Bruce Conner


pencil on paper
25 x 18 7/8 inches

I become involved in symbols or movements of objects and how they change. Using symbolical relationships that have been incorporated into philosophical structures such as Yin Yang and Crucifixion and Resurrection. The Yin Yang image symbolizes one thing but I felt, also, that an old rubber ball that I collected out of an old house had the same power to it. It was the same thing. It was the Yin Yang and it was changing all the time. I became involved in using those symbols, symbols of chance, symbols of emotional content that can change very quickly into something else. One of the themes is that none of it is real. But it is all real. – Bruce Conner

In a career that spanned 50 years and multiple artistic forms, Bruce Conner explored the ideas that make up contemporary culture. Known for his assemblages, photography, drawings, films, and sculpture, his work always manages to be a fascinating blend of conceptual rigor and visual beauty. The form in this delicate drawing from 1962 teeters on the border between abstraction and figuration, resembling a pulsing mass of quivering lines that coalesce into a bodily form. Conner’s work is included in numerous museum collections, including the Dallas Museum of Art, and in 2016 MoMA organized a major retrospective of his work.