Word came yesterday of the death of the artist and avant-garde moviemaker Bruce Conner, whose most notable contribution to experimental cinema was probably his innovative take on the collage film. He was interested, in his visual arts, in assemblages and mandalas and other patterns; juxtaposition, balance, and especially tension are key movers in his work, especially in 1958's seminal A Movie, a witty refashioning of cultural detritus and a pointed recognition of the shaping power of cultural forms:
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