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In a career that spanned five decades, most of them spent in San Francisco, Bruce Conner (1933--2008) produced a unique body of work that refused to be contained by medium or style. Whether making found-footage films, hallucinatory ink-blot graphics, enigmatic collages, or assemblages from castoffs, Conner took up genres as quickly as he abandoned them. His movements within San Francisco's counter-cultural scenes were similarly free-wheeling; at home in beat poetry, punk music, and underground film circles, he never completely belonged to any of them. Bruce Conner belonged to Bruce Conner. Twice he announced his own death ; during the last years of his life he produced a series of pseudonymous works after announcing his 'retirement.' In this first book-length study of Conner's enormously influential but insufficiently understood career, Kevin Hatch explores Conner's work as well as his position on the geographical, cultural, and critical margins. Hatch finds a set of abiding concerns that inform Conner's wide-ranging works and changing personas. A deep anxiety pervades the work, reflecting a struggle between private, unknowable, interior experience and a duplicitous world of received images and false appearances. The profane and the sacred, the comic and the tragic, the enigmatic and the universal: each of these antinomies is pushed to the breaking point in Conner's work.
Conner, Bruce, --- Criticism and interpretation. --- Design --- Peinture --- Sculpture --- Collage --- Photographie --- Art vidéo --- Conner, Bruce
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Conner, Bruce --- kunst --- Verenigde Staten --- twintigste eeuw --- Conner Bruce --- fotografie --- collages --- film --- schilderkunst --- tekenkunst --- grafiek --- 7.071 CONNER --- Exhibitions
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Dès la fin des années 1940, nombre d'artistes vont tisser un réseau artistique des plus informels, le long de la côte ouest américaine, parallèlement aux courants dominants de l'époque. Ils ne constituent en aucun cas un groupe autoproclamé, moins encore un mouvement au sens où l'Europe artistique et ses héritiers l'entendent. Ils se nomment Wally Hedrick, Jess, Bruce Conner, George Herms, Wallace Berman, Edward Kienholz, Jay DeFeo, Charles Brittin, et nul manifeste, exposition commune, galerie ou porte-parole critique ne viendront avant longtemps les réunir sous une bannière commune. C'est l'histoire de cette nébuleuse, active jusqu'au début des années 1970, que propose ce livre à travers l'étude d'une constellation d'œuvres traversées par la pratique de l'assemblage, un geste fondateur pour ceux qui ne tarderont pas à être désignés comme des ± assemblagistes?
Dadaïsme --- Surréalisme --- Mouvement artistique --- Années 1950 --- Années 1960 --- Jess --- Conner, Bruce --- Kienholz, Edward --- Californie
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The present catalogue is a retrospective with a difference. Taking the work of two contemporary American artists, Christopher Wool and Sharon Lockhart, it looks back at the work of their predecessors as painters and filmmakers from earlier generations. The key figure of these reflections is Andy Warhol, who both revolutionized painting as a medium and made a major contribution to the development of film. His work spans both Barnett Newman's access to the materiality of pictures and the artistic exploitation of media images and their apparent reality with which Bruce Conner achieved such brilliant effects. The publication contains an extensive, complex panorama of art-historical references combined with contemporary historical and political analyses. Affinities and antitheses within the interrelationships, substance and formal idioms of the five artists involved are explored in a variety of ways. Along with illustrations of the paintings exhibited and films screened, the catalogue thus contains articles by Giuliana Bruno, Achim Hochdörfer, Wolfram Pichler, Christian Höller, Hans Dieter Hubert, Peter Pakesch, Ferdinand Schmatz, Marc Siegel and Ian White.
installations [visual works] --- film [discipline] --- painting [image-making] --- Warhol, Andy --- Newman, Barnett --- Conner, Bruce --- Wool, Christopher --- Lockhart, Sharon
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