Bruce Conner interviewe­d by Sturt Penrose, 26 December 1964


I know that you are a painter, sculptor and a film-maker but I believe that it was as an assemblage artist that you first attracted widespread attention. In turning to the assembled medium were you in some way riding with the popularity that it now enjoys in the United States and Europe?

It may look that way but in point of fact I was interested in objects for their aesthetic merits and importance long before the post-war assemblage movement got significan­tly underway. Even at High School in 1950 I was engaged upon quite advanced forms of collage alongside my ordinary studies as an art student. But assemblage, in some form or other, has been known to every civilisati­on. I certainly didn’t invent it. I merely fashion it to suit my own expression as an artist and, of course, to the times in which we live.

But the renewed interest in assembled objects as works of art in their own right has no doubt influenced your direction and developmen­t? At least your audience has become accustomed to the more bizarre aspects of your medium.

Shall we say that the climate has become more receptive for the particular type of assemblage upon which I am working. But I have always taken a highly individual and personal path in whatever I am doing as an artist. For example, when I was living in San Francisco from 1957 to 1962 I found myself repeating the same theme in my painting. Always expression­less white faces emerging from blackness. Whatever I started out to achieve in terms of paint would end up the same way. I wanted to communicat­e something but it was becoming impossible. I almost decided to give up being an artist.

And so it was at this time, almost in desperatio­n, that you turned to assemblage?

Yes, I did. I began in San Francisco and then went to live in Mexico for a year. Many of the works in the present exhibition at the Fraser Gallery are the result of my stay in Mexico. I began to see more clearly that there is always a dialogue going on between objects and people. And in my assemblage­s I wanted to show the important and special relationsh­ip that I felt about objects that I’d seen and found. This is somehow di¥cult for some people to understand. At least if they have convention­al ideas about painting.

Perhaps you can explain further by way of an example?

Well, not long ago I attended a dinner party in the States with Roy Lichtenste­in and other well-known American artists. The party was given by Daniel Spoerri. We sat at the dinner table and the host asked each guest what he would like to eat and drink. I chose bread and wine. Some chose pretty large meals, others small meals and so on. After the meal was over Spoerri asked each guest to leave the table. You can guess that the table was pretty littered with objects of all kinds: half-eaten food, silverware, glassware and the like.

It was a regular jumble. But then Daniel Spoerri began to fix the objects of each guest in exactly the position they had been left. You see the individual left-overs had become assembled in such a way that they revealed something of the character and the personalit­y of the guest. And it was done unconsciou­sly. How much more an artist can reveal when he works with objects in a consciousl­y creative manner!

And so the assemblage medium has added greatly to your vocabulary as an artist?

It’s taught me many things. One is that to get your message across to your audience you must change your means of saying things. In my Homage to Jean Harlow I am trying to show how objects – discarded now – once had some very real meaning to the person who wore and owned them.

I want to strike at the importance and the meaning that lies behind objects. And the fact that there’s nothing very new in this. Isn’t the British Museum one gigantic assemblage? [...]

Bruce Conner’s š °šœ , 1967, is on view at Thomas Dane Gallery, London, through 12 November 2022

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