{ "schema": "ab5d-dossier/1", "slug": "cooper-jamieson", "name": "Cooper Jamieson", "subtitle": "Systems for looking, from code to color", "lede": "Cooper Jamieson treats generative art as an exacting study of perception. Across *Placement* and *Libra*, rule-based structures become fields of color, rhythm, and material possibility.", "url": "https://ab5d.xyz/artists/cooper-jamieson/", "bibliography_url": "https://ab5d.xyz/artists/cooper-jamieson/links/", "content_url": "https://ab5d.xyz/api/artists/cooper-jamieson.json", "updated": "2026-07-11", "tier": "standard", "editions": 550, "collections": 2, "otdh": { "rank": 149, "score": 13696, "collector_identities": 249, "holder_addresses": 256, "projects": 2, "current_works": 548, "raw_collector_days": 736504, "median_project_hold_days": 1458, "snapshot_at": "2026-09-14T00:00:00.000Z", "methodology_url": "https://ab5d.xyz/artists/otdh/", "api_url": "https://ab5d.xyz/api/otdh/cooper-jamieson" }, "identity": { "artist": "Cooper Jamieson", "website": "http://cooperjamieson.com/", "based": null, "practice": "Generative systems, hard-edge color, printmaking, ceramics, and computational research brought together as instruments of perception", "now": null, "raster": "https://www.raster.art/artist/cooper-jamieson", "otdh": "[13,696 · rank 149 of 308](/artists/otdh/#artist-cooper-jamieson)", "holding signal": "249 collector identities · 256 holder addresses · 736,504 raw collector-days · 14 Sep 2026", "collector tdh": "[cjTDH](/artists/cooper-jamieson/cjtdh/) · dashboard" }, "socials": { "website": "http://cooperjamieson.com/", "x": null, "instagram": null }, "profile_image_url": null, "profile_image_source": null, "works": [ { "name": "Placement", "editions": 500, "supply": 500, "artblocks_slug": "placement-by-cooper-jamieson", "url": "https://www.artblocks.io/collection/placement-by-cooper-jamieson" }, { "name": "Libra", "editions": 50, "supply": 50, "artblocks_slug": "libra-by-cooper-jamieson", "url": "https://www.artblocks.io/collection/libra-by-cooper-jamieson" } ], "sections": [ { "heading": null, "paragraphs": [ "Cooper Jamieson's practice begins with a proposition that is at once perceptual and procedural: an artwork can make its system visible without reducing the experience of looking to an explanation of code. His Art Blocks profile describes a practice concerned with phenomenology and digital materiality, while also recording experience in art conservation, computational chemistry, and synthetic biology. These fields do not simply supply biographical color. Together they establish a working method founded on controlled variation, close observation, and a sensitivity to how abstract structures acquire physical consequences.", "Jamieson studied both art and chemistry at Lewis & Clark College, completing bachelor's degrees in the two subjects in 2016, before earning graduate degrees in theoretical and computational chemistry at UCLA. Lewis & Clark included him in its 2016 senior art exhibition, placing his early work within a studio-art context before his later engagement with blockchain-based generative practice. The coexistence of these disciplines matters. Chemistry asks how transformations proceed through constrained pathways. Generative art similarly establishes a bounded system, then studies the plurality of forms that system can produce.", "His formation also passed through Marfa. Jamieson worked in conservation at the Chinati Foundation and assisted Robert Irwin during the fabrication of *untitled (dawn to dusk)*. Chinati's own account names him among the people whose work helped realize Irwin's installation. Jamieson has described the experience as an education in looking, particularly in relation to Irwin's situational approach to light, architecture, and perception. That history clarifies why Jamieson's digital works resist the visual rhetoric of technological spectacle. Their algorithms do not announce complexity for its own sake. They organize circumstances in which color, boundary, interval, and duration can be encountered with unusual concentration." ] }, { "heading": "A system for sustained attention", "paragraphs": [ "*Placement* is a generative series of exactly 500 editions. Its outputs organize hard-edged color fields within framed compositions, combining elementary geometry with extensive chromatic variation. The operative word in the title is spatial but also conceptual. To place a color is to determine its neighbors, scale, edge conditions, and weight within the whole. Every decision is relational. A rectangle that appears calm in one configuration can become emphatic in another, while a narrow band can act as separator, hinge, or optical pulse.", "The series is iterative rather than merely repetitive. An algorithm establishes the grammar, but individual outputs test how that grammar behaves across 500 resolved works. Art Blocks records traits such as light or dark mode, palette, and compositional type, indicating that variation occurs through coordinated parameters rather than undirected accumulation. The value of this structure lies not in the count of possible combinations, but in the demand that each realized composition sustain attention as an autonomous image.", "This