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. The video presents us with a reinterpretation of footage from his unreleased avant-garde film, Easter Morning Raga , from 1966. In contrast to his more famous pieces like A Movie (1958) and Crossroads (1976) which are juxtapositions of fragments from newsreels, soft-core pornography, and B movies, the images in EASTER MORNING serve as a reinterpretation of footage. Here the artist expands the images in duration, gauge, and frame rate, which results in an enigmatic visual transcendence, or “imagelessness,” and distances the viewers from their preconceptions of what they are watching. Accompanied by rhythmical music, the collision of images in EASTER MORNING is not only testament to Conner’s ability to balance order and chaos, control and chance, but further reveals his abiding interest in alternative ways of seeing and experiencing.
Bruce Conner was undoubtedly one of the key figures of America’s avant-garde art scene since his work emerged in the late 1950s. Affiliated with the beat community, he was overtly opposed to the academic establishment and worked freely in a variety of media, including drawing, sculpture, painting, collage, photography, and assemblage. However, Conner is most recognized for his films in which he created a unique visual montage through the skillful and pioneering editing of found footage.
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 application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...
Welling employs simple materials like crumpled aluminum foil, wrinkled fabric and pastry dough and directly exposes them as photograms, playing with the image in the process of revealing it...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
Reeder’s works often start with language—and his Pasta Paintings are no different...
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...