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Paula Cooper Gallery

Two Films

  • Bruce Conner
  • 9d1480c2 d850 477a d0e0 03e9f52636e1
    Bruce Conner, REPORT, 1963–67; 16 mm to 35 mm blow-up,

Press for Two Films

Current Exhibitions at Paula Cooper Gallery


Carl Andre and Lynda Benglis

  • Carl Andre,
  • Lynda Benglis,
  • Opens: May. 10, 2018
  • Closes: Jun. 16, 2018
  • Reception: May. 10, 2018
  • Hours: 6 - 8pm
  • Admission: free

Faces 1: Identity Politics

  • Charles Gaines,
  • Opens: May. 03, 2018
  • Closes: Jun. 09, 2018
  • Reception: May. 04, 2018
  • Hours: 6 - 8pm
  • Admission: free

Ben Estes, Alan Shields

  • Ben Estes,
  • Alan Shields,
  • Opens: Apr. 19, 2018
  • Closes: May. 12, 2018
  • Reception: Apr. 19, 2018
  • Hours: 6 - 8pm
  • Admission: free

Joel Shapiro

  • Joel Shapiro,
  • Opens: Mar. 24, 2018
  • Closes: Apr. 28, 2018
  • Reception: Mar. 24, 2018
  • Hours: 6 - 8pm
  • Admission: free

Two Films

  • Bruce Conner
  • Opens: Feb. 15, 2018
  • Closes: Mar. 24, 2018
  • Reception: Feb. 15, 2018
  • Hours: 6 - 8pm
  • Admission: free

Robert Grosvenor

  • Robert Grosvenor,
  • Opens: Feb. 10, 2018
  • Closes: Mar. 17, 2018
  • Reception: Feb. 10, 2018
  • Hours: 6 - 8pm
  • Admission: free

Mark di Suvero

  • Mark di Suvero,
  • Opens: Jan. 06, 2018
  • Closes: Feb. 03, 2018
  • Reception: Jan. 06, 2018
  • Hours: 6 - 8pm
  • Admission: free

Il Bosco Lontano

  • Beatrice Caracciolo,
  • Opens: Jan. 06, 2018
  • Closes: Feb. 03, 2018
  • Reception: Jan. 06, 2018
  • Hours: 6 - 8pm
  • Admission: free

The Passing of Time: Michael Hurson at Work, 1971-2001

  • Michael Hurson,
  • Opens: Nov. 30, 2017
  • Closes: Dec. 22, 2017
  • Reception: Nov. 30, 2017
  • Hours: 6 - 8pm
  • Admission: free

A Day! Help! Help! Another Day!

  • Cecily Brown,
  • Opens: Oct. 27, 2017
  • Closes: Dec. 02, 2017
  • Reception: Oct. 27, 2017
  • Hours: 6 - 8pm
  • Admission: free

Douglas Huebler

  • Douglas Huebler,
  • Opens: Oct. 14, 2017
  • Closes: Nov. 22, 2017
  • Reception: Oct. 14, 2017
  • Hours: 5 - 7pm
  • Admission: free

Dan Flavin

  • Dan Flavin,
  • Opens: Nov. 03, 2016
  • Closes: Dec. 07, 2016
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Mark di Suvero

  • Mark di Suvero,
  • Opens: Sep. 06, 2014
  • Closes: Oct. 22, 2014
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Invisible Surrealists

  • Sam Durant,
  • Opens: Sep. 12, 2014
  • Closes: Oct. 18, 2014
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Hans Haacke

  • Hans Haacke,
  • Opens: Oct. 25, 2014
  • Closes: Nov. 22, 2014
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Rudolf Stingel

  • Rudolf Stingel,
  • Opens: Oct. 31, 2014
  • Closes: Nov. 29, 2014
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Dan Flavin

  • Dan Flavin,
  • Opens: Dec. 16, 2014
  • Closes: Jan. 15, 2015
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Dan Walsh

  • Dan Walsh,
  • Opens: Jan. 07, 2015
  • Closes: Feb. 14, 2015
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Carl Andre, Dan Flavin, Sol LeWitt

