GROUP PHOTOS WITH FRIENDS:
1 2 3
4 5 6
 

1."ISSUE", London, ICA, 1980; Lucy R. Lippard, Susan Lacy, Nil Yalter, Nancy Spero,
    M. Sharon & others.

2. Ana Mendieta & Mary Beth Edelson, Soho, NYC, 76.
3. Ana Mendieta & Rachel Bas-Cohein.
4. Ana Mendieta & M. Sharon, AIR Gallery, NYC, 79. ( Behind a work of M. Sharon)
5. M. Sharon, Nancy Spero, Dotti Attie.
6. Detail of above, AIR Gallery, NYC, 79.
 
 
                                                                
 

ECO/COM/SYS or ECOLOGICAL COMPUTER SYSTEM

In 91 I have moved to a village in France & started my self-proclaimed exile as a so-called "Farmer-Worker,"  living among farmers; thus earth became a source of life & my art has moved from environmentally oriented Art Projects  to intimate indoor Installation Works (large dimensions in space).  The works stood for metaphors to computer-technologies & were all hand-body-made, while recycling Art History & all other daily events; personal & political from a critical perspective.  The daily mathematics of mind exercise & its translation into actual creativity resulted in a mega-computer=mega-human-woman & to a visual linguistic not dictated by market success, but by the "success" of the realization of work, which depended merely on the inner inertia of its creator exercising the linguistic of the work on its various factors being transformed into one abstraction after all factors were activated.* M. Sharon, 09,Feb.
*For more on ECO/COM/SYS follow website; WWW.MSAMUSEUM.COM  under its chapter.

An Art created outside The Art Market or Working-Art

An Art created outside The Art Market or Working-Art (Art Projects & Eco/Com/Sys
(Outside the system of Art>Gallery>Commerce of Art>Museum)

An Art Situation created with the participation of workers, employees, women, etc. in their working places; in a harbor, factory, villages, municipality, Kibbutz, hospitals, etc. An art that instead of producing a "masterpiece" directly for a gallery, museum or collector's purpose was brought to a daily working- place, conveying, first of all, the rare, unique Art Experience to the hands of working people for them to live through their direct participation in their working place.  Thus one event (the work of art), which, while exercising it physically went through another dimension, that of the unknown, the surprise; a confrontation which became the fuse that transformed the banal daily experience of those working people, wherever such events took place (more than 40, since early 70's) into the extraordinary work of art, which became the so-called Art Projects, each one conveying its specific message, no more that of the unique masterpiece , but that of the message, as experienced by ordinary people, its meaning brought to the spectator in a "dry, visual & ordinary language, not for seduction purposes but for the comprehension of the spectator as a learning experience…For those reasons as mentioned above, such works of art made outside the art establishments has never been acknowledged, nor shown under their umbrella, except for exceptional progressive spaces, which accepted art for social change & such  art critics, such as Lucy R. Lippard, who, without her mediation, such projects would never have come to public awareness, altogether.* M. Sharon, 09, Feb.

*L.R. Lippard wrote in the 70's & 80's about those Art Projects extensively. With many thanks…M.S.
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MIRIAM  SHARON / Multi - Media Artist, Art Projects, Installations and Art Theoretician:
About the artist: Ms. M. Sharon is a pioneer multi-media artist,
who has developed a personal interactive art language, since early seventies & is known for the "Art Projects," incorporating the art work, within various working spaces, together with) the participation of its working people. She accomplished more than 30 various such "Art Projects," in Israel, England, Switzerland, U.S.A., France and other places. She has since been working on the development of the notion - time, space & movement within the framework of painting, film & photography, developing the fourth dimension: that is the meeting point of all disciplines together.

Beginning 73
- she started to realize the "Art Projects" series; Meditative Space Desert Projects; Utopian projects for peace. They are presented with the works themselves & photo-documentations of projects with video & film clips.

From 81 - 85
- The "Art Projects" are directly involved with peace issues. The "white House Saga" is an installation that incorporates the documentation of the "Art Projects" as well as a historical analysis of Europe prior to 2 WW which led to The Personal Loss. A film/Photo/Objects/Text Inst.

From 86
- "Paintings in Actions" series; Video/Photo documentation.

87-97
- "Multi-Installations: 9 Instl. Which combine photography, language; poetry, documentary texts, ravel doc; paintings, objects, sculptures; - an assemblage: "The Third dimensional moving image = "The Fourth Cinema," the"HomeMade-Computer-Movie"; Photo-Video presentation.

Since beg. 91
- renovating an ancient farm in Vendee/ living among farmers in France, This house & space incorporates the essence of my belief in art; of living & working together; foundation of Echo Space, the Nomad House/ Refugee house; "Woman-Bauhaus"; the confination of Culture & Agriculture.
In history of art no movements have been led by women artists.
The seventies saw women artists as avant-garde leaders in art. New terminologie's in art & life took place, thus changing the perceptions of art from a dominating male "heroic/superstar" culture into an art. Transforming the subordinade "home world" into egalitarian counterparts.

Lives In the USA (as alien of extraordinary ability) & in Vendee