<em>Relief 14/268</em>

Manfred Mohr
B-flat, 1968
Wood, acrylic paint
12.5 x 10.25 in / 32 x 26 cm
Edition of 4

Mohr’s work is an important bridge between handmade manipulations and machine-calculated structures in art. Following a series of geometric experiments, a shift toward hard-edge painting by 1967 immediately preceded Mohr’s use of the computer as a tool for art. In this period of work, his fascination with modern electronic hardware emerges, seen in his use of iconic shapes resembling schematics. Mohr’s interest in electronic and circuitry, in part, predisposed him to being so adventurous in using computers for his art in the late 1960s.

During the Hard Edge phase (1966-69), Mohr introduced geometry and constructibility (but not yet the computer) into his work. In a subjective selection process, geometric elements influenced by electronic and other technical signs are created and distributed over the entire pictorial surface. They are mobile signs, that means, they are exchangeable signs. Since all signs (forms) are surrounded by a pictorial force, they create in their juxtaposition a network of abstract visual tension.

The title of this piece references Mohr’s activity as a jazz musician during this time. It is representative of his hard edge paintings that were exhibited in Nov 1968 at his first solo exhibition with Daniel Templon gallery in Paris.

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