In Diogenes Who?, 1990, Bruce Conner repurposes a reproduction of Alexandre Bida’s depiction of the Flight into Egypt. In the original work, Joseph stands on the lower step of an entranceway with a donkey at his side. He holds a lantern, illuminating the stairs for Mary, who makes her way through the threshold with baby Jesus in her arms. Bida’s carefully crafted composition distills this Biblical scene as a transitory moment, as it becomes clear that Mary’s next steps will bring her to the forefront of the work.
Conner appropriates this sense of dynamism in his collage, replacing the Madonna and Child with printed patches of etched patterns and disembodied eyes. The flowing drapery and swirling sculptural designs carved in relief convey a prominent sense of motion within the doorway. The jarring juxtaposition of floating eyes amidst feather-like designs conjures imagery associated with the cherubim, seraphim and ophanim mentioned in many religious texts. Conner’s Joseph figure appears to welcome in an amalgamation of mystical energy, at once defying definition while exuding a distinctly palpable spirituality.
The present lot exhibits Conner’s propensity to blend artistic mediums and sources of inspiration. Known for his role in the California art scene of the latter half of the 20th century, Conner rose to prominence through his innovative assemblages of found objects tied together with rope. Put off by the idea of being classified by a single artistic style, he often explored new materials and artmaking processes. Much of Conner’s oeuvre revolves around his critiques of mainstream postwar American society, with a fear of nuclear war and burgeoning consumerism appearing consistently as thematic undertones throughout his work.
The title of the present lot refers to Diogenes, an ancient Greek philosopher known for his critiques of Athenian civilization. Appalled by what he viewed as a corrupt, materialistic and pretentious society, Diogenes engaged in several public stunts to express his disgust. Perhaps the most infamous of these was his habit of walking around with a lantern during the day, claiming to be “searching for an honest man.” In turn, many depictions of the philosopher have included a lantern in one hand.
Conner embraces this trope, superimposing the story and identity of Diogenes over his repurposed image of Joseph. Viewed through this lens, it becomes clear that Conner’s version of the philosopher will not find what he is looking for. The spiritual void that lies on the other side of the doorway represents the futility of Diogenes’ search and subsequently, his frustration with society. Works like the present lot crystallize many of Conner’s critiques of his own society, as viewers are prompted to realize connections between the artist and the troubled philosopher he depicts.
