Diana Cooper (artist)

Diana Cooper (born 1964) is a contemporary artist who lives and works in Brooklyn, New York. She is best known for her hybrid works combining drawing, painting, sculpture, photography, and installation.[1]

For the British actress and socialite, see Lady Diana Cooper.
Diana Cooper installing her piece "Emerger" at MOCA Cleveland in 2007.

Biography

Diana Cooper was born in Greenwich, Connecticut, to the artists and teachers Ian Cooper and Faith Cooper.[1] She earned her BA in History and Literature from Harvard (1986), and an MFA in painting from Hunter College (1997).[2]

Artwork

Though initially drawn to dance and choreography when young, Cooper turned to the visual arts after college and studied at the New York Studio School,[2] and counts Elizabeth Murray, Lee Bontecou, and Philip Guston among her influences. She had her first solo exhibition in New York in 1997[3] and has been represented in the United States by Postmasters Gallery since 1998.[4] Her early works on paper and canvas were based on doodling,[5] while later work became more three-dimensional and incorporated sculptural elements in large-scale works and installations that evoked images of systems and technology.[6] In recent years, she has explored the potential of digital photography for capturing abstraction in the lived environment.[7] Cooper has exhibited her work widely in the U.S., Europe, and China, and was the subject of a ten-year retrospective at the Museum of Contemporary Art in Cleveland in 2007.[8] She is a former Rome Prize Fellow and has received grants and fellowships from the Guggenheim Foundation, Anonymous Was A Woman, the Bogliasco Foundation, the Marie Sharpe Foundation, the Pollock-Krasner Foundation, New York Foundation for the Arts, Institute for Electronic Arts and other organizations. Her Percent for Art public art commission for the Jerome Parker Campus in Staten Island, New York was named one of the top public art works in the country[9] by Americans for the Arts in 2009. It was also featured on the TV special on Public Art in Public Schools.[10]

gollark: Well, you kind of brought it on, repeatedly.
gollark: We shouldn't have rules purely for the sake of being more like large servers.
gollark: What issues did we have which this would solve?
gollark: Why not?
gollark: We have that now, even.

References
  1. Lilly Wei, "Line Analysis," Art in America, April, 2008
  2. Barbara MacAdam, "Pink and Red and NASCAR too," ARTnews, December, 2012>
  3. Roberta Smith, "Diana Cooper," Review, The New York Times, February 14, 1997
  4. Peter Schjeldahl, "Thanks for Painting," The Village Voice, March 17, 1998
  5. Ken Johnson, "Diana Cooper," Review, New York Times, 1998
  6. Shirley Kaneda and Saul Ostrow, "Artist’s Choice: Diana Cooper," BOMB, Spring, 2003
  7. Artist Project / Wrong Place, Wrong Time, Cabinet, Issue 39, Learning Fall 2010
  8. Interview with Margo Crutchfield, Museum of Contemporary Art Cleveland, 2009
  9. Diana Cooper - NYC Department of Cultural Affairs Archived 2013-09-21 at the Wayback Machine, website
  10. Lindsay Christ, “Public Art in Public Schools, feature, Archived 2013-09-21 at the Wayback Machine” NY 1 Television, July 24–28

Further reading
  • Interview with Barbara Pollack, "Beyond the Line: The Art of Diana Cooper", 2008, ISBN 1880353377
  • Jon Wood, '’Diana Cooper Hew Locke’', London, The Drawing Room, 2004, ISBN 0-9542668-2-X
  • Colleen Asper, “Feature: Diana Cooper,” Beautiful/Decay, Issue W 2008
  • Marion Daniel, “Diana Cooper, Systems that Make No Sense,” Roven, n4, 2010
  • Interview by Jean Crutchfield. The Bradford-Renick Gallery, Virginia Commonwealth University, Richmond, Virginia. 2001
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