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BRUCE CONNER/ 2011
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0185 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
A quote by Bruce Conner
"For a period of time I did assemblages and collages using found objects, and they would sooner or later coalesce into something I could call art. A sculpture or a wall piece. I was working under the spaghetti theory of art. If you want to know if the spaghetti’s done, you throw it on the wall or the ceiling and if it sticks, it’s done. You put something in an art environment, you call it art, and if it sticks, it’s art."
-http://www.30daysofnewlife.org/project/?p=70
Bruce Conner -
Bruce Conner (November 18, 1933 – July 7, 2008) was an American artist renowned for his work in assemblage, film, drawing, sculpture, painting, collage, and photography, among other disciplines.
Films:
His innovative technique of skillfully montaged shots from pre-existing borrowed or found footage can be seen in his first film A MOVIE (1958). His subsequent films are most often fast-paced collages of found footage or of footage shot by Conner; however, he made numerous films, including most notably CROSSROADS, his 30 plus minute meditation on the atom bomb, that are almost achingly deliberate in their pace. Conner was among the first to use pop music for film sound tracks. His films have inspired generations of filmmakers, and are now considered to be the precursors of the music video genre. When told of his impact on music videos and his status as "the Father of MTV,", Conner would reply, "Not my fault."
Conner's works are often metamedia in nature, offering commentary and critque on the media — especially television and its advertisements — and its effect on American culture and society. His film REPORT (1967) which features repetitive, found footage of the Kennedy assassination paired with a soundtrack of radio broadcasts of the event and consumerist and other imagery — including perhaps most notably the film's final image of a close-up of a "SELL" button — may be the Conner film with the most visceral impact. REPORT "perfectly captures Conner's anger over the commercialization of Kennedy's death" while also examining the media's mythic construction of JFK and Jackie — a hunger for images that "guaranteed that they would be transformed into idols, myths, Gods."[8]
Conner's collaborations with musicians include Devo (MONGOLOID), Terry Riley (LOOKING FOR MUSHROOMS (long version) and EASTER MORNING}, Patrick Gleeson and Terry Riley (CROSSROADS), Brian Eno and David Byrne (AMERICA IS WAITING, MEA CULPA) and three more films with Gleeson (TAKE THE 5:10 TO DREAMLAND, TELEVISION ASSASSINATION, and LUKE). His film of dancer and choreographer Toni Basil, BREAKAWAY (1966), featured a song recorded by Basil.
Filmography:
A MOVIE (1958)
COSMIC RAY (1961)
VIVIAN (1964)
TEN SECOND FILM (1965)
EASTER MORNING RAGA (1966)
BREAKAWAY (1966)
REPORT (1963–1967)
THE WHITE ROSE (1967)
LOOKING FOR MUSHROOMS (1967)
PERMIAN STRATA (1969)
MARILYN TIMES FIVE (1968–1973)
CROSSROADS (1976)
VALSE TRISTE (1978)
TAKE THE 5:10 TO DREAMLAND (1977)
MONGOLOID (1978)
MEA CULPA (1981)
AMERICA IS WAITING (1982)
TELEVISION ASSASSINATION (1995)
LOOKING FOR MUSHROOMS (long version, 1996)
LUKE (2004)
EVE-RAY-FOREVER (three screen installation) (2006)
THREE SCREEN RAY (three screen installation) (2006)
HIS EYE IS ON THE SPARROW (2006)
EASTER MORNING (2008)
References:
8. ^ Jenkins, Bruce. "Bruce Conner's REPORT: Contesting Camelot. Masterpiece of Modernist Cinema. Ed. Ted Perry. Indiana University Press, 2006.
-http://en.wikipedia.org/wiki/Bruce_Conner
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