priority was already explicit in Jamieson's account of curatorial judgment. Discussing Art Blocks, he emphasized both diversity across a project and the capacity of every output to stand independently. *Placement* embodies that dual criterion. Viewed serially, its editions disclose the breadth of a system. Viewed singly, each work suppresses the system's statistical scale and returns the spectator to the immediate facts of adjacency and proportion.", "The project's relationship to physical display extends this inquiry. Works by Jamieson were exhibited alongside Leo Villareal's *Cosmic Reef* at the Art Blocks Gallery in Marfa during 2022, and contemporary reporting documented additional works by Jamieson in the exhibition. Art Blocks also announced that silkscreen prints from *Placement* would be shown there. That translation is more than an editioning exercise. Screen and paper produce color differently: emitted light and deposited ink have distinct luminosity, texture, and edge behavior. By allowing a generative structure to operate across those conditions, Jamieson makes medium itself a variable in perception." ] }, { "heading": "Perception as material", "paragraphs": [ "Jamieson's use of hard-edge abstraction belongs to a lineage in which apparently simple forms intensify awareness of seeing. In his Art Blocks curation-board interview, he identified Robert Irwin, Donald Judd, Doug Wheeler, Hanne Darboven, Blinky Palermo, and Charlotte Posenenske among significant points of reference. This constellation joins perceptual installation to systematic drawing, modular construction, and serial production. It also explains the restraint of *Placement*. The compositions do not illustrate those precedents, but share their confidence that carefully calibrated limits can yield an expansive encounter.", "> The algorithm establishes the conditions, but color completes the event in the spectator's vision.", "Within this framework, the digital frame is neither a neutral support nor an obstacle to be overcome. It is a luminous site with its own material logic. Jamieson's professional experience in conservation sharpened his attention to how materials endure and how viewing conditions shape an object. His work as an assistant to Irwin, Zoe Leonard, and Jeff Elrod further exposed him to installation, photography, painting, and fabrication as distinct technical cultures. *Placement* converts that practical sensitivity into a digital grammar whose edges, margins, and internal divisions continually refer back to the conditions of display.", "A UCLA exhibition in 2022 presented Jamieson's silkscreen *#85*, confirming that printmaking remained an active component of his practice alongside computational research. The institutional account notes his combined education in art and chemistry and his earlier work at Chinati. The print is useful evidence because it prevents a simplistic division between digital production and hand-mediated objects. Jamieson's practice instead treats code, screen, ink, and paper as different stages through which a system may become perceptible." ] }, { "heading": "Libra and the balance of constraint", "paragraphs": [ "Released in 2023, *Libra* is a compact series of exactly 50 editions. Its smaller scale changes the terms established by *Placement*. Where 500 editions permit an expansive survey of a grammar, 50 create a more concentrated ensemble. Contemporary release coverage identified the project as an Art Blocks Presents work scheduled for January 30, 2023.", "The title invokes balance, but not necessarily symmetry. In visual composition, balance is dynamic: areas of color exert unequal pressures, shapes redirect the eye, and apparent stability is produced through managed difference. The selected *Libra* image uses a reduced arrangement of chromatic planes whose relationships feel measured without becoming inert. Its precision resembles an experimental setup. Variables are restricted so that subtle changes become legible.", "That analogy should not collapse art into science. Jamieson's research record documents substantial work in computational chemistry, enzyme mechanisms, and machine learning, including a 2021 doctorate from UCLA. His ORCID record indexes research on biosynthetic pathways and catalytic transformations. Yet the significance of this scientific formation for *Libra* is methodological, not illustrative. Both practices require models, constraints, and iteration, but the artwork remains accountable to perception rather than prediction.", "Jamieson's scientific work also complicates conventional ideas of artistic authorship. In laboratory research, knowledge emerges through collaboration, testing, and revision. In generative art, the artist similarly authors rules whose consequences cannot be reduced to a single compositional gesture. Jamieson's stated interest in collaborative projects, including systems in which artists might contribute small portions of a shared script, demonstrates that he regards generative authorship as a structure open to distributed agency." ] }, { "heading": "From experiment to encounter", "paragraphs": [ "Across *Placement* and *Libra*, Jamieson constructs a productive tension between explanation