Mel Bochner, Obvious, 2017

Mel Bochner Obvious, 2017 monotype for sale at Masterworks Fine Art Gallery

Signed Mel Bochner Monotype, Obvious, 2017

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Artist: Mel Bochner (1940 - )

Title: Obvious, 2017

Medium: Monoprint in oil paint with collage, engraving and embossment on hand-dyed Twinrocker handmade paper

Image Size: 29 1/2 in x 28 1/4 in (74.9 cm x 71.8 cm)

Sheet Size: 29 1/2 in x 28 1/4 in (74.9 cm x 71.8 cm)

Edition: A unique and original monoprint in oil paint

Signature: This work is hand-signed by Mel Bochner (Pittsburgh, 1940 - ) in pencil in the lower left.

Condition: This work is in excellent condition.

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Historical Description of this artwork

Mel Bochner Obvious, 2017 is a vivid exploration of language, typography, color and form. The subject matter of this conceptual piece is text which fills the image entirely. While this subject matter is immediately evident by way of the rounded and uniform type, the text itself takes a moment to read. Across nine horizontal lines the words are sprawled: “OBVIOUS, SELF-| EVIDENT, GLA-| RING, BLATANT, | CLEAR AS DAY, | PLAIN AS THE | NOISE ON YOUR | FACE, DO I HAVE | TO PAINT YOU A | PICTURE? DUH!” Bochner consulted his favorite source Roget’s Thesaurus to choose the sequence of related words and phrases which appear in this image in thickly applied oil paint set against a patchwork collage of polychrome hand-dyed and handmade paper. The structure and punctuation of the text combined with the striking square composition lends a sense of rhythm that is both visual and sonant.

Each letter of every word is represented in a different hue or shade from the precedent and antecedent letter within the line, with some letters almost blending in to the multicolored background.  The viewer is struck by a need to reconcile the meaning of the artwork. By doing this, the subject is obscured, and therefore the text is less legible. We are forced to look harder to decode the significance, or to abandon the obvious literal definitions and embrace the Mel Bochner Obvious, 2017 for its visual merits alone.

Created in 2017, this monoprint with collage, engraving and embossment on hand-dyed Twinrocker handmade paper is hand-signed and dated by Mel Bochner in pencil in the lower left. Mel Bochner Obvious, 2017 is a unique and original work.

Catalogue Raisonné & COA:

1. Bochner, Mel. Monoprints: Mel Bochner: Words, Words, Words…New York: Two Palms, 2012. General information on Mel Bochner’s unique monoprints is discussed on pages 63-65.

2. A Certificate of Authenticity will accompany this artwork.

About the Framing:

Framed to museum-grade, conservation standards, Mel Bochner Obvious, 2017 is presented in a complementary moulding.

What Do I Get With My Purchase?

The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.

All catalogue raisonné and historical documentation is included with your purchase.

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Style: Conceptual Art, Installation Art

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Artistic Styles of Bochner

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Mel Bochner Complete Biography

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Mel Bochner American Artist from NYC
Mel Bochner (1940-)

Mel Bochner Biography

Born in 1950 in Pittsburgh, Pennsylvania, Mel Bochner was raised in an Orthodox Jewish home. His father was a sign painter who he occasionally worked for. In 1962, Mel Bochner graduated from Carnegie Mellon with a BFA. From there he went on to briefly study philosophy at Northwestern University in Chicago before taking the plunge and moving to New York in 1964. His first job in the city was as a museum guard at the Jewish Museum. In 1966 he was approached by art critic Dore Ashton at the museum, and told that he should apple for a job teaching at the School of Visual Arts in New York City – Mel Bochner received an offer and became a teacher there.

His first show was Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art in 1966 the School of Visual Arts. The show consisted of Xeroxed copies of his friends’ works placed in four black binders individually placed on four white pedestals. The impetus for such a layout partially came from the fact that there was not enough money to frame and display all of the original drawings that Mel Bochner had collected. Luckily, he was adept at thinking on his feet as well as being familiar with using photographs in his artistic process. This exhibition has become known as an important show in the Conceptual Art movement.

Mel Bochner felt stuck in abstract expressionism after graduating college, though he desperately longed to move away from the artistic movement. Finally he found a niche for himself when he began to explore the usage of words in fine art, and the intersection between painting and language. He started to see ideas as more important to a piece of art than the formal techniques that created it. Thus began his so-called Thesaurus paintings. These paintings and prints consist of synonyms displayed together. He found that introducing language to the visual aspect of art meant that many interesting and novel questions were asked and explored. Such questions as: who is the audience and who is the speaker of the words.

Mel Bochner started working on monotypes in 1994. He was originally drawn to the medium because of the embossing possibilities that it provides.Mel Bochner also talks about how he likes the unpredictability of the end product in contrast with the quite careful and scientific way that his plates are cut. Firstly, Mel Bochner is working within the confines of the page and the line. There are only so many characters that can fit on a given line, and this is the baseline constraint when setting up his synonyms. Once this is tackled, rearranging begins based on the feel and look of the words next to one another. Generally there is a directionality to the words, becoming more intense or vulgar in tone as they proceed across and down the page. Finally, once the Plexiglas stencil has been cut, Mel Bochner lays it over the pre-dyed paper to discuss coloring. At times Mel Bochner chooses to use color to affirm the words, and at other times he chooses deliberately to ignore color systems and paints with no discernable pattern. To achieve total randomization, Mel Bochner will ask his assistants to pick colors. Instead of letting go of the reins of the artistic process, Mel Bochner sees this as a way of opening himself up to new possibilities and ways of looking at his art – always a valuable skill.

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