Standard Practice!

Discrimination against women is a pervasive experience that affects every woman at some point in her life, whether she is consciously aware of it or not. This reality is shaped by longstanding societal structures and traditions that have perpetuated inequality and exclusion.

Throughout history, religious practices, some dating back thousands of years, have contributed to the marginalization of women. In many instances, these practices have labeled women as “unclean” due to their monthly cycles or have enforced male dominance within community and societal operations. Such deeply ingrained attitudes have influenced how women are perceived and treated across cultures and generations.

The installation titled ‘Standard Practice!’ offers a commentary on the ongoing issue of discrimination within American corporate communities. Importantly, this discrimination is not solely the result of male actions or attitudes. Rather, it can also be perpetuated by some women, highlighting the complex and systemic nature of bias in professional environments.

Paper Doll

Young girls are presented with a selection of both suitable and unsuitable clothes, symbolically hung on hangers. This imagery reflects the choices and judgments they face as they grow up.

As young girls come of age within American culture, they do so in an environment that places a strong emphasis on dress, beauty, and popularity. These values are frequently celebrated, sometimes at the expense of nearly everything else, shaping how girls perceive themselves and their place in society.

Unseen Work: The Paper Apron Project—‘Teaching’

Paper Aprons centering on the concept of home and the unending cycle of housework. In most households, these essential tasks are performed repeatedly, often going unnoticed and without any financial compensation. This lack of recognition can lead to the perception that such work, and by extension, those who do it, hold little value. The terms “housewife” or “househusband” are frequently used, yet they rarely convey the importance or dignity of this labor.

This pop-up is a book from “Unseen I”, with eight pockets, housing a small book. These aprons and accompanying books are my homage to all who labor tirelessly within the home, their efforts frequently unseen and under-appreciated. The work they do is never truly finished; there is always something “To Do.” —Pam Cooper

Biography

Mixed media artist Pam Cooper creates poignant and meticulously crafted installations that confront the social, political, and familial issues facing children today. Cooper’s paper-based sculptures and immersive environments all merge the visual language of nostalgia with the urgency of present-day crises.

For more than a decade, Cooper’s work has centered on children’s safety and vulnerability, whether inside the home, in the classroom, or at the hands of governments and social systems. Using handmade Abaca paper, copy transfer prints, and found objects, she constructs floor-standing and suspended paper houses, diminutive furniture, and room-sized installations that evoke both innocence and threat.

Cooper’s aesthetic draws from the look of a bygone era, pale parchment-toned paper, stylized figures inspired by old sewing patterns, and domestic details from vintage family photographs, yet her subject matter is urgent and contemporary. She illuminates the pressures facing children today: fractured families, the relentless influence of social media, and the persistent threats of violence, displacement, and exploitation.

Pam Cooper emigrated from the UK to the U.S. in 1990, becoming a citizen in 2000. She earned her BFA in Sculpture from Pratt Institute in 1994, where an internship at Dieu Donné introduced her to papermaking, now central to her practice. Every sheet of paper is made to the size and shape required for the work at hand, reinforcing the intimate, tactile quality of her installations.