Theory of Sculpture: Fontana's Light
Marc Selwyn Fine Art is pleased to announce a unique exhibition of sculpture by Mel Bochner. In this show, Bochner recreates a seminal 1991 Milan exhibition in which he added luminous color to his historic 1970's sculptures.
With stones and other common objects placed on the ground, Bochner's 1970's works used often contradictory numerical and geometric systems to question and explore man's attempt to order his natural world.
The 1991 Milan sculptures were transformative. Made from the original jewel-like colored glass left in Lucio Fontana's studio when he died, the 1991 works were the first use of color in Bochner's sculpture since 1966. As Bochner states:
"The addition of color changes everything. It takes you into another realm, the realm of perception. Unlike the natural color of the pebbles, the color of the glass is man-made and highly artificial. The beauty of it is the transparency of the color, which allows light to pass through it. And glass is a natural substance, made by melting sand, which is after all, ground-up stones. So the glass preserves the material history of my earlier sculpture, and simultaneously opens up a whole new way to look at it."
A catalogue documenting this exhibition will be published after the show and will contain an interview with the artist. We have attached the complete interview as it explains the historical context, conceptual foundations, and genesis of the show in the artist's own words.
Mel Bochner's work is currently the subject of an exhibition at the National Gallery in Washington D.C. An upcoming retrospective at the Whitechapel in London will trace the artist's use of color throughout his multidisciplinary career. Mel Bochner (born 1940) received his BFA from Carnegie Institute of Technology in 1962. He has exhibited throughout the United States and Europe and his work is in the collections of the Museum of Modern Art, the Whitney Museum of American Art, Art Institute of Chicago, Los Angeles County Museum of Art, among others.