Sarah Beadle is an artist, curator, and educator who uses photography, architectural intervention, and event production to test everyday experiences of pleasure, power, and consumption. Her work is site focused, process driven, and activated by subjective research. Recent projects examine the cultural regulation of acts of reciprocity, especially around food and service labor. She co-directs the artist collective notch with artists Miles Ake and Keith Pasko.

She has produced events and performed with notch at University Art Gallery, CSULB, Long Beach; Bemis Center for Contemporary Art, Omaha; Los Angeles Nomadic Division Manifest Destiny Billboard Project; MAK Center for Art and Architecture, Los Angeles; Materials & Applications, Los Angeles; UAG @ University of California, Irvine; Wight Gallery, University of California, Los Angeles; Carter and Citizen Gallery, Los Angeles; Queen’s Nails Projects, San Francisco; 18 Reasons, San Francisco; NTBA Gallery, Los Angeles; CENTRAL, Portland; TuckUnder, Minneapolis. She has exhibited photography at UAG Gallery, University of California, Irvine; Wight Gallery, University of California, Los Angeles; Denizen Design Gallery, Los Angeles.


Beadle’s current creative and research interests are invisible labor, the performance of hospitality, and the politics of care. She works simultaneously in the world of images and the world of experiences. Currently, she mostly produces events rather than things: architectural renovations, cocktail parties, social clubs. She is interested in opening up questions and relaxing prepossessions about places and what it means to be in them, on them, and migrate through them. Much of her work takes place in liminal time or location. She is interested in expressing research through embodied or incorporated things – through digestion, cognitive and corporeal. The conceptual focus is hospitality. She obsessively tests the possibility/impossibility of creating reciprocal relationships, where the host and the guest enjoy mutual benefit, but not under the pretense that a shared experience is always possible. Instead, she puts pressure on the systems that create our experience of what it means to provide and experience care.

Often, the material foundation is food. She is interested in the use of food as a material that is loaded with historical and social possibility. She introduces methods of critical thinking to everyday experiences of dining, to push the pleasure of eating beyond the culinary world that it thrives in now. Most of this exploration is funneled through projects she directs with the collective ensemble notch, which has been the focus of much of her creative work for several years.

CV on request