Mel Bochner, ‘Counting Exercise: Circles ’, Christie's

Mel Bochner (b. 1940)

Counting Exercise: Circles

signed, titled, dated, and inscribed 'COUNTING EXERCISE: CIRCLES 1. CLOCKWISE / INTERIOR ORIENTATION 2. COUNTERCLOCKWISE / EXTERIOR ORIENTATION MEL BOCHNER, 1972' (lower left)

ink and graphite on paper

23 3/4 x 23 3/8 in. (60.3 x 59.3 cm.)

Executed in 1972.

Signature: signed, titled, dated, and inscribed 'COUNTING EXERCISE: CIRCLES 1. CLOCKWISE / INTERIOR ORIENTATION 2. COUNTERCLOCKWISE / EXTERIOR ORIENTATION MEL BOCHNER, 1972' (lower left)

New York, Whitney Museum of American Art, Contemporary Drawing, May-June 1973.

Baltimore Museum of Art, Mel Bochner: Number and Shape, October-November 1976, p. 60, no. 36.

The Estate of Ileana Sonnabend, acquired directly from the artist

By descent from the above to the present owner

About Mel Bochner

Mel Bochner’s approach and materials constantly vary; in fact, the artist formally disavowed allegiance to a single material in his famous essay titled “the Medium and the Tedium” (2010). Bochner—who has produced paintings, installations, and photography—is noted to be one of the most influential pioneers of Conceptual art, and the organizer of the first Conceptual art exhibition in 1966. A recurring theme in Bochner’s work is the relationship between language and physical space or color. This is famously demonstrated in his “Measurement” installations of the late 1960s, visualizing the exact dimensions of rooms and exhibition spaces, and thesaurus-inspired paintings of a single word and its synonyms. Bochner formally studied under Douglas Wilson and Wilfred Readio, though his eventual style would draw strong influence from the works of Clyfford Still and Jean Dubuffet.

American, b. 1940, Pittsburgh, Pennsylvania, based in New York, New York