TELEVISION ASSASSINATION is one of two major works that Bruce Conner began in the days immediately following the Kennedy assassination and the artist's own thirtieth birthday, in the fall of 1963. While REPORT utilized montage and a strongly articulated structure to analyze the forces at work in the killing of a President (including our own complicity), TELEVISION ASSASSINATION is a complex, synthesizing work that weaves together fragments from the flux and flow of that history as it was in the process of being constructed and displayed daily to a nation of spectators. A monument to the enduring potency of the Kennedy myth and to the marketers who created it, the installation brings Conner's critique full-circle into the very medium that formalized it. In so doing, the work seems to suggest that the final resting place for the slain President was neither Brookline nor Arlington National Cemetery, but rather in the box, on the tube, held suspended forever on the television screen.
King Arthur, accompanied by his squire, recruits his Knights of the Round Table, including Sir Bedevere the Wise, Sir Lancelot the Brave, Sir Robin the Not-Quite-So-Brave-As-Sir-Lancelot and Sir Galahad the Pure.
There is a war in the world between the men and the women. A young girl tries to escape this reality and comes to a hidden place where a strange unicorn lives with a family: Sister, Brother, many children and an old woman that never leaves her bed but stays in contact with the world through her radio.
On Saint Valentine's Day in 1900, the female students at a private Australian school are given permission by their stern headmistress to travel to an ancient volcanic outcropping for an afternoon picnic.