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Senior &\; Shopmaker Gallery\, in collaboration with the Conner Family Trust\, is pleased to present Afterimage: The Pri nts of Bruce Conner\, the first exhibition of the artist’s wo rk at the gallery. Conner\, who passed away in 2008\, was born in McPherson \, Kansas in 1933 and moved to San Francisco in the late 1950s where he bec ame a pivotal figure in the Beat scene of poets\, writers\, artists and per formers. Active in all media\, including painting\, collage and assemblage\ , sculpture\, graphic arts\, filmmaking\, and photography\, Conner brought a radical and iconoclastic approach to art-making\, questioning and rejecti ng ideals of artistic purity\, style\, and identity\, as well as the market -driven dynamic of the art world.

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     The show\, accompanied by an on-line catalogue with an essay by Peter Boswell\, will include lithograph s Conner produced in 1970-71 to preserve the imagery of his ephemeral felt- tip drawings of the period\, as well as later prints based on ink blot draw ings and collages.

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     Linking the artist’s extensive graphic oeuv re to his work in other media is a command of light and shadow that permeat es images hovering between fugitive and eternal\, fantasy and reality. The retinal effect of his starkly monochromatic drawings of the 1960s and 1970s is achieved through the use of densely woven lines\, creating highly compl ex shifting patterns. Formally rigorous\, these maze-like drawings negate e xternal references and dissolve figure/ground boundaries. Often structured by circular mandala forms\, they attest to the artist’s deep knowledge of o ccult and Eastern philosophies. Conner’s immersive felt-tip drawing process took on a performative aspect as the artist spent continuous hours making them\, never lifting pen from paper in order to produce a graphically unint errupted line.

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     In 1970\, concerned about the fugitive nature o f his felt tip drawings\, Conner initiated the meticulous reproduction of t he images at Kaiser Graphics\, a commercial printer in Oakland\, California . Believing hand-drawn and inked lithography interfered with the precision of his imagery\, the artist chose a commercial offset process\, flouting pr int world conventions by using photomechanical rather than fine art printin g.  The process\, however\, allowed him to amend flaws in the original draw ings and create improved compositions. This led to the production of some o ne hundred prints\, from small\, single sheets to suites of up to twenty-fi ve related panels (titled SET OF THREE\, SET OF FOUR\, etc.). The sequential relationship between one drawing and another - the unfolding of form to form - is preserved to great effect in the thematic organization of the print portfolios.

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     In the mid-1970s and continuing sporadi cally for the rest of his career\, Conner produced inkblot drawings of star tling variety and innovation: grids of small\, calligraphic shapes executed by blotting small puddles of ink between the folds of accordion-pleated sh eets of paper. Totemic and enigmatic\, these rows of symmetrically arranged patterns read as documents scripted in a mysterious language.

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     Drawings and prints of later years are credited to “Anonymous” and “Anonym ouse”\, two of several alter egos invented by Conner to manipulate the idea of artistic identity and authorship. Images inspired by nature\, Leaf September 11-December 7\, 2001\, and Dark Leaf\, relate to el egiac drawings the artist made in response to the 9/11 attacks. Other print s relate to film projects or collage pieces\, such as BOMBHEAD\, o riginally conceived as a collage and later transferred and produced as an i nkjet print. An outlier in the exhibition\, the imagery harkens to Conner’s groundbreaking films of the 1970s such as Crossroads\, 1976.

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     Conner’s work has been included in many major group exhibitions\, notably the 1961 pioneering show The Art of Assemblage at The Muse um of Modern Art\, New York. Recent exhibitions include Bruce Conner: T he 1970s at the Kunsthalle Wien\, Vienna\, Austria in 2010 and Bru ce Conner and the Primal Scene of Punk Rock\, MCA Denver\, Denver\, Co lorado 2012.  In 2000\, the Walker Art Center in Minneapolis organized a wi de-ranging exhibition of Conner’s work entitled 2000 BC: The Bruce Conn er Story\, Part II\, which traveled to the Modern Art Museum of Fort W orth\, the M.H. de Young Memorial Museum in San Francisco\, and the Los Ang eles Museum of Contemporary Art. His work is included in the collections of many museums\, including the Metropolitan Museum of Art\; the Museum of Mo dern Art\, New York\; the Whitney Museum of American Art\, New York\; the M useum of Contemporary Art\, Los Angeles\; the San Francisco Museum of Moder n Art\; and the Walker Art Center\, Minneapolis.

DTEND:20121117 DTSTAMP:20140822T191406 DTSTART:20120920 GEO:40.7499366;-74.005949 LOCATION:SENIOR & SHOPMAKER GALLERY\,210 Eleventh Avenue \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Afterimage: The Prints of Bruce Conner\, Bruce Conner UID:230010 END:VEVENT END:VCALENDAR