Sarah Cooper is a curator, writer, and art historian based in Los Angeles.
She is the Public Programs Specialist for performance at the J. Paul Getty Museum, where she directs the experimental performance series Ever Present, among other programs.
She has organized programs featuring artists and musicians including Kim Gordon, Simone Forti, Brendan Fernandes, Patti Smith, Lonnie Holley, Martin Creed, Midori Takada, Helado Negro, Moor Mother, David Wojnarowicz, Derek Jarman, and Solange Knowles.
In addition, Sarah has held positions at The Museum of Modern Art and the Guggenheim Museum in New York, the Royal Academy in London, and the Andy Warhol Museum in Pittsburgh.
She holds a Master's Degree in Art History from Hunter College, New York. Her thesis, Expanding Experimentalism: Popular Music and Art at the Kitchen in New York City, 1971-1985, explores the creative output of artists' bands and the relationship between popular music and avant-garde performance practices.
sarahannecooper [at] gmail.com
She is the Public Programs Specialist for performance at the J. Paul Getty Museum, where she directs the experimental performance series Ever Present, among other programs.
She has organized programs featuring artists and musicians including Kim Gordon, Simone Forti, Brendan Fernandes, Patti Smith, Lonnie Holley, Martin Creed, Midori Takada, Helado Negro, Moor Mother, David Wojnarowicz, Derek Jarman, and Solange Knowles.
In addition, Sarah has held positions at The Museum of Modern Art and the Guggenheim Museum in New York, the Royal Academy in London, and the Andy Warhol Museum in Pittsburgh.
She holds a Master's Degree in Art History from Hunter College, New York. Her thesis, Expanding Experimentalism: Popular Music and Art at the Kitchen in New York City, 1971-1985, explores the creative output of artists' bands and the relationship between popular music and avant-garde performance practices.
sarahannecooper [at] gmail.com
Hunter College MFA Building
March 8, 2013
Organized with Emily Bates
Internationally renowned artist David Lamelas will stage Time, an ephemeral exercise addressing the nature of time and space. Once the performance starts, one person is asked to count and hand off a minute of time to the next. Lasting only as long as the number of participants, Lamelas uses the physical acknowledgement of time to challenge notions of object-hood and point to the immortality of the concept.
Argentinian composer Carlos D'Alessio's contribution to avant-garde art activity in 1970s New York remains mostly lost in obscurity. However, his Project for a Concert of Electronic Music, included in The Museum of Modern Art’s seminal Information exhibition catalogue, relies on circuits of action to produce new content, exemplifying the participatory experimentation of the period. The performance gathers a party to create an impromptu piece of sound art by recording both the sound of the guests freely manipulating transistor radios together with the sounds of the chatter of the crowd itself, played back in a concert.
Staged in conjunction with Open Work: Latin America, New York, and Beyond: Conceptualism Reconsidered, 1967–1978 at The Bertha and Karl Leubsdorf Art Gallery at Hunter College.
