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
DJ set by Jessica Pratt and Matt McDermott
June 10, 2017
Off the 405
Getty Center, Los Angeles
The jangly, modish cool of The Kinks collide with flowery San Francisco bohemia in White Fence, the central project of the multi-faceted musician Tim Presley, who updates his ‘60s influenced brand of psychedelic rock with a punk and garage edge. Having evolved out of a notorious hardcore scene in San Francisco in the '90s, Presley was part of a wave of musicians active in the Bay Area, including Ty Segall, Mikal Cronin, and Thee Oh Sees’ John Dwyer, who moved to Los Angeles around 2013. With their distinctly garage rock take on nostalgic psychedelia, they formed a prodigious cell of hard-hitting but highly dexterous bands who have become known for producing some of the most exciting American rock in recent years. Of the group, White Fence dives deepest into British ‘60s pop sounds for melodic songs with a counterculture chic. His eerie falsetto and buzzy, distortion-laced guitar create what NPR called “tastefully arranged, skillfully played, guitar-oriented throwbacks to a more hopeful time, full-bodied and dripping with paisleys.”
Photos by Ashly Covington for Buzzbands LA.
