This piece is framed in a new white wood frame.
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An important vapor drawing by listed artist Larry Bell. Signed and titled Melin 42. Part of a series of vapor drawings produced by the artist in the late 70's and early 1980's. Aluminum and silicon monoxide on paper and adhered to canvas.
In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as ‘Vapor Drawings’, continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the ‘Vapor Drawing’ oeuvre, such as Mylar and laminating film, to create the so-called ‘Mirage works’ – a mirage being an illusion which results from a combination of heat and light.
Larry Bell was born in 1939 and lives and works in Los Angeles and Taos, New Mexico. He has exhibited widely including solo exhibitions at The Frederick Weisman Museum, Malibu (2017); Amarillo Museum of Art (2016); Carré d’Art - Musée d’art contemporain de Nîmes, France (2011); The Albuquerque Museum (1997); Denver Art Museum (1995); Museum of Contemporary Art, Los Angeles (1986); Fort Worth Art Museum, Dallas (1975 and 1977) and Pasadena Art Museum, California (1972). Group exhibitions include ‘Phenomenal’, Museum of Contemporary Art San Diego (2011); ‘11 Los Angeles Artists’, Hayward Gallery, London (1971) and ‘Larry Bell, Robert Irwin, Doug Wheeler’, Tate, London (1970).
This piece was originally framed in a plexi glass case that was damaged and removed. Very minor surface wear to paper. Canvas is white and has some yellowing and wear to edges.
Larry Bell (American, b.1939) is a painter and sculptor whose works blur the boundary between artwork, viewer, and environment through the use of reflective materials that warp the perceived space of the work. Raised in Chicago, IL, Bell attended the Chouinard Art Institute in Los Angeles, CA, from 1957 to 1959, where he began experimenting with geometric forms and unusual materials. His early paintings often employed mirrored glass to create a disorienting relationship between viewer and object, as viewers could identify their reflection within the work. Discouraged by the limitations of two-dimensional art, Bell began making fragmented mirror boxes, which created an early precedent for his mature sculptures consisting of pure glass cubes.
White mat 53" H x 37" W
Print paper 52.25" H x 36.25 W