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拍品专文
“Conner was inspired by the infusion of spirituality into even the most mundane corners of daily life in Mexico: ‘I would go by an auto-repair garage and in the midst of greasy tools and objects on the wall would be a shrine to the Virgin of Guadalupe. A picture of the Virgin. Right next to it might be a monkey wrench, and an electric lightbulb, and plastic flowers, and a pinup of a half-naked girl. Pictures of family, souvenirs.’ He made art out of quotidian objects, including a room partition, his conga drum, and even his shoes.” (B. Conner, quoted in R. Federman, Bruce Conner: It’s All True, exh. cat., San Francisco Museum of Modern Art, San Francisco, 2016, p. 86).
Composed entirely out of found materials, Bruce Connor’s Annunciation is a unique and intimate assemblage that serves as an evocative portrait of American society from one of the Beat Generation’s most acclaimed and controversial artists. Annunciation portrays several objects, most notably a metal crucifix, with what appears to be a fragmented illustration of a woman, crucified in a manner reminiscent of St. Peter. In the center is a pyramid constructed out of buttons and paper cut from magazines, surrounded by a halo of red cellophane. Playing miniature cards are also apparent towards the center. Below are two serpentine tails, mimicking the cartoon style of the crucified pinup. Although frequently overlooked in their usual context, these materials are given a new life rich in enigmatic symbolism. As its title suggests, Annunciation adopts several biblical themes that were prevalent throughout the western art historical canon. Here, these themes are subverted; the Virgin Mary is represented as a pinup nurse, and an appearance is made by the sinewy tail of the snake in the Garden of Eden. The red cellophane becomes visceral, as if it represents the blood of Christ. Just as the angel Gabriel came with news of a pivotal event for the Virgin Mary, Annunciation informs us of a new era in American culture, and places itself at the crossroads of historical spirituality and modern consumerism.
Recently the subject of a major retrospective at New York’s Museum of Modern Art and the San Francisco Museum of Modern Art in a second leg, as well, Bruce Conner was known as a leading figure in San Francisco’s assemblage movement, while alluding to the previous aesthetic movements that shaped San Francisco’s cultural identity. As a key Beat Generation artist, Bruce Conner’s work reflects modernity’s complexities; the abundance of American post-war consumerism is often displayed amidst the disturbing underlying fears Americans experienced during the Cold-war. The materials he used, such as nylon stockings, plastic and wax, became bodily and almost abject in nature. These materials are not only ubiquitous, readily available goods, but reminders of the darker side of modernity. Through the use of everyday objects, Conner’s work has covered several controversial topics, such the objectification of women, and the looming fear of nuclear annihilation. Through its unconventional materials and unique imagery, Annunciation encompasses the social and political landscape of Post-War America, a time where news of both utopian change and impending disaster both elated and haunted the American people.
Composed entirely out of found materials, Bruce Connor’s Annunciation is a unique and intimate assemblage that serves as an evocative portrait of American society from one of the Beat Generation’s most acclaimed and controversial artists. Annunciation portrays several objects, most notably a metal crucifix, with what appears to be a fragmented illustration of a woman, crucified in a manner reminiscent of St. Peter. In the center is a pyramid constructed out of buttons and paper cut from magazines, surrounded by a halo of red cellophane. Playing miniature cards are also apparent towards the center. Below are two serpentine tails, mimicking the cartoon style of the crucified pinup. Although frequently overlooked in their usual context, these materials are given a new life rich in enigmatic symbolism. As its title suggests, Annunciation adopts several biblical themes that were prevalent throughout the western art historical canon. Here, these themes are subverted; the Virgin Mary is represented as a pinup nurse, and an appearance is made by the sinewy tail of the snake in the Garden of Eden. The red cellophane becomes visceral, as if it represents the blood of Christ. Just as the angel Gabriel came with news of a pivotal event for the Virgin Mary, Annunciation informs us of a new era in American culture, and places itself at the crossroads of historical spirituality and modern consumerism.
Recently the subject of a major retrospective at New York’s Museum of Modern Art and the San Francisco Museum of Modern Art in a second leg, as well, Bruce Conner was known as a leading figure in San Francisco’s assemblage movement, while alluding to the previous aesthetic movements that shaped San Francisco’s cultural identity. As a key Beat Generation artist, Bruce Conner’s work reflects modernity’s complexities; the abundance of American post-war consumerism is often displayed amidst the disturbing underlying fears Americans experienced during the Cold-war. The materials he used, such as nylon stockings, plastic and wax, became bodily and almost abject in nature. These materials are not only ubiquitous, readily available goods, but reminders of the darker side of modernity. Through the use of everyday objects, Conner’s work has covered several controversial topics, such the objectification of women, and the looming fear of nuclear annihilation. Through its unconventional materials and unique imagery, Annunciation encompasses the social and political landscape of Post-War America, a time where news of both utopian change and impending disaster both elated and haunted the American people.