and encounter. The works can be described through parameters, edition structures, and algorithms, but none of those descriptions substitutes for seeing. This is why his emphasis on phenomenology is decisive. The code determines possibilities, while perception gives those possibilities duration and consequence.", "The two projects also demonstrate different approaches to the collection as form. *Placement*, with 500 editions, invites comparative browsing and makes variation itself monumental. *Libra*, with 50 editions, compresses the field and heightens the sense of selection. In both, the edition count is integral to the work's public structure. A generative collection is not simply a folder of related images. It is a bounded population whose individual members and aggregate identity continually redefine one another.", "Jamieson's contribution to generative abstraction lies in this careful coordination of system, material, and attention. His biography offers unusually direct contact between studio art, conservation, installation practice, chemistry, and computational modeling, but the work avoids becoming a demonstration of interdisciplinary credentials. Instead, those experiences converge in a disciplined economy of means. Color fields, divisions, and frames are asked to do exact work.", "The result is an art of calibrated openness. Jamieson sets constraints with scientific clarity, then leaves their perceptual effects unresolved. *Placement* and *Libra* do not tell viewers what to see. They establish conditions under which seeing becomes newly active, attentive to minute shifts in color, proportion, and relation. Their achievement is to make an algorithm recede at the moment its visual consequences become most vivid." ] } ], "body_markdown": "Cooper Jamieson's practice begins with a proposition that is at once perceptual and procedural: an artwork can make its system visible without reducing the experience of looking to an explanation of code. His Art Blocks profile describes a practice concerned with phenomenology and digital materiality, while also recording experience in art conservation, computational chemistry, and synthetic biology. These fields do not simply supply biographical color. Together they establish a working method founded on controlled variation, close observation, and a sensitivity to how abstract structures acquire physical consequences.\n\nJamieson studied both art and chemistry at Lewis & Clark College, completing bachelor's degrees in the two subjects in 2016, before earning graduate degrees in theoretical and computational chemistry at UCLA. Lewis & Clark included him in its 2016 senior art exhibition, placing his early work within a studio-art context before his later engagement with blockchain-based generative practice. The coexistence of these disciplines matters. Chemistry asks how transformations proceed through constrained pathways. Generative art similarly establishes a bounded system, then studies the plurality of forms that system can produce.\n\nHis formation also passed through Marfa. Jamieson worked in conservation at the Chinati Foundation and assisted Robert Irwin during the fabrication of *untitled (dawn to dusk)*. Chinati's own account names him among the people whose work helped realize Irwin's installation. Jamieson has described the experience as an education in looking, particularly in relation to Irwin's situational approach to light, architecture, and perception. That history clarifies why Jamieson's digital works resist the visual rhetoric of technological spectacle. Their algorithms do not announce complexity for its own sake. They organize circumstances in which color, boundary, interval, and duration can be encountered with unusual concentration.\n\n## A system for sustained attention\n\n*Placement* is a generative series of exactly 500 editions. Its outputs organize hard-edged color fields within framed compositions, combining elementary geometry with extensive chromatic variation. The operative word in the title is spatial but also conceptual. To place a color is to determine its neighbors, scale, edge conditions, and weight within the whole. Every decision is relational. A rectangle that appears calm in one configuration can become emphatic in another, while a narrow band can act as separator, hinge, or optical pulse.\n\nThe series is iterative rather than merely repetitive. An algorithm establishes the grammar, but individual outputs test how that grammar behaves across 500 resolved works. Art Blocks records traits such as light or dark mode, palette, and compositional type, indicating that variation occurs through coordinated parameters rather than undirected accumulation. The value of this structure lies not in the count of possible combinations, but in the demand that each realized composition sustain attention as an autonomous image.\n\nThis priority was already explicit in Jamieson's account of curatorial judgment. Discussing Art Blocks, he emphasized both diversity across a project and the capacity of every output to stand independently. *Placement* embodies that dual criterion. Viewed serially, its editions disclose the breadth of a system. Viewed singly, each work suppresses the system's statistical scale and returns the spectator to the immediate facts of adjacency and proportion.