For more than 50 years, American conceptualist Mel Bochner (born 1940) has been shaping dialogs between art and language through exhibition concepts, paintings and sculptures that embrace systems and structures to reveal their cracks and limitations, undermining the means we use to comprehend the world. Bochner created his first prints in 1973 at the invitation of publisher Robert Feldman of Parasol Press (who introduced a generation of minimalist and conceptual artists to printmaking through his work at Crown Point Press). Since then, Bochner has employed many different forms of printmaking, using and abusing its material possibilities and its unpredictability to counter the methodical fashion in which plates and stencils are cut, characters per line are fixed, or print runs set. This volume surveys Bochner's longstanding engagement with various types of printmaking, from aquatints to monoprints.

Published on occasion of the exhibition "Mel Bochner: If the Colour Changes," held at the Whitechapel Art Gallery, 12 October - 30 December 2012; Haus der Kunst, Munich, 1 March - 16 June 2013; Fundacao de Serralves, Porto, 12 July - 13 October 2013.

A groundbreaking examination of Mel Bochner's inventive drawing practice produced collaboratively with the artist Encompassing both works on paper and oversized wall drawings made from the 1960s to the present, this handsomely designed volume documents the first-ever museum retrospective of drawings by Mel Bochner (b. 1940). Drawing has long been critical to the work of this pioneering conceptual artist, and essayists explore the theoretical framework and playful experimentation of his decades-long practice. The book, conceived and designed in close collaboration with the artist, features his own writings about his philosophy of wall drawings and reflections on significant exhibitions of his work. Bochner was a key figure of the Minimalist and Conceptual Art movements whose first exhibition in 1966 is now recognized as seminal. Today the artist is known for works in a range of media that explore the conventions of language and visual art as well as the relationships between them; his experimental works on paper, canvas, and wall--all of which are celebrated here--are a foundational facet of his practice and a critical influence on contemporary art.

An examination of the artist Mel Bochner's unique text based prints made in collaboration with Two Palms, New York.

This fascinating book provides for the first time an overview of Bochner's language-based works from the past 40 years, including previously unpublished images and projects.

Reviews, art criticism, theoretical texts, interviews, catalog statements, notecards, magazine interventions, and other writings on art and art in the form of writing by a leading conceptual artist; many pages reproduced in facsimile. Artist Mel Bochner became a writer, he says, almost by accident. In 1965, as a young artist in New York, he was out of a job; Arts Magazine paid him $2.50 for every review he turned in, whether they published it or not; a month of review-writing paid his rent—$28.00 a month. His reviews and articles provoked a range of unexpected reactions. “At that time, artists who wrote were looked at suspiciously, as if writing somehow tainted their visual practice,” he writes. A painter friend attacked him publicly for “joining the enemy.” Bochner soon began testing the boundary between writing-as-criticism and writing-as-visual-art. Solar System & Rest Rooms collects both Bochner's writings on art and his writings as art, offering more than fifty pieces—reviews, art criticism, theoretical texts, interviews, catalog statements, notecards, and his groundbreaking “magazine interventions”—many reproduced in facsimile. Bochner is a leading figure in conceptualism; his 1966 installation at the School of Visual Arts Gallery Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art is considered to be the earliest exhibition of conceptual art. Solar System & Rest Rooms chronologically documents the work and ideas of this important artist over a span of forty years, as well as providing a unique perspective on the conceptual and post-minimal art scene in New York. This book offers a rare insight into what it means to be an artist whose visual practice is inseparable from the sustained practice of writing. Mel Bochner has lived and worked in New York City since 1964. His work has been exhibited internationally and is included in major museum collections throughout the world.