This print presents one of the artist's most recognized works in a striking combination of lemon yellow and an iridescent pigment that shifts from icy blue to metallic green, depending on the viewer's vantage point.
Bochner's work has explored language as a subject for the visual arts since the 1960s. Beginning in 1994, the artist continued his investigation of language in his printmaking projects with Two Palms. In the studio, Bochner has developed an exhaustive repertoire of traditional and non-traditional printmaking techniques, including: etching, photogravure, cyanotype, mirrored glass, highly-textured silkscreen, salt prints, large scale rubber stamps and monoprints of unprecedented scale and physicality. The artist has developed these activities to expand the range of philosophical, psychological, political and visual ideas that his work engages.
Bochner says of his work: "One of the reasons I focus on ordinary language is because everybody can read it and have some personal reference point. To me, the emotional trajectory of the painting is how one gets from the first word to the last word—from the prim and proper to the crude and vulgar. I concentrate a lot on the sense and sound of the language. The flow of words has to have a certain kind of rhythm or a certain kind of lack of rhythm. That’s how the narrative of the picture is constructed."
② Represented by:
Mel Bochner's work examines how painting and language are constructed and understood. The artist, coming of age during the radical changes in the late 1960s, made language a subject of his work just as the medium of painting was slowly losing its preeminent position in the visual arts. Bochner's work explores the relationships between the word and the image in an effort to make us more attentive to the unspoken codes that underpin our engagement with the world.