In 2000, the Walker Art Center, Minneapolis, organized a retrospective of Conner’s work titled “2000 BC: THE BRUCE CONNER STORY, PART II,” which traveled to the Modern Art Museum of Fort Worth, the M.H. Though DECK was never completed, Conner returned to his original drawings in the 1990s, reordering them as singles and TRIOS—a move that was consistent with his collage mentality and disregard for traditional boundaries of artmaking. Placing drops of ink, one at a time, and then pressing the fold to create the mirror impression, Conner repeated the action hundreds of times for a single drawing. Emerging from the West Coast countercultural movement, he restlessly explored mysticism and spirituality, punk rock and psychedelia, while tenaciously rejecting American jingoism and consumerism. (33.7 x 54 cm). A would-be collaboration with his friend, the poet Michael McClure (1932–2020), DECK was conceived of as a set of cards, each printed with a lithographic reproduction of single inkblot on one side and a pair of words on the reverse. Bruce Conner. In the mid-1970s and continuing sporadically for the rest of his career, Conner produced inkblot drawings of startling variety and innovation: grids of small, calligraphic shapes executed by blotting small puddles of ink between the folds of accordion-pleated sheets of paper. All images © 2020 Conner Family Trust, San Francisco / Artists Rights Society (ARS). Conner experimented with intricate geometric drawings throughout his life, as in his Book Pages series (1967) which present sheets of paper almost entirely filled with continuous, wandering lines, as well as in his Rorschach-like inkblot drawings of the 1990s and 2000s. His diverse range of films, collages, and sculptural assemblages are defined by the artist’s fascination with the grotesque and mortality. Linking the artist’s extensive graphic oeuvre to his work in other media is a command of light and shadow that permeates images hovering between fugitive and eternal, fantasy and reality. Shown here as a group for the first time, Conner’s DECK drawings speak to the artist’s pioneering peripatetic yet iterative practice. Often structured by circular mandala forms, they attest to the artist’s deep knowledge of occult and Eastern philosophies. (40 x 34.3 cm), INKBLOT DRAWING JUNE 5, 1975 (detail), 1975, INKBLOT DRAWING JUNE 8, 1975 (detail), 1975, INKBLOT DRAWING JULY 20, 1975 (detail), 1975, INKBLOT DRAWING AUGUST 4, 1975 (detail), 1975. (33.7 x 54 cm). Setting himself and his work in critical opposition to mainstream American society, versatile and restlessly inventive artist Bruce Conner was a key part of the San Francisco Beat scene in the late 1950s. His exhaustive variations in this technique resulted in myriad permutations of density and form. Paula Cooper Gallery’s presentation of DECK drawings marks the first time these works have been shown as a group. A person playing with the set would produce different poetic phrases by arranging and rearranging the cards. 6 x 4 in. E-Catalogue: Bruce Conner, Dennis Hopper One Man Show , 2016. Totemic and enigmatic, these rows of symmetrically arranged patterns read as documents scripted in a mysterious language. (33.7 x 54 cm), framed dimensions: 13 1/4 x 21 1/4 in. (40 x 34.3 cm) Inquire Born in McPherson, Kansas, Bruce Conner (1933–2008) was raised in Wichita where he attended Wichita University. He received his BFA at Nebraska University in 1956 and continued his studies with scholarships at the Brooklyn Museum Art School and the University of Colorado. Another notable print series dating from 1971 is titled DENNIS HOPPER ONE MAN SHOW The genesis for this print project dates back to the late 1950s, when Conner began a series of paper collages using fragments of 19th-century engraved illustrations styled on those by French Surrealist Max Ernst.

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