A Movie subsequently (in 1994) was selected for preservation by the National Film Registry at the Library of Congress. Jacques Aumont, « Ceci n'est pas un collage. . © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC. Setting himself and his work in critical opposition to mainstream American society, versatile and restlessly inventive artist Bruce Conner was a key part of the San Francisco Beat scene in the late 1950s. Cette section est vide, insuffisamment détaillée ou incomplète. When you censor sex, what are you opposing? He also used computer-based graphics programs to translate older engraving collages into large-sized woven tapestries, and made paper-based prints in that way as well. Bruce Conner (November 18, 1933 – July 7, 2008) was an American artist who worked with assemblage, film, drawing, sculpture, painting, collage, and photography. Conner is best known for his experimental cut-up films … Bruce Conner, a pioneering collage filmmaker and Beat-era assemblage artist, died yesterday. [35], 2008 Life on Mars, the 2008 Carnegie International, "Bruce Conner: I sent announcements to eight or nine people, ten people probably, telling them that they were all members of the Rat Bastard Protective Association. The film was issued several times as it was re-edited. It was to be a musical comedy, starring Conner and the Butterfield Blues Band and titled “The Bruce Conner Story.” “Somehow it wasn’t saleable to the powers that be,” Conner said. Various other artistic projects were completed as well, including in the year of his death a large assemblage titled King. He ended up using stock home movie footage over a recorded sound track of newscasts of the motorcade, assassination and burial. [3][4] Its members included Jay DeFeo, Michael McClure (with whom Conner attended school in Wichita), Manuel Neri, Joan Brown, Wally Hedrick, Wallace Berman, Jess Collins, Carlos Villa and George Herms. Decades after his … Un article de Wikipédia, l'encyclopédie libre. [26], The Bruce Conner papers are held by the Bancroft Library at the University of California, Berkeley. Want more Rolling Stone? “I feel free when I feel I’m in a new country. Conner's first and possibly most famous film was entitled A Movie (1958). The artist behind ‘Cosmic Ray’ on his funny, profound, vitally alive and spectrally haunting work. In 1961, Conner completed his second film, Cosmic Ray, a 4-minute, 43 second black-and-white quick edit collage of found footage and film that Conner had shot himself, set to a soundtrack of Ray Charles' "What'd I Say." Watch Bruce Conner's film, "MEA CULPA" with music by Brian Eno and David Byrne, from "My Life in the Bush of Ghosts". https://fr.wikipedia.org/w/index.php?title=Bruce_Conner&oldid=174218152, Étudiant de l'université du Colorado à Boulder, Étudiant de l'université d'État de Wichita, Étudiant de l'université du Nebraska à Lincoln, Article avec une section vide ou incomplète, Article de Wikipédia avec notice d'autorité, Page pointant vers des bases relatives aux beaux-arts, Portail:Réalisation audiovisuelle/Articles liés, Portail:Biographie/Articles liés/Photographie, Portail:Biographie/Articles liés/Peinture, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. And I always sort of felt that what I was doing was outside the art scene anyway. The gallery featured black panels which set off his drawings. Pour plus d’informations, voyez le projet Cinéma. He was 74. ; when the ceremony was moved to Washington, Conner tried unsuccessfully to get newreel footage from NBC. Vous pouvez partager vos connaissances en l’améliorant (comment ?) On Bruce Conner (may he rest in peace); Memorial by Daniel Abdal-Hayy Moore, 2008, "21st Century BC" (an accounting of Conner's art work during the final approximately ten years of his life, Inventory of Photographs from the Bruce Conner Papers (graphic), ca. man. Michael Ducan, Art in America, "The Self and Its Symbols", May 2000, James Boaden, Ruin of the Nineteenth Century: The Assemblage Work of Bruce Conner, 1957 – 1962. Il a côtoyé des artistes majeurs du XXe siècle, notamment dans le cadre d'une grande exposition à New York au Museum of Modern Art en 1961 : The Art of Assemblage[3]. His subsequent films are most often fast-paced collages of found footage or of footage shot by Conner; however, he made numerous films, including Crossroads, his 30-plus-minute meditation on the atom bomb, that are almost achingly deliberate in their pace. He has “always been involved in mysticism — Zen, alchemy, magic, all that stuff. Sophie Dannenmüller: "Bruce Conner et les Rats de l'Art", "Bruce Conner: In the Estheticization of Violence,' by Frederic Colier, 2002, Book Case Engine, This page was last edited on 23 November 2020, at 10:01. The title refers to him. During the 1970s Conner focused on drawing and photography, including many photos of the late 1970s West Coast punk rock scene. [19] They have inspired other filmmakers, such as Conner's friend Dennis Hopper, who said, “Bruce’s movies changed my entire concept of editing. [27] Conner's film Crossroads was preserved by the Academy Film Archive, in conjunction with the Pacific Film Archive, in 1995. One of his paintings, "Venus" was displayed in the gallery window. Bruce Conner (November 18, 1933 – July 7, 2008) was an American artist who worked with assemblage, film, drawing, sculpture, painting, collage, and photography. sur France Culture, émission du 4 octobre 2015 sur Deathrose de Jay DeFeo. However, much of this work, including in particular the many inkblot drawings he made, including a series responding to 9/11, were presented using pseudonyms or the name "Anonymous. Conner first attracted widespread attention with his moody, nylon-shrouded assemblages, complex amalgams of found objects such as women's stockings, bicycle wheels, broken dolls, fur, fringe, costume jewelry, and candles, often combined with collaged or painted surfaces. Prolific Beat era artist Bruce Conner dies, Rétrospective du Centre Pompidou sur Bruce Conner, Les Cahiers du Musée national d'art moderne. Social commentary and dissension remained a common theme among his later works. [5] Conner coined the name as a play on 'Scavengers Protective Society'. Il est un pionnier du cinéma expérimental, et plus particulièrement du film de found footage dont il est un des maîtres incontestés, reconnu dans le monde entier[2]. “You’re creating the images at the same time they are consumed, which is an ideal situation. [31] He also called it "the best art museum exhibition of 2016, brilliantly unraveling the complex and conflicting personae of the Bay Area’s most important all-around artist". 2016: Bruce Conner: It's All True, July 3–October 2, 2016. More precisely, “I stopped gluing it down,” he said. In 1999, to accompany a traveling exhibition, a major monograph of his work was published by the Walker Art Center, titled 2000 BC: The Bruce Conner Story, Part II. “At the time, it was unique.”. Note sur certains films de Bruce Conner ». Conner also began to draw elaborately-folded inkblots. A Movie was a poverty film in that instead of shooting his own footage Conner used compilations of old newsreels and other old films. According to Conner's friend and fellow film-maker Stan Brakhage in his book Film at Wit's End, Conner was signed into a New York gallery contract in the early 1960s, which stipulated stylistic and personal restraint beyond Conner's freewheeling nature. Bruce Conner est un réalisateur, photographe, dessinateur, graveur et collagiste américain, né le 18 novembre 1933 à McPherson, Kansas (États-Unis) et mort le 7 juillet 2008 à San Francisco, Californie. He also made—using the new-at-the-time felt-tip pens—intricate black-and-white mandala-like drawings, many of which he subsequently (in the very early 1970s) lithographed into prints.