Carrots Anyone?

Umetnik

Susan Joy Share

Rođen/a u Syracuse, United States of America

A Pioneer of Kinetic Books: The World of Susan Joy Share

Susan Joy Share’s artistic journey is a testament to the boundless potential within the humble book – transforming it from a repository of words into a dynamic, sculptural experience. Born in Syracuse, New York, in 1953, her early life was steeped in creativity, nurtured by a family that valued hands-on pursuits and a deep appreciation for craft. This foundation laid the groundwork for an artist who would later redefine our understanding of what a book could be, blurring the lines between art object, performance piece, and architectural structure.

Share’s formal artistic training began at the New York State College of Ceramics at Alfred University, where she honed her skills in ceramics and sculpture. This early exposure to three-dimensional form proved crucial, informing her later explorations into architectonic paper structures – intricate, often monumental creations that defy traditional notions of book design. She continued her studies with Professor John C. Wood, a pivotal figure who ignited her passion for the book as a medium, introducing her to its rich history and potential for innovative expression. This period marked a significant shift, moving beyond purely sculptural pursuits towards a deliberate engagement with the unique qualities of the printed word.

From Conservator to Kinetic Artist

Following graduation, Share moved to New York City, immersing herself in the vibrant art scene while simultaneously pursuing work as an artist and conservator. This dual role proved invaluable, providing her with a deep understanding of both the fragility and enduring beauty of books – a knowledge she would later translate into her own groundbreaking creations. She spent over twenty years working at prestigious institutions like The Metropolitan Museum of Art, the New York Historical Society, and the Brooklyn Museum, meticulously repairing damaged volumes and constructing protective enclosures for valuable artifacts. This hands-on experience with historical texts instilled in her a profound respect for their materiality and form.

However, it was during this time that Share began to experiment with transforming books into dynamic objects – kinetic sculptures that unfolded, shifted, and revealed hidden layers of meaning. Her early performances at Florida Atlantic University showcased this inventive approach, captivating audiences with intricate movements and playful interactions. These performances weren’t merely displays; they were explorations of the book's inherent potential for transformation, mirroring Share’s own artistic evolution.

The Language of Paper: Structures and Performances

Share’s work is characterized by a remarkable synthesis of diverse materials – paper, metals, photographs, textiles, and threads – all meticulously combined to create complex architectural structures. Her creations often resemble miniature cities or fantastical landscapes, inviting viewers to explore their intricate details and discover hidden narratives. She frequently incorporates elements of Japanese origami and Jacob’s ladders, demonstrating her mastery of paper engineering and her fascination with spatial relationships.

Beyond static sculptures, Share is renowned for her immersive performances that seamlessly integrate her book art with movement and sound. These events are often collaborative, involving dancers, musicians, and actors, creating a multi-sensory experience that challenges traditional notions of the book as a passive object. Her 1991 performance at the Hotel Pennsylvania in Manhattan, for example, was a landmark event, drawing large crowds eager to witness her innovative approach to book art.

Legacy and Recognition

Susan Joy Share’s work has garnered widespread recognition within the contemporary art world. Her creations are held in prestigious collections including the Anchorage Museum, The Jaffe Center for Book Arts at Florida Atlantic University Library, and the Victoria and Albert Museum in London. She continues to teach at institutions across North America, sharing her knowledge and inspiring a new generation of artists. Her 2018 exhibition, InFormal Nature, showcased her ability to capture the essence of Alaska’s landscape through intricate paper structures, further solidifying her reputation as a visionary artist.

More than just an artist, Susan Joy Share is a pioneer – a sculptor of words, a weaver of stories, and a champion of the book's enduring potential. Her work serves as a powerful reminder that art can be found in the most unexpected places, transforming everyday objects into extraordinary experiences.

Muzej

National Museum of Women in the Arts

Izložbeno mesto Vašington, D.C., Sjedinjene Američke Države

Sklonište vizionarske obnove

U srcu Vašingtona, D.C., stoji spomenik tihoj, ali dubokoj revoluciji.

