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
Friday Flights
June 10, 2016
Getty Museum, Los Angeles
Artist Michael Parker has teamed up with Wesley Hicks to create a series of instruction-based scores to be performed live by 30+ musicians on physically and tonally unique ceramic instruments, handmade by the artistsin a variety of lustrous glazes and organic forms.
Parker’s noted exhibition Juicework at Human Resources last year included 1,000 ceramic sculptures presented as both functional citrus juicers, cups, platters, and hanging lights, in a multi-faceted participatory installation. Part of Juicework was the collapsing of Parker’s juicers and Hicks’ ocarinas, a type of ceramic flute, into a new microtonal instrument: the Juicerina.
The Juicerinaperformances have developed into an ongoing site-specific project, with presentations at the Pomona College Museum of Art’s “R.S.V.P. Los Angeles” and San Francisco’s Southern Exposure Gallery. Tracing connections to the Getty’s artworks and architecture while moving between galleries, liminal spaces, courtyards, and gardens, Parker and Hicks’ original scores will bring a new experience of sound and space into the far corners of the Getty site.
