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
Mary Lattimore & Jeff Zeigler
live score Philippe Garrel's Le Révélateur & Guy Maddin's Odilon Redon or the Eye Like A Strange Balloon Mounts Toward Infinity
February 27, 2016
Getty Museum, Los Angeles
Philadelphia-based harpist Mary Lattimore and multi-instrumentalist Jeff Zeigler performed an original live score to Philippe Garrel's Le Révélateur and Guy Maddin's Odilon Redon or the Eye Like A Strange Balloon Mounts Toward Infinity, two enigmatic films that mine the aesthetic atmosphere explored by the exhibition Noir: The Romance of Black in 19th-Century French Drawings and Prints.
Regular musical collaborators, Lattimore and Zeigler's recent contemplative, dynamic album Slant of Light weaves an elaborate, picturesque soundscape, born out improvisations and evidence of an innate connection between their musical sensibilities. Each of their skills have made them some of the most in-demand musical collaborators in and out of Philadelphia, where they have worked with a range of notable artists like Kurt Vile, Jarvis Cocker, Meg Baird, Steve Gunn, Thurston Moore, Purling Hiss, A Sunny Day in Glasgow, and The War on Drugs, among many more. For Lattimore, a former member of The Valerie Project ensemble, this is her second experience scoring a compelling piece of film history. In 2006, The Valerie Project composed an original score to the baroque-folk masterwork of the Czech New Wave, Valerie and Her Week of Wonders, presenting it at the Museum of Modern Art in New York and London's Meltdown Festival.