Nacionalni muzej žena u umetnosti

je mnogo više od samog čuvarišta lepih predmeta; on predstavlja nameran čin istorijske obnove. Vekovima su velike priče istorije umetnosti pisali oni koji su često prevideli kreativnu briljantnost žena, ostavljajući polovinu umetničkog nasleđa čovečanstva u senci. Muzej je proizašao iz želje da se ispravi ova neravnoteža, nastajući iz misije pokrenute 196šte desetak godina prošlog veka, kada su osnivači Volas i Vilhelmina Holade shvatili da se majstorice poput Klare Piters brišu iz samih udžbenika koji bi trebalo da ih slave. Danas ova institucija služi kao živi svetionik, osiguravajući da se glasovi umetnica — koji obuhvataju različite kulture i ere — čuju sa jasnoćom i odjekom.

Fizičko prisustvo muzeja je podjednako moćno kao i njegova misija. Smešten u veličanstvenoj nekadašnjoj masonskoj temenu na Njujork aveniji, sama zgrada priča priču o metamorfozi. Prvobitno završena 1908. godine u grandioznom stilu renesansnog revivalizma, ova istorijska znamenitost prošla je kroz opsežnu renovaciju vrednu šezdeset šest miliona dolara kako bi se transformisala iz fraternalne dvorane u sofisticirano umetničko utočište. Za posetioce, ulazak u muzej poput je koraka u prostor gde se prožimaju istorija i modernost. Arhitektura, upisana u Nacionalni registri istorijskih mesta SAD, pruža dostojanstvenu, uzvišenu pozadinu koja uzdiže umetnička dela unutar njenih zidova. Njene prostrane galerije dizajnirane su ne samo za izlaganje, već i za negovanje atmosfere kontemplacije, čineći je nezaobilaznom destinacijom za one koji cene spoj istorijskog veličanstva i savremene kulturne važnosti.

Tapiserija različitih izraza

Lutati kroz kolekciju znači otpočeti zadivljujuće putovanje kroz vreme i emocije. Muzej poseduje preko 6.000 umetničkih dela koja prelazite spektar od 16. veka do danas, nudeći bogatu tapiseriju ljudskog iskustva. Čovek se može naći dirnut intimnim, nežnim prikazima svakodnevice u delima

Mary Cassatt

, samo da bi potom bio zatečen odvažnim, ritmičnim apstraktima umetnice

Alma Woodsey Thomas

. Kolekcija nudi dubok dijalog između različitih era; profinisani, aristokratski portreti

Élisabeth Louise Vigée-LeBrun

postoje rame uz rame sa sirovim, političkim i duboko ličnim autoportretima

Frida Kahlo

.

Ova raznolikost čini muzej pravim riznicom kako za kolekcionare tako i za dizajnere, jer svaki komad nosi jedinstenu težinu identiteta i estetsku moć. Kolekcija obuhvata širok spektar medija i stilova, uključujući:

Nežna istorijska uljana slika koja hvata nijanse svetlosti i senke.

Upečatljive multimedijalne printove, poput onih koje je kreirala

Delita Martin

.

Savremena dela umetnica poput

Amy Sherald

, koja premošćuju jaz između tradicije i modernog identiteta.

Ono što istinski izdvaja Nacionalni muzej žena u umetnosti jeste njegova uloga katalizatora promene koji živi i diše. On ne gleda unazad samo sa nostalgijom; on gleda unapred sa namerom. Kroz revolucionarne izložbe kao što je

Umetnice od Antverpa do Amsterdama

, muzej osvetljava zaboravljena perioda inovacija, dok njegove stalne istraživačke inicijative prodiru u arhive kako bi otkrile izgubljene narative. Podržavajući i etablirane ikone i nove talente, institucija neguje dinamično okruženje u kojem se rodni identitet, socijalna pravda i umetnički izraz neprestano preispituju. On ostaje vitalni podsetnik da je istorija umetnosti potpuna tek kada svakom glasu bude dodeljeno njegovo pravo mesto na svetlosti.