Conner

Conner worked in a variety of mediums from an early age. His first solo gallery show in New York City took place in 1956 and featured paintings. His first solo shows in San Francisco, in 1958 and 1959, featured paintings, drawings, prints, collages, assemblages, and sculpture. The Designer's Gallery in San Francisco held Bruce's third solo show. The gallery featured black panels which set off his drawings. One of his paintings, "Venus" was displayed in the gallery window. The painting showed a nude inside a form representing a clam shell. A local policeman confronted the gallery owners to get it removed, "as children in the neighborhood might see the painting." The ACLU (American Civil Liberties Union)stood behind the gallery's right to display it, and the matter never became an issue.
Conner first attracted widespread attention with his moody, nylon-shrouded assemblages, complex amalgams of found objects such as women's stockings, bicycle wheels, broken dolls, fur, fringe, costume jewelry, and candles, often combined with collaged or painted surfaces. Erotically charged and tinged with echoes of both the Surrealist tradition and of San Francisco's Victorian past, these
Conner's first and possibly most famous film was entitled A MOVIE (1958). A MOVIE (Conner explicitly titles his movies in all capital letters) was a poverty film in that instead of shooting his own footage Conner used compilations of old newsreels and other old films. He skillfully re-edited that footage, set the visuals to a recording of Ottorino Respighi's Pines of Rome, and created an entertaining and thought-provoking 12 minute film, that while non-narrative has things to say about the experience of watching a movie and the human condition. A MOVIE subsequently (in 1994) was selected for preservation by the National Film Registry at the Library of Congress. Conner subsequently made nearly two dozen mostly non-narrative experimental