New York

Bruce Boice

In the early ’70s Bruce Boice did paintings in three panels; each panel was framed by strips of wood and/or unpainted bands on the border of the canvas and was governed by a unit of measure that seemed to be the depth of the canvas (from the wall). Robert Pincus-Witten read these paintings as equations or transformations, in which the panel framed with wood represented painting as a “picture” (because the frame concealed the stretcher ) and the unframed panel represented painting as an “object.” The panel in between mediated the two, acting as the “operation” of the equation.

Whether the painting could be so reduced is unsure; what is sure is that Boice defined and then composed the pictorial and the physical elements of painting in a sequential, or additive, way. Later, the sequential arrangement gave over to a field of panels: each panel was less a unit in itself than a part of one greater

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