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| caption = One of two Bochner installations at the Kraus Campo on the campus of [[Carnegie Mellon]], designed by landscape architect<br />[[Michael Van Valkenburgh]]
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| field = [[Conceptual art]], [[Installation art]]
| training = [[Carnegie Mellon School of Art|School of Art]] at [[Carnegie Mellon University]]
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'''Mel Bochner''' (born 1940) is an
==Life==
Bochner was born in [[Pittsburgh]] in 1940. In high school, he won early recognition for his talent from [[The Scholastic Art & Writing Awards]] and studied with Joseph Fitzpatrick
Bochner is
His 1966 show at the [[School of Visual Arts]], "Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art", is regarded as a seminal show in the conceptual art movement. Bochner photocopied his friends' working drawings, including a $3,051.16 fabricator's bill from [[Donald Judd]]. He collected the copies in four black binders and displayed them on four pedestals. The show was remade at the [[Drawing Center]], New York, in 1998.{{citation needed|date=May 2021}}
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==Exhibitions==
In 1985, the [[Carnegie Mellon]] Art Gallery organized a major survey titled ''Mel Bochner:1973-1985''. Elaine A. King was the curator of this exhibition and it was accompanied by the publication of a catalog of the same title. This catalogue was given an award by the [[American Association of Museums]]. King wrote the essay "Building a Language," and Charles Stuckey contributed the piece "An Interview with Mel Bochner." The exhibition traveled to the Kuntzmuseum in Luzern, Switzerland and Center for Fine Arts, Miami. John Russell wrote in a [[New York Times]] article, "Art View; The Best and Biggest in Pittsburgh", {{quote|The Bochner retrospective is divided between the university art gallery and the Hewlett Gallery in the College of Fine Arts, a short walk away. In the catalogue, Miss King and Charles Stuckey do a fine job of elucidation.
Their time was well spent.}} New York Times, November 17, 1985
<ref>{{cite news |url=https://www.nytimes.com/1985/11/17/arts/art-view-the-best-and-biggest-in-pittsburgh.html?pagewanted=all |title=ART VIEW; THE BEST AND BIGGEST IN PITTSBURGH |author=Russell, John |date=17 November 1985 |work=[[New York Times]] |accessdate=1 February 2013}}</ref>
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In 2004, Bochner's work was exhibited in the [[Whitney Biennial]] and was part of ''OpenSystems: Rethinking Art'' c. 1970 at London's [[Tate Modern]] in 2005. His pieces are held in several major museum collections, including the [[Museum of Modern Art]] in New York.
In 2011, a retrospective of his work was held at the [[National Gallery of Art]] in
A survey of Mel Bochner's work - entitled ''Mel Bochner: If the Colour Changes'', was held at [[Whitechapel Gallery]], London, Haus der Kunst, Munich, and Museu de Arte Contemporânea de Serralves, Porto during 2012. Tracing nearly 50 years of work, this exhibition commences with "Blah, Blah, Blah" (2011) a huge painting that encapsulates Bochner's ongoing fascination with language and
==Artists books and multiples==
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• ''Measurement Perimeter'', Black adhesive tape (thickness 1.3 cm) placed on the wall (heigh 1.80 m). The total dimension of the room is indicated on the wall in Letraset (thickness about 6.5 cm). Dimensions depending on the size of the room. Limited edition of 3 numbered and signed copies. Produced in 2017 by [http://www.micheledidier.com/index.php/gb/artists/mfc-mel-bochner/isg-34.html mfc-michèle didier].
• From the seminal canvas in 2008 until 2012 Bochner executed a painting series titled ''[[BLAH! BLAH! BLAH!]]'' after the motif of the textual content of the works.<ref>{{Cite news|url=https://www.nytimes.com/2019/11/26/t-magazine/mel-bochner.html|title = A Conceptual Art Pioneer Who Doesn't Mince Words|newspaper = The New York Times|date = 26 November 2019|last1 = Lakin|first1 = Max}}</ref>
==See also==
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[[Category:Artists from Pittsburgh]]
[[Category:1940 births]]
[[Category:Jewish American artists]]
[[Category:Living people]]
[[Category:21st-century American Jews]]
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