COOPER (artist)

COOPER (artist)

COOPER (Bryan Cooper, born 1976, the artist changed his name to one word in all capital letters in 1993) is an American artist known for sculptures and assemblages that exist as meditations on death, mans emotional capacities and struggles for power. COOPER was born and raised in Miami, FL. He lives and works in Arizona.

Contents

Contents

COOPERs sculptures are often made from various found objects, wood, electrical devices, fabric, paper, and industrial hardware items.

The subjects of COOPERs projects are often related to investigating the world at dusk, attempting to describe visually the moment when it is precisely not day, or night. The work always involves some element of darkness, and intentional obscurity- such as a wall mounted fountain that recycles a miniature black river, or models of caves where light disappears before the viewer into a simulated tunnel. These themes continue into works that involve timed mechanical devices, operating like old time Houses of Horror, illusion, trickery or a spook-ride from a traveling carnival, and other works such as translucent layered drawings depicting human turmoil surrounded by floating objects and depiction.

Other characteristics in his work are unpainted wood with the liberal use of chemical binders and tinted epoxy resins, heavy paint drips, a mixture of highly crafted items merged with shoddy construction debris, sewn materials, and the deliberate elevation of common hardware to a visual language. The style of COOPERs artwork falls into a steampunk aesthetic crossed with American historical references. His work "Our American Cousin" (2001) for example, is a large installation piece consisting of a cave, video projection device, and custom costume elements. Art writer Jocelyn Adele Gonzalez comments, "The work is simultaneously humorous and distressing, and at some point lies on the edge of being socio-political. There is indubitably an integration and simultaneity of subjects that intertwine to present the viewer the episteme of the post modern condition where appropriations, simulacrum and parodies go beyond mere pastiche."[1][2]

In January 2007, COOPER gave an interview to ArtCircuits Magazine on the subject of the 2008 exhibition "Seven Years Bad Luck" he is quoted saying "[I am inspired by] what you dont know, what happened in the house before you lived there, whats under the grave.[3]" These macabre intentions have a sinister humor applied with long poetic titles attached to them, for example, the 2002 drawing called "Die, Die, Die, Die, Die, Die, Die, Die, Die, Die, Then Call Me Tomorrow" or the 2008 sculpture enigmatically labeled, "Black Lungs: Ever notice how all artists are super-sensitive, temperamental, selfish crybabies, and it only gets worse as they get older and continually more bitter. The long dark tea time of the soul right before death and then your taxesnow, imagine a world with two Elviss, twin brother performers. Best to die young and famous. In her hand, a faded Polaroid of her white Corvette plunged head first into the telephone pole, totaled beyond repair."

COOPERs work has been published in Miami Contemporary Artists by Paul Clemence, Julie Davidow, Elisa Turner, (Schiffer Publishing 2007 ISBN 0764326473) and Bonnie Clearwaters book Making Art in Miami, Travels in Hyper-reality (2001 Museum of Contemporary Art ISBN 1888708115) as well as periodicals including Art in America, Sculpture Magazine, Art Papers, ArtNews, The New York Times, The Village Voice, Santa Fe Reporter and The Miami Herald.

In March 2005, the Fredric Snitzer Gallery, Miami, FL, exhibited COOPERs solo show titledWhiskey for a Red Dawnat which the Museum of Contemporary Art North Miami, acquired a large scale drawing titledThe finest palaces always make the most impressive ruins. So spend your money as fast as possible, and always use some sort of gold appliqué”.[3]

In May 2007, Dwight Hackett Projects exhibited a solo show of COOPERs sculpture calledI see a Red Door and want to Paint it Black,” this exhibition included the piece titledDead Ringer, Low E is the Sound of Blackconsisting of a baby grand piano buried underneath the gallery in a make-shift concrete tomb, a live video image of the piano was viewable on a flat screen television above the buried chamber, and a single piano key could be reached by the audience via a ground penetrating sword-like protrusion. [4]

COOPER is one of the three founders of Locust Projects, an alternative non-profit exhibition space in Wynwood, FL, started in 1997 and is a participant in the Artist Pension Trust.

