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Bruce Conner: The 70s Bruce Conner: The 70s

Bruce Conner, Gerald Matt and Barbara Steffen (Eds) Bruce Conner, Gerald Matt and Barbara Steffen (Eds)
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Few artists have contributed seminal works to as many genres as Bruce Conner (1933 – 2008), and his experimental films are regarded as forerunners of the MTV video clip today.

Yet the avant-gardist has not only shown new ways of filmmaking, but repeatedly reinvented himself as an artist in his works in various media.

His films aestheticise reality in a uniquely lyrical manner. Resembling Rorschach tests and depicting mandalas or stars, his drawings and paintings symbolize the metaphysical and transcendental.

ANGELS was the name he chose for the photograms with his own body’s projection. Whether he staged a political candidature, used his friend Dennis Hopper’s name as his pseudonym, or had himself declared dead inWho Was Who of 1973, Bruce Conner, who first became known for his assemblage works, eschewed artistic, personal, or categorizations throughout his life.

His many-faceted oeuvre combines a passion for music from Soul to Punk with an abstract formal beauty based on contrasts of light and dark and a critical view of art, society and the American way of life.

This survey with its special focus on the 1970s 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).

Contains two interviews: Jean Conner with Gerald Matt, and Bruce Conner with Peter Boswell.

The exhibition at the Kunsthalle Wien (October 2010 – January 2011) was the first major solo presentation of Connor’s work in Europe.

Few artists have contributed seminal works to as many genres as Bruce Conner (1933 – 2008), and his experimental films are regarded as forerunners of the MTV video clip today.

Yet the avant-gardist has not only shown new ways of filmmaking, but repeatedly reinvented himself as an artist in his works in various media.

His films aestheticise reality in a uniquely lyrical manner. Resembling Rorschach tests and depicting mandalas or stars, his drawings and paintings symbolize the metaphysical and transcendental.

ANGELS was the name he chose for the photograms with his own body’s projection. Whether he staged a political candidature, used his friend Dennis Hopper’s name as his pseudonym, or had himself declared dead inWho Was Who of 1973, Bruce Conner, who first became known for his assemblage works, eschewed artistic, personal, or categorizations throughout his life.

His many-faceted oeuvre combines a passion for music from Soul to Punk with an abstract formal beauty based on contrasts of light and dark and a critical view of art, society and the American way of life.

This survey with its special focus on the 1970s 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).

Contains two interviews: Jean Conner with Gerald Matt, and Bruce Conner with Peter Boswell.

The exhibition at the Kunsthalle Wien (October 2010 – January 2011) was the first major solo presentation of Connor’s work in Europe.

Additional Info

Additional Info

SKU 9783869841601
Publisher(s) Verlag fur moderne Kunst Nurnberg
Editor(s) Matt, Gerald; Steffen, Barbara
Format Hardback
Original publication date 9 Nov 2010
Number of pages 220 pages, illustrated in colour and b&w

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