\n\nThe project's relationship to physical display extends this inquiry. Works by Jamieson were exhibited alongside Leo Villareal's *Cosmic Reef* at the Art Blocks Gallery in Marfa during 2022, and contemporary reporting documented additional works by Jamieson in the exhibition. Art Blocks also announced that silkscreen prints from *Placement* would be shown there. That translation is more than an editioning exercise. Screen and paper produce color differently: emitted light and deposited ink have distinct luminosity, texture, and edge behavior. By allowing a generative structure to operate across those conditions, Jamieson makes medium itself a variable in perception.\n\n## Perception as material\n\nJamieson's use of hard-edge abstraction belongs to a lineage in which apparently simple forms intensify awareness of seeing. In his Art Blocks curation-board interview, he identified Robert Irwin, Donald Judd, Doug Wheeler, Hanne Darboven, Blinky Palermo, and Charlotte Posenenske among significant points of reference. This constellation joins perceptual installation to systematic drawing, modular construction, and serial production. It also explains the restraint of *Placement*. The compositions do not illustrate those precedents, but share their confidence that carefully calibrated limits can yield an expansive encounter.\n\n> The algorithm establishes the conditions, but color completes the event in the spectator's vision.\n\nWithin this framework, the digital frame is neither a neutral support nor an obstacle to be overcome. It is a luminous site with its own material logic. Jamieson's professional experience in conservation sharpened his attention to how materials endure and how viewing conditions shape an object. His work as an assistant to Irwin, Zoe Leonard, and Jeff Elrod further exposed him to installation, photography, painting, and fabrication as distinct technical cultures. *Placement* converts that practical sensitivity into a digital grammar whose edges, margins, and internal divisions continually refer back to the conditions of display.\n\nA UCLA exhibition in 2022 presented Jamieson's silkscreen *#85*, confirming that printmaking remained an active component of his practice alongside computational research. The institutional account notes his combined education in art and chemistry and his earlier work at Chinati. The print is useful evidence because it prevents a simplistic division between digital production and hand-mediated objects. Jamieson's practice instead treats code, screen, ink, and paper as different stages through which a system may become perceptible.\n\n## Libra and the balance of constraint\n\nReleased in 2023, *Libra* is a compact series of exactly 50 editions. Its smaller scale changes the terms established by *Placement*. Where 500 editions permit an expansive survey of a grammar, 50 create a more concentrated ensemble. Contemporary release coverage identified the project as an Art Blocks Presents work scheduled for January 30, 2023.\n\nThe title invokes balance, but not necessarily symmetry. In visual composition, balance is dynamic: areas of color exert unequal pressures, shapes redirect the eye, and apparent stability is produced through managed difference. The selected *Libra* image uses a reduced arrangement of chromatic planes whose relationships feel measured without becoming inert. Its precision resembles an experimental setup. Variables are restricted so that subtle changes become legible.\n\nThat analogy should not collapse art into science. Jamieson's research record documents substantial work in computational chemistry, enzyme mechanisms, and machine learning, including a 2021 doctorate from UCLA. His ORCID record indexes research on biosynthetic pathways and catalytic transformations. Yet the significance of this scientific formation for *Libra* is methodological, not illustrative. Both practices require models, constraints, and iteration, but the artwork remains accountable to perception rather than prediction.\n\nJamieson's scientific work also complicates conventional ideas of artistic authorship. In laboratory research, knowledge emerges through collaboration, testing, and revision. In generative art, the artist similarly authors rules whose consequences cannot be reduced to a single compositional gesture. Jamieson's stated interest in collaborative projects, including systems in which artists might contribute small portions of a shared script, demonstrates that he regards generative authorship as a structure open to distributed agency.\n\n## From experiment to encounter\n\nAcross *Placement* and *Libra*, Jamieson constructs a productive tension between explanation and encounter. The works can be described through parameters, edition structures, and algorithms, but none of those descriptions substitutes for seeing. This is why his emphasis on phenomenology is decisive. The code determines possibilities, while perception gives those possibilities duration and consequence.