Education

  • 1999 MFA UNIVERSITY OF ALABAMA TUSCALOOSA, AL
  • 1997 BFA Pratt Institute INSTITUTE NEW YORK, NY

Selected exhibitions

2010COOPER - New Work (Sunspots)’ Dwight Hackett Projects, Santa Fe, NM.
2009MOCANOMI: Pivot PointsMuseum of Contemporary Art, Miami, FL.
2009Selected Works: Beltran, COOPER, Esson, Pylypchuk, Lei RodriguezFredric Snitzer Gallery, Miami, FL.
2009Miami NoirInvisible Exports, New York, NY.
2008COOPER - Seven Years Bad LuckFredric Snitzer Gallery, Miami, FL.
2007COOPER - I see a red door and I want to paint it blackDwight Hackett Projects, Santa Fe, NM.
2007ConfluenceFredric Snitzer Gallery, Miami, FL.
2006COOPER - Whiskey for a Red DawnFredric Snitzer Gallery, Miami, FL.
2006For A(n) Relation(s)’ ADA Gallery,Richmond, VA.
2006MOCA Permanent CollectionMuseum of Contemporary Art, Goldman Sachs Warehouse, Miami, FL.
2005MOCA and MiamiMuseum of Contemporary Art, Miami, FL.
2005Dia De Los MuertosBath House, Dallas, TX.
2005If You Are Feeling SinisterAlona Kagan Gallery, New York, NY.
2005COOPER- Black Lungs, To Blow Smoke in Your FaceFredric Snitzer Gallery, Miami, FL.
2005Co OperateBas Fisher Invitational, Miami, FL.
2005O, The Games We PlayFredric Snitzer Gallery, Miami, FL.
2005It'll Cost YouKathleen Cullen Fine Art, New York, NY.
2005At this time: 10 Miami ArtistsRubell Family Collection, Miami, FL.

Additional Texts

Books: 2007Miami Contemporary Artistsby Paul Clemence, Julie Davidow, Elisa Turner, Schiffer Publishing ISBN 0764326473
2005MOCA and Miamiby Bonnie Clearwater, Museum of Contemporary Art ISBN 1888708986
2001Making Art in Miami, Travels in Hyperrealityby Bonnie Clearwater, Museum of Contemporary Art ISBN 1888708115
2000Sarasota Biennial-2000by Ringling Museum of Art ISBN 0916758389

Periodicals: 2007Loud and Dirty' by Zane Fisher , The Santa Fe Reporter, May 16
2007Cooper: I see a red door and want to paint it black' by Michael Abatemarco, THE Magazine, July
2006Miami makes the scene' by Enrique Fernandez , Miami Herald
2005 'Rubell Collection Exhibits Miami Artists' by Elisa Turner , Miami Herald
2005 'Current Shows- Black Lungs' by Alfredo Triff, The New Times
2004 'Artist Conversations' by Anat Ebgi , NY Arts magazine
2004Clearing houseStreet Magazine June 11
2003Miami: A Dramatic ReinventionArtNews February
2003Cooper: El Artista como AntiHéroEl Nuevo Herald March 9
2003Raw CooperStreet Magazine April 4
2003Cooper: Sculpture Exhibit at DorschThe Miami Herald August 17
2002Ear Candy in HumidStreet Magazine January 11
2001In Miami, A Hot Spot of Art, the Temperature is Risingby Amei Wallach, New York Times Sep. 16
2001Things to See, ARTVillage Voice Sep. 6
2001Ticket to Rideby Elisa Turner, The Miami Herald Dec. 20
2001An Artistic Ode to Miamiby Damarys Ocana, Street Magazine Dec 22-28
2001The Hyperreality of It Allby Alfredo Triff, The New Times Jan 4-10
2001Robots Take Over Frederic Snitzer Galleryby Carlos Reyes, MiamiArtExchange.com April
2001Hacer Arte en Miamiby Armando Alvarez Bravo, El Neuvo Herald Jan. 14
2001Cooper, Aproppiaciones y Licenciasby Miguel Sirgado, El Nuevo Herald April 15
2000Banking on Artby Paula Harper, Art In America May

References

1. ‘COOPER at Fredric Snitzer Galleryby Jocelyn Adele Gonzalez, Independent Review May 2001
2. The full title forOur American Cousinis "Drainpipes and death myths, headrest bombs and dusty thing in closets, rotten pastries and years of privation; but lets consider a moment in the past when we could have done thing differently , or perhaps been someone else- locum tenens for the sake of change- through fences across fields and out of windows with our American cousin" 2001, this installation is in the permanent collection of the Miami Art Museum.
3. The Museum of Contemporary Art North Miamis quarterly report dated January 2008.
4. ‘Loud and Dirty' by Zane Fisher, The Santa Fe Reporter, May 2007

External links

Fredric Snitzer Gallery [1]
Dwight Hackett Projects [2]
Artnet [3]
Artist Website [4]
Museum of Contemporary Art [5]
The New York Times: ART [6]
The Miami Herald: Art Section [7]
The Next Few Hours [8]
Miami New Times [9]
Sculpture Magazine [10]
The Daily Constitutional [11]
Find Articles [12]
Art Facts [13]
Arte al Dia [14]
Critical Miami [15]
Dig [16]


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