While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala. The piece’s sub-title, “Shuffle,” suggests the presence of chance and randomness in any given organization of elements.
Wallace Berman was one of San Francisco’s more important avant-garde artists and is considered by many to have been the father of the Californian assemblage movement (a title he could probably dispute with Edward Kienholz). Characteristically unruly, Berman was an active member of the San Francisco and Los Angeles Beat communities in the mid-1950s. In 1963 he settled in Topanga Canyon and started to develop the body of work for which he would become most famous. The verifax machine, a precursor of the photocopy machine, lent the name to the series of collages with which Berman experimented until his death in 1976. The structural compositional element that unifies the series is the image, appropriated from a magazine, of a hand holding a transistor radio. By photocopying and reproducing the image in sequential form on top of the canvas, Berman mimics the pattern produced by an old film reel. Inside the frame of each radio, the artist superimposed imagery—people, objects and symbols, often taken from pop culture—pertinent to that particular sequence of the work.
In 1977, as an already-established artist best known for his films, Bruce Conner began to photograph punk rock shows at Mabuhay Gardens, a San Francisco club and music venue...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...
In 1977, as an already-established artist best known for his films, Bruce Conner began to photograph punk rock shows at Mabuhay Gardens, a San Francisco club and music venue...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points...
In 1977, as an already-established artist best known for his films, Bruce Conner began to photograph punk rock shows at Mabuhay Gardens, a San Francisco club and music venue...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
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