  • Carl Andre,
  • Dan Flavin,
  • Sol LeWitt,
  • Opens: Jan. 09, 2015
  • Closes: Feb. 28, 2015
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Robert Grosvenor

  • Robert Grosvenor,
  • Opens: Apr. 25, 2015
  • Closes: Jul. 02, 2015
  • Reception: Apr. 25, 2015
  • Hours: 6 - 8pm
  • Admission: free

Dissolving Margins

  • Group show,
  • Opens: Mar. 14, 2015
  • Closes: Apr. 25, 2015
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Kelley Walker

  • Kelley Walker,
  • Opens: Mar. 03, 2015
  • Closes: Apr. 18, 2015
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Peter Moore

  • Peter Moore,
  • Opens: Mar. 03, 2015
  • Closes: Apr. 18, 2015
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Christian Marclay

  • Christian Marclay,
  • Opens: Sep. 11, 2015
  • Closes: Oct. 17, 2015
  • Reception: Sep. 10, 2015
  • Hours: 6 - 8pm
  • Admission: free

EXTENDED: Group Show

  • Sophie Calle,
  • Sam Durant,
  • Hans Haacke,
  • Charles Gaines,
  • Wayne Gonzales,
  • Peter Moore,
  • Andres Serrano,
  • Carey Young,
  • Opens: Jun. 02, 2017
  • Closes: Jul. 14, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

The Xerox Book

  • Carl Andre,
  • Robert Barry,
  • Douglas Huebler,
  • Joseph Kosuth,
  • Sol LeWitt,
  • Robert Morris,
  • Lawrence Weiner,
  • Opens: Sep. 12, 2015
  • Closes: Oct. 24, 2015
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Things Around the House

  • Claes Oldenburg,
  • Coosje van Bruggen,
  • Opens: Nov. 07, 2015
  • Closes: Dec. 19, 2015
  • Reception: Nov. 12, 2015
  • Hours: 6 - 8pm
  • Admission: free

Projective Instrument

  • Tauba Auerbach,
  • Opens: Jan. 09, 2016
  • Closes: Feb. 13, 2016
  • Reception: Jan. 09, 2016
  • Hours: 6 - 8pm
  • Admission: free

Bruce Conner

  • Bruce Conner
  • Opens: May. 03, 2016
  • Closes: Jul. 15, 2016
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Meg Webster

  • Meg Webster,
  • Opens: May. 07, 2016
  • Closes: Jun. 24, 2016
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Walid Raad

  • Walid Raad,
  • Opens: Feb. 27, 2016
  • Closes: Mar. 26, 2016
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

EXTENDED: Better be watching the clouds

  • Walid Raad,
  • Opens: May. 18, 2017
  • Closes: Jul. 14, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Charles Gaines

  • Charles Gaines,
  • Opens: Mar. 31, 2016
  • Closes: Apr. 30, 2016
  • Reception: Mar. 31, 2016
  • Hours: 6 - 8pm
  • Admission: free

Jennifer Bartlett

  • Jennifer Bartlett,
  • Opens: Mar. 26, 2016
  • Closes: Apr. 23, 2016
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Small Sculptures and Short Words

  • Carl Andre,
  • Opens: Feb. 11, 2017
  • Closes: Mar. 11, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Sol LeWitt

  • Sol LeWitt,
  • Opens: Sep. 08, 2016
  • Closes: Oct. 22, 2016
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

EXTENDED: David Novros

  • David Novros,
  • Opens: Apr. 27, 2017
  • Closes: Jun. 30, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Three Figures In A Room [Extended]

  • Paul Pfeiffer,
  • Opens: Oct. 13, 2016
  • Closes: Dec. 17, 2016
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Bing Wright

  • Bing Wright,
  • Opens: Mar. 16, 2017
  • Closes: Apr. 15, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

A recrudescence

  • Justin Matherly,
  • Opens: Apr. 22, 2017
  • Closes: May. 26, 2017
  • Reception: Apr. 22, 2017
  • Hours: 6 - 8pm
  • Admission: free

Mark di Suvero

  • Mark di Suvero,
  • Opens: Nov. 03, 2016
  • Closes: Dec. 10, 2016
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Dan Walsh

  • Dan Walsh,
  • Opens: Jan. 05, 2017
  • Closes: Feb. 04, 2017
  • Reception: Jan. 05, 2017
  • Hours: 6 - 8pm
  • Admission: free

Liz Glynn

  • Liz Glynn,
  • Opens: Jan. 07, 2017
  • Closes: Feb. 11, 2017
  • Reception: Jan. 07, 2017
  • Hours: 6 - 8pm
  • Admission: free

Christian Marclay

  • Christian Marclay,
  • Opens: Sep. 07, 2017
  • Closes: Oct. 07, 2017
  • Reception: Sep. 07, 2017
  • Hours: 6 - 8pm
  • Admission: free

Carey Young

  • Carey Young,
  • Opens: Sep. 07, 2017
  • Closes: Oct. 14, 2017
  • Reception: Sep. 07, 2017
  • Hours: 6 - 8pm
  • Admission: free

When

Feb 15 - Mar 24, 2018

  • Reception: Feb 15, 6 - 8pm

Where

Paula Cooper Gallery

  • 534 W 21st St, New York NY 10011 Map
  • 212.255.1105

About

Paula Cooper Gallery is pleased to announce an exhibition of two films by Bruce Conner, REPORT (1963–1967) and MARILYN TIMES FIVE (1968–1973), both recently restored by the Conner Family Trust. The exhibition will be on view at 534 West 21st Street from February 15 through March 24, 2018. There will be an opening reception February 15, 6–8 PM.

Conner, a protean artist who worked across a range of media, is perhaps best known for his pioneering experimental films. Using found footage of ubiquitous or iconic imagery, his films challenge the viewer to reexamine cultural narratives that have been oversaturated, often to the point of banality. In particular, the two works presented in this exhibition deconstruct and memorialize two icons who have left an indelible mark on America’s modern cultural history.

Conner’s REPORT is a thirteen-minute meditation on the 1963 assassination of President John F. Kennedy that also dissects the phenomenon of the news media as a means of processing the event. Comprised of two parts, the first addresses the assassination directly through radio broadcast recounting the frenzied aftermath of the gunshots. Brief television clips from the day are repeated, extended, and reordered, their familiar images becoming increasingly strange with each iteration. Intercut with alternating clear and black celluloid that accelerates to stroboscopic effect, the act concludes with audio confirmation of Kennedy’s death set to a recursive countdown. The second part of REPORT, the epilogue, explores the media’s deification, commodification and obscuration of the president. Radio commentary of Kennedy’s arrival in Dallas plays against archival footage of him spliced with a multiplicity of symbolic appropriated scenes: a bullfight, Hollywood films, television advertisements, WWII battles. In sum, the film’s two acts tease the viewer by omitting footage of the actual shooting, foregrounding the power of the media to shape a national narrative. Compelling the viewer to unscramble its high-density plot, REPORT collapses the personal with the public. “REPORT bends cinematic time into the time-made-strange of traumatic memory,” mirroring the experience of mental processing.1

Created from 1968 to 1973, MARILYN TIMES FIVE is composed of clips from “The Apple Knockers and the Coke”—a 1948 girlie film featuring actress and Marilyn Monroe look-a-like, Arline Hunter. As Monroe’s song, “I’m Through With Love,” plays five times, footage of Hunter seductively posing for the camera is interrupted by fragments of black leader. As with REPORT, Conner edits the film to arouse and frustrate the viewer’s desire to see. Extensive repetition, abrupt abbreviations, gradually protracted excerpts, and non-linear sequencing reveals film to be merely a subjective construct—one which commodifies celebrity and exploits women. “In total, the object of desire in MARILYN is mediated by so many factors—from Marilyn Monroe’s death and the age of the original film to the lethargic pace and absence of narrative closure in Conner’s version—that is transmogrified into something truly strange, at once erotic and deadened.”


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