Susan Kaprov is an inter-media artist who lives and works in New York City. She describes her approach to creating:
“As an artist, I am somewhat of a stylistic explorer, gravitating toward experimentation and risk-taking and avoiding allegiances to genres of any kind. I create by giving myself “assignments” or self-imposed themes that I explore in depth. By creating groups of related works in the same general idiom, I can work through their ramifications with great freedom. Although I believe all great art contains a strong spiritual and transcendent component, interpretations are ultimately left up to the viewer.”
Born and raised in New York City, Kaprov spent several years living and traveling abroad. She attended CUNY in New York City and did post-graduate study at Dartmouth College and Pratt Institute. Her interests are varied and extend beyond art to include science, archaeology, and long-distance cycling. Kaprov’s works range widely in both scale and media to include fired enamel on glass, photomontage on aluminum, glass mosaic, drawings, limited edition prints, and computer-generated images. She was recently featured in the exhibitions, The Convergence of Art & Science at the Fort Collins Museum of Contemporary Art in Colorado, PhotoGENEsis: Opus 2 at the Santa Barbara Museum of Art, Stilled Life at the Islip Art Museum (reviewed in the NY Times), and Contemporary Printmaking at the Hunterdon Museum of Art.
Kaprov’s work is in the permanent collections of major museums worldwide such as the Museum of Modern Art NY, the Metropolitan Museum of Art, the Museum Boijmans-van Beuningen in Rotterdam, the Yale University Art Gallery, and the Corcoran Gallery of Art, among others. She has created public art commissions for such organizations as the Port Authority of New York and New Jersey, MetroTech Center in NYC, and the General Services Administration, Washington DC. Reviews of her work have appeared in numerous books and publications including the New York Times, Art in America, Art News, The Village Voice, and Newsday.