\n\nThe two projects also demonstrate different approaches to the collection as form. *Placement*, with 500 editions, invites comparative browsing and makes variation itself monumental. *Libra*, with 50 editions, compresses the field and heightens the sense of selection. In both, the edition count is integral to the work's public structure. A generative collection is not simply a folder of related images. It is a bounded population whose individual members and aggregate identity continually redefine one another.\n\nJamieson's contribution to generative abstraction lies in this careful coordination of system, material, and attention. His biography offers unusually direct contact between studio art, conservation, installation practice, chemistry, and computational modeling, but the work avoids becoming a demonstration of interdisciplinary credentials. Instead, those experiences converge in a disciplined economy of means. Color fields, divisions, and frames are asked to do exact work.\n\nThe result is an art of calibrated openness. Jamieson sets constraints with scientific clarity, then leaves their perceptual effects unresolved. *Placement* and *Libra* do not tell viewers what to see. They establish conditions under which seeing becomes newly active, attentive to minute shifts in color, proportion, and relation. Their achievement is to make an algorithm recede at the moment its visual consequences become most vivid.", "images": [ { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000000.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000055.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000111.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000166.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000222.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000277.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000333.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000388.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000444.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/205000499.png", "title": "Placement", "caption": "2021, Placement", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/398000016.png", "title": "Libra", "caption": "2023", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" } ], "references": [ { "n": 1, "note": "Art Blocks presents Jamieson's description of a practice probing phenomenology and digital materiality.", "url": "https://www.artblocks.io/profile/cooper", "label": "art-blocks-profile" }, { "n": 2, "note": "Jamieson's curriculum vitae documents his dual art and chemistry education, UCLA doctorate, conservation work, artist-assistant roles, and research history.", "url": "https://www.cooperjamieson.com/cv/", "label": "curriculum-vitae" }, { "n": 3, "note": "Lewis & Clark College lists Jamieson among the artists in its 2016 senior art exhibition.", "url": "https://www.lclark.edu/live/news/32546-2016-senior-art-exhibition", "label": "senior-exhibition" }, { "n": 4, "note": "ResearchGate records Jamieson's conservation position at Chinati and his academic affiliations and publications.", "url": "https://www.researchgate.net/profile/Cooper-Jamieson", "label": "research-profile" }, { "n": 5, "note": "The Chinati Foundation identifies Jamieson as a conservation maintenance assistant who also helped fabricate Robert Irwin's new work.", "url": "https://chinati.org/wp-content/uploads/2019/11/newsletter21.pdf", "label": "chinati-newsletter" }, { "n": 6, "note": "An Art Blocks interview covers Jamieson's artistic formation, perceptual interests, influences, and curatorial principles.", "url": "https://medium.com/the-link-art-blocks/meet-the-curation-board-cooper-jamieson-7803ae6ae0b1", "label": "curation-interview" }, { "n": 7, "note": "The official Art Blocks token record identifies Placement and exposes the collection's mode, palette, and composition traits.", "url": "https://www.artblocks.io/token/205000006", "label": "placement-record" }, { "n": 8, "note": "Contemporary reporting documents Jamieson's work at the Art Blocks Gallery during the 2022 presentation of Leo Villareal's Cosmic Reef.", "url": "https://bigbendsentinel.com/2022/05/04/cosmic-reef-by-leo-villareal-opens-at-art-blocks-gallery-over-a-thousand-nfts-on-view/", "label": "marfa-exhibition" }, { "n": 9, "note": "Art Blocks announced that silkscreen prints from Placement would accompany its 2022 Marfa presentation.", "url": "https://medium.com/the-link-art-blocks/an-update-from-jeff-davis-art-blocks-takes-over-europe-c61655a2b84f", "label": "placement-silkscreens" }, { "n": 10, "note": "UCLA documents the exhibition of Jamieson's silkscreen #85 in its 2022 Winstein Commons art show.", "url": "https://www.chemistry.ucla.edu/news/winstein-commons-fall-2022-art-show-opening/", "label": "ucla-art-show" }, { "n": 11, "note": "Kaloh's release digest records the January 30, 2023 Art Blocks Presents release of Libra.", "url": "https://www.kaloh.xyz/p/in-case-you-missed-it-37a", "label": "libra-release" }, { "n": 12, "note": "ORCID provides an authoritative index of Jamieson's scientific publications and research identity.", "url": "https://orcid.org/0000-0002-6076-6230", "label": "orcid-record" } ], "bibliography": [ { "category": "In the AB[500]: Art Blocks", "entries": [ { "note": "The official Art Blocks artist record introduces Jamieson's practice and collections.", "url": "https://www.artblocks.io/profile/cooper", "label": "Art Blocks profile", "meta": "profile · current" }, { "note": "The official token record documents Placement within Art Blocks Factory and exposes its collection traits.", "url": "https://www.artblocks.io/token/205000006", "label": "Placement token record", "meta": "collection · 2021" } ] }, { "category": "Interviews", "entries": [ { "note": "Art Blocks interviewed Jamieson about his education, influences, curatorial criteria, and ambitions for generative art.", "url": "https://medium.com/the-link-art-blocks/meet-the-curation-board-cooper-jamieson-7803ae6ae0b1", "label": "Meet the Curation Board", "meta": "interview · 2021" } ] }, { "category": "Press and criticism", "entries": [ { "note": "Kaloh's generative-art digest identifies Libra among the releases scheduled for January 30, 2023.", "url": "https://www.kaloh.xyz/p/in-case-you-missed-it-37a", "label": "In case you missed it", "meta": "press · 2023" }, { "note": "The NFT Market Report includes Placement by Cooper Jamieson in its survey of the generative-art market.", "url": "https://static.nftvaluations.com/reports/20221005%20-%20NFT%20Market%20Report%20Teaser.pdf", "label": "NFT Market Report", "meta": "report · 2022" }, { "note": "Whitewall reviewed Jamieson's print works during the 2022 Marfa Invitational weekend.", "url": "https://whitewall.art/art/marfa-invitational-a-real-presence-and-community/", "label": "Marfa Invitational", "meta": "criticism · 2022" } ] }, { "category": "Museums and institutions", "entries": [ { "note": "The Chinati Foundation identifies Jamieson as a conservation maintenance assistant and contributor to Robert Irwin's new work.", "url": "https://chinati.org/wp-content/uploads/2019/11/newsletter21.pdf", "label": "Chinati newsletter 21", "meta": "institution · 2016" }, { "note": "UCLA presented Jamieson's silkscreen #85 in the Winstein Commons Fall 2022 Art Show.", "url": "https://www.chemistry.ucla.edu/news/winstein-commons-fall-2022-art-show-opening/", "label": "Winstein Commons art show", "meta": "institution · 2022" }, { "note": "Lewis & Clark College included Jamieson in its annual senior art exhibition.", "url": "https://www.lclark.edu/live/news/32546-2016-senior-art-exhibition", "label": "Senior Art Exhibition", "meta": "institution · 2016" } ] }, { "category": "Galleries and exhibitions", "entries": [ { "note": "The Big Bend Sentinel documents Jamieson's work in the 2022 Cosmic Reef exhibition at the Art Blocks Gallery in Marfa.", "url": "https://bigbendsentinel.com/2022/05/04/cosmic-reef-by-leo-villareal-opens-at-art-blocks-gallery-over-a-thousand-nfts-on-view/", "label": "Art Blocks Gallery presentation", "meta": "exhibition · 2022" }, { "note": "Art Blocks announced that silkscreen prints from Placement would be shown during its Marfa exhibition program.", "url": "https://medium.com/the-link-art-blocks/an-update-from-jeff-davis-art-blocks-takes-over-europe-c61655a2b84f", "label": "Art Blocks Marfa update", "meta": "exhibition · 2022" } ] }, { "category": "Essays, talks and podcasts", "entries": [ { "note": "UCLA's account of the 2021 Organic Graduate Symposium identifies Jamieson as a research speaker and graduating doctoral student.", "url": "https://www.chemistry.ucla.edu/news/2021-organic-graduate-symposia/", "label": "Organic Graduate Symposium", "meta": "talk · 2021" }, { "note": "An open-access scholarly author biography connects Jamieson's art education, chemistry training, and conservation work at Chinati.", "url": "https://escholarship.org/content/qt4717h743/qt4717h743_noSplash_7931f2789b3aa5c9b672fc5912fbfca9.pdf?t=rwky05", "label": "Scholarly author biography", "meta": "essay · 2021" } ] }, { "category": "Auctions and catalogues", "entries": [ { "note": "Jamieson's curriculum vitae catalogues his education, professional experience, awards, and research publications.", "url": "https://cooperjamieson.com/curriculumVitae.pdf", "label": "Curriculum vitae PDF", "meta": "catalogue · current" } ] }, { "category": "Profiles and archives", "entries": [ { "note": "Raster aggregates Cooper Jamieson's tokenized works across platforms.", "url": "https://www.raster.art/artist/cooper-jamieson", "label": "Raster", "meta": "profile · ongoing" }, { "note": "Jamieson's online curriculum vitae records his education, conservation experience, artist-assistant work, awards, and publications.", "url": "https://www.cooperjamieson.com/cv/", "label": "Curriculum vitae", "meta": "archive · current" }, { "note": "ORCID indexes Jamieson's scientific identity and peer-reviewed publication record.", "url": "https://orcid.org/0000-0002-6076-6230", "label": "ORCID", "meta": "archive · current" }, { "note": "ResearchGate aggregates Jamieson's research publications and records his former Chinati conservation position.", "url": "https://www.researchgate.net/profile/Cooper-Jamieson", "label": "ResearchGate", "meta": "profile · current" }, { "note": "CiNii Research maintains a bibliographic profile for Cooper Jamieson and links onward to scholarly records.", "url": "https://cir.nii.ac.jp/crid/1380857596474334212", "label": "CiNii Research", "meta": 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