Unruly, anarchic, and itinerant, Bruce Conner is an elusive artist one can't quite peg down. Is he a collage expert, or a master of sculpting junk? Is he one of the great American avant-garde filmmakers of the mid-twentieth century — a virtuoso of the found-footage film — or a pioneer of the arty music video? He is, of course, all these things and more. With the current exhibit "It's All True," MoMA presents Conner in an art-world context; with the new "Movie in My Head," MoMA creates a sister retrospective to show Conner's impact on cinema. The eleven-part series situates Conner's work within punk, postpunk, Beat music and culture, the Bay Area avant-garde and Canyon Cinema, and the radical subgenres of flicker and found-footage films. Brilliantly, MoMA puts Conner's best-known work, A Movie (1958), in three different programs; this curatorial decision not only speaks to the film's vast influence, but also ties in with Conner's own formal strategy of repetition.

Still from Looking for Mushrooms, 1959-67. Courtesy Conner Family Trust / © Bruce Conner, 2016.
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