Manfred Mohr is considered a pioneer of digital art. After discovering Prof. Max Bense's information aesthetics in the early 1960's, Mohr's artistic thinking was radically changed. 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.
Some of the collections in which he is represented: Centre Pompidou, Paris; Joseph Albers Museum, Bottrop; Mary and Leigh Block Museum of Art, Chicago; Victoria and Albert Museum, London; Ludwig Museum, Cologne; Wilhelm-Hack-Museum, Ludwigshafen; Kunstmuseum Stuttgart, Stuttgart; Stedelijk Museum, Amsterdam; Museum im Kulturspeicher, Würzburg; Kunsthalle Bremen, Bremen; Musée d'Art Moderne et Contemporain, Strasbourg; Daimler Contemporary, Berlin; Musée d'Art Contemporain, Montreal; Borusan Art Collection, Istanbul; McCrory Collection, New York; Esther Grether Collection, Basel; Thoma Art Foundation, Chicago.
Mohr has had many one-person shows / retrospectives in museums and galleries like: ARC - Musée d'Art Moderne de la ville de Paris, Paris 1971; Joseph Albers Museum, Bottrop 1998; Wilhelm-Hack-Museum, Ludwigshafen 1987, 2002; Museum for Concrete Art, Ingolstadt 2001; Kunsthalle Bremen, Bremen 2007; Museum im Kulturspeicher, Würzburg 2005; Grazyna Kulczyk Foundation, Poznan 2007; ZKM - Media Museum, Karlsruhe 2013; Featured Artist at Art Basel, Basel 2013; Center for the Arts, Virginia Tech 2014; Simons Center Gallery, Stony Brook 2015; Kunstverein, Pforzheim 1988, 2008; Museum Pforzheim Gallery, Pforzheim 1998, 2017.
He took part in innumerable group shows for example at: MoMA - Museum of Modern Art, New York 1980; Centre Pompidou, Paris 1978, 1992; ZKM (Center for Art and Media), Karlsruhe 2005, 2008, 2010; Whitechapel Gallery, London 2016; CCCB, Barcelona 2016; Kunstmuseum, Stuttgart, 2005, 2009, 2011, 2012, 2015, 2016, 2017; Museum Ritter, Waldenbuch 2005, 2006, 2008, 2013; Centro Cultural de la Villa, Madrid 1989; MoCA, Los Angeles 1975; National Museum of Modern Art, Tokyo 1984; Museum of Modern Art, San Francisco 1973, 1977, 1980; MoMA-PS1, New York 2008; MACM - Musée d'Art Contemporain, Montreal 1974, 1985, 2013; Fundacion Banco Santander, Madrid 2014; Muzeum Sztuki, Lodz 1981, 2011; Neue Nationalgalerie, Berlin, 1999; New Tendencies 5, Zagreb 1973; Leo Castelli Gallery, New York 1978; Galerie Paul Facchetti, Paris 1965 und Zürich 1970.
Among the awards he received are: ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art, 2013; [ddaa] d.velop Digital Art Award, Berlin 2006; Artist Fellowship, New York Foundation of the Arts, New York 1997; Golden Nica from Ars Electronica, Linz 1990; Camille Graesser-Preis, Zürich 1990.
Born on June 8, 1938 in Pforzheim (Germany)
Lived in Barcelona, Spain from 1962-1963
Studio in Paris from 1963 to 1983
Lives and works in New York since 1981
Kunst + Werkschule, Pforzheim
Jazz musician (tenor-sax, oboe)
Receives school prize (art) of the City of Pforzheim
Introduction to the information aesthetics of Max Bense
1962-1963 lives in Barcelona, Spain
Begins the exclusive use of black and white as means of visual and aesthetic expression
Studies at the Ecole des Beaux Arts, Paris
Geometric experiments lead to hard edge painting
Meets in Paris (1967) composer Pierre Barbaud, pioneer of computer music
First one-person exhibition at the Daniel Templon Gallery, Paris
Systematization of the picture content
Publication of the visual book 'Artificiata I'
First drawings with a computer
Founding member of the seminar 'Art et Informatique' University of Vincennes, Paris
Meets mathematician Estarose Wolfson
First one-person show of digital computer generated art in a Museum, (catalog and show)
ARC, Museé d'Art Moderne de la Ville de Paris, Paris / France
Sequential computer drawings are introduced
Started experimenting with 16mm computer generated animations, "Square Roots", "Cubic Limit" etc
Begins to work on fixed