Bruce Conner (1933–2008) was one of the foremost American artists of the postwar era. After working the California art scene for 50 years, Conner’s work addresses various themes of postwar American society, from growing consumer culture to the threat of nuclear apocalypse. Conners works hybridise painting and sculpture, film and performance, drawing and printing. An early practitioner of found-object montage, his relief and free-standing sculptural objects, such as CHILD (1959) and LOOKING GLASS (1964), were widely recognized for their masterful compositions and daringly dark subject matter.
Equally a pioneer of avant-garde filmmaking, Conner developed a quick-cut method of editing that defined his approach to film making. Incorporating footage from a range of sources (countdown leaders, training films, and newsreels) and splicing it with his own 16mm film footage, Conner’s films also focus on disturbing, very current themes.
Films= A Movie (1958), Cosmic Ray (1961), Vivian (1964), Ten Second Film (1965), Easter Morning Raga (1966), Breakaway (1966), Report (1963–1967), The White Rose (1967), Looking for Mushrooms (1967), Permian Strata (1969), Marilyn Times Five (1973), Crossroads (1976), Take the 5:10 to Dreamland (1976), Valse Triste (1977), Mongoloid (1978), Mea Culpa (1981), America is Waiting (1982), Television Assassination (1995), Looking for Mushrooms (long version, 1996), Luke (2004), Eve-Ray-Forever (three screen installation) (2006), Three Screen Ray (three screen installation) (2006), His Eye is on the Sparrow (2006), Easter Morning (2008)
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