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Manfred_Mohr_21

Manfred Mohr

Title & Date: P-1272_3079 (2007)
Material: Pigment-ink on paper
Dimensions: 11.75″ x 11.75″
Donated By: bitforms gallery nyc

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"P-1272_3079" by Manfred Mohr

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Mohr’s Klangfarben series explores high-chroma representations of a calculated geometric space against a black field. Klangfarben is a body of paintings and animations based on the 11-dimensional hypercube and uses diagonal paths as a compositional building block. Diagonal paths are all the combinatorial possibilities of connecting two opposite points through a hypercube network, passing through each dimension once. The reference to “klangfarben” refers to a composition technique of playing one musical note and constantly changing the instrument playing that note.

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Category: Works on Paper

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Description: Manfred Mohr’s Klangfarben series explores high-chroma representations of a calculated geometric space against a black field. Klangfarben is a body of paintings and animations based on the 11-dimensional hypercube and uses diagonal paths as a compositional building block. Diagonal paths are all the combinatorial possibilities of connecting two opposite points through a hypercube network, passing through each dimension once. The reference to “klangfarben” refers to a composition technique of playing one musical note and constantly changing the instrument playing that note.

Artist Biography:Manfred Mohr is known as a pioneer of the digital art genre. A co-founder of the “Art et Informatique” seminar in 1968 at Vincennes University in Paris, he discovered Prof. Max Bense’s writing on information aesthetics in the early 1960′s. These texts radically changed Mohr’s thinking about creativity, and within a few years, his art transformed from abstract expressionism to computer-generated algorithmic geometry. Encouraged by the computer music composer Pierre Barbaud, whom he met in 1967, Mohr programmed his first computer drawings in 1969. His first major museum exhibition, “Une esthétique programmée”, took place in 1971 at the Musée d’Art Moderne de la Ville de Paris. It has since become known historically as the first solo show in a museum of works entirely calculated and drawn by a digital (rather than analog) computer. During that show Mohr demonstrated the drawing of his computer-generated imagery using a Benson flatbed plotter for the first time in public. Mohr’s pieces have been based on the logical structure of cubes and hypercubes, including the lines, planes, and relationships among them, since 1973. The rules of geometry, logic, and mathematics are fundamental to the artist-authored algorithms that generate his artwork.