museum administrator, photographer, filmmaker and the founding Project Director of the Wexner Center for the Arts. A recognized authority on the history of American photography, Green’s books Camera Work: A Critical Anthology (1973) and American Photography: A Critical History 1945–1980 (1984) are two notable commentaries and frequently referenced and republished accounts in the field of photography. At the same time Green’s acquisitions, exhibitions and publications consistently drew from the edges of established photographic practice rather than from its traditional center. He supported acquisitions by socially activist artists like Adrian Piper and graffiti artist Furtura 2000, and hosted exhibitions on Rape, AIDS, new feminist art, and the work of photographer, choreographer and dancer Arnie Zane, the Diana camera images of Nancy Rexroth, the Polaroids and imitation biplanes of folk artist Leslie Payne, and the digital photographic work of Mexican photographer Pedro Meyer. This alternative focus help prime Green and the competition jury to choose an unconventional, deconstructive architect, Peter Eisenman, previously known primarily as a teacher and theorist, as the architect for the Wexner Center for the Arts. Green has held professorial and directorial positions at Massachusetts Institute of Technology, Ohio State University, and University of California, Riverside.
{{cite web}}
: CS1 maint: multiple names: authors list (link) Women's Art Newsletter, Vol. 1, No. 4, p. 2.