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Bruce Conner: The 70s
Painting, Drawing, Film
Edited by Gerald Matt, Barbara Steffen. Text by Ursula Blickle, Gerald Matt, Thomas Mießgang, Michelle Silva, Barbara Steffen, Malcolm Turvey.
Few artists have contributed seminal works to as many genres as Bruce Conner (1933-2008). An assemblage artist famed for his use of nylon stockings, he also pioneered the use of found footage and the high-speed film editing now familiar to us from MTV, and was one of the earliest filmmakers to use pop and soul music on his soundtracks. In the 1960s, Conner collaborated with Toni Basil (of "Mickey" fame) on his dance film Breakaway, and in the 1970s with Devo, David Byrne and Brian Eno on music videos. This survey examines the formal parallels between Conner's works as an artist and filmmaker, and looks at drawings, oil and acrylic paintings, lithographs, prints, photograms and photographs alongside three of Conner's best-known films: Breakaway (1966), Crossroads (1976), and Marilyn Times Five (1968-1973).
Featured image is Prints by Bruce Conner, reproduced from Bruce Conner: The 70s.
STATUS: Out of stock indefinitely.
FROM THE BOOK
"Conner has not only opened up new ways of filmmaking, but he has repeatedly reinvented himself as an artist in his works in various media since he became known in the 1950s with his assemblage works. Bruce Conner regarded identity and authenticity as variables which he questioned critically and humorously… His work of the 1970s is characterized by a lyrical language of forms which primarily became manifest in the media of drawing, painting and film. He thematizes the abstract by confronting us with symbols of the metaphysical, of the transcendental, with motifs offering possible representations of the numinous and unconscious: ink blot drawings resembling Rohrschach tests, endless variations of mandala forms or pictures made up of thousands of tiny white dots against a black background making us think of starry skies… Conner’s many-faceted oeuvre combines a passion for music from soul to punk alongside the radical formal beauty of light and dark contrasts and a generally critical view of art and society."
Excerpted from Bruce Conner: The 70s.
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