The Sonya Rapoport Legacy Trust is pleased to report that the exhibition “Sonya Rapoport: Final Works” (11/14/2015 – 12/19/2015) at Krowswork – a center for video and visionary art in Oakland, CA, received three very complimentary and informative reviews.
By Emily Holmes, KQED Arts, December 15, 2015
Alongside the hyper-local references to the Krowswork residency and her own body of work, Rapoport’s practice extends to examine the idea of the public itself. Her repeated use of The New York Times as a canvas suggests a fascination with mass visual culture, that sea of information that surrounds individuals as they craft their own experiences. Rapoport continually studied her own navigation through public information, media, advertisements and even language itself.
Sonya Rapoport: Final Works functions as a capstone and a cliffhanger. Although the exhibition presents just enough of her early work that anyone can comfortably move forward into experiencing these last pieces, it’s clear that Rapoport’s work — early and final — is worth getting to know.
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By Marcia Tanner, Berkeleyside, December 11, 2015
Rapoport intuited the Internet before there was one (she coined the term “netweb” in 1981) and foresaw how it would make all the world’s history, imagery, ideas and information available, immediately and simultaneously, to anybody searching through it.
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By Sarah Burke, East Bay Express, December 09, 2015
[S]he delved into experimentation with early digital media, creating interactive installations that used computer programs to gather and reconfigure data — often integrating emotion and computing in a manner commonplace today but unheard of at the time.
The East Bay Express also marked the Krowswork exhibition as a “Top Five” event.
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