Tags: Bruce Conner

Tagged content

DIM Cinema: Studio

By Marcos Ortega on Tue, 19/09/2017 - 15:30

This month DIM Cinema arranges a series of studio visits, beginning with Jem Cohen’s short portrait of the sculptor Ann Truitt (1921-2004) and ending with the ceremonial liberation of Jay DeFeo’s painting The White Rose, weighing over 2,300 pounds, from her second-floor studio in San Francisco. In between, and in their respective studios, Sarah Pucill plays with the blinds, Bruce Nauman walks in an exaggerated manner, and Ken Jacobs goes psychological-psychedelic.
Dates:
Wednesday, September 27, 2017 - 19:30
Venue:
Pacific Cinémathèque - Vancouver , Canadá
Xcèntric: Bruce Conner (II). Breakaways

By Marcos Ortega on Tue, 14/03/2017 - 04:42

Bruce Conner is noted for his transgressive, pioneering use of found footage, but he also made and edited films. His career provides an index of US counterculture attitudes, from the psychic experiments of the beat generation and hippies to the appropriations of punk rock. These two programmes, ranging from his first films to his latest digital projects, reaffirm Conner’s importance as a filmmaker who is both innovative and influential.
Dates:
Sunday, March 19, 2017 - 18:30
Venue:
Centre de Cultura Contemporània de Barcelona - Barcelona, España
Xcèntric: Bruce Conner (I). Movie in my Head

By Marcos Ortega on Tue, 14/03/2017 - 04:31

Bruce Conner is noted for his transgressive, pioneering use of found footage, but he also made and edited films. His career provides an index of US counterculture attitudes, from the psychic experiments of the beat generation and hippies to the appropriations of punk rock. These two programmes, ranging from his first films to his latest digital projects, reaffirm Conner’s importance as a filmmaker who is both innovative and influential.
Dates:
Thursday, March 16, 2017 - 20:00 to Friday, March 17, 2017 - 19:55
Venue:
Centre de Cultura Contemporània de Barcelona - Barcelona, España
Independent Frames: Shape and Structure

By Marcos Ortega on Mon, 13/02/2017 - 04:41

While structural film was the dominant form within the avant-garde tradition at the dawn of the 1970s, animators used shape and structure in a variety of ways that differentiated their works. Robert Russett composed geometric patterns and colour sequences in complex rhythms to create his pulsing, abstract films. Paul Glabicki created incisive, analytical works that explored objects through image, language, form and movement, drafting stunningly complicated sequences by hand.
Dates:
Saturday, February 18, 2017 - 14:30 to 16:30
Venue:
Tate Modern - London , Reino Unido
Independent Frames: Exploded View

By Marcos Ortega on Mon, 13/02/2017 - 04:34

Artists discovering animation in the mid-1960s and early 1970s did so in a culture of pop art, psychedelia and Marshall McLuhan’s media theory. They responded by creating overwhelming works of graphic collage, violent flickering colours and sensory overload. Exploded View begins with a look at several foundational works from animators whose explorations of radical form and content stood out in the 1960s, from established figures like Stan Vanderbeek and Disney animator Ward Kimball to lesser-known, underground artists such as Fred Mogubgub and Irene Duga.
Dates:
Friday, February 17, 2017 - 19:00 to Saturday, February 18, 2017 - 20:55
Venue:
Tate Modern - London , Reino Unido
Dreamland: An Evening with Peggy Ahwesh and Julie Murray

By Marcos Ortega on Mon, 26/09/2016 - 04:28

Peggy Ahwesh presents a selection of works including the premiere of her new video "The Blackest Sea” in a program with Julie Murray and Bruce Conner taking place at the Museum of Modern Art (MoMA) in connection with the exhibition "Bruce Conner: It's All True" currently on view at the museum.

"Known in part for their distinct approaches to found-footage cinema, which have straddled analogue and digital technologies, filmmakers Peggy Ahwesh and Julie Murray will share some of their own films alongside a pair of melancholic Conner films from the late 1970s: TAKE THE 5:10 TO DREAMLAND (1977) and VALSE TRISTE (1978)." — MoMA, Program Notes

Dates:
Wednesday, September 28, 2016 - 19:00 to Thursday, September 29, 2016 - 18:55
Venue:
MoMA New York - , United States
Film at Wit's End: Eight Avant-garde Filmmakers

Brakhage S. 1989. Film at Wit's End: Eight Avant-garde Filmmakers. :183pp.
Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino

Hein B. 1971. Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino. :239pp.
An Introduction to the American Underground Film
Renan S. 1967. An Introduction to the American Underground Film. :326pp.
Contents:

What is the underground film?

A history of the avant-garde/experimental/underground film in America

A gallery of film-makers

Stars of the underground films

The underground establishment

Expanded cinema.
Bruce Conner - It's All True
Artist Bruce Conner (1933–2008) moved to San Francisco in 1957 and quickly enmeshed himself in the Bay Area’s distinctive cultural milieu, combining a vision and a multifaceted body of work that went beyond the limitations of any genre. From early assemblages of the 1950s and 1960s to iconic and pioneering works in film, from photography and photograms to prints, drawings, and paintings, Conner’s oeuvre continues to exert tremendous influence on artists working today.
Rating:

Average: 4 (1 vote)
Category:
Books
Publisher:
University of California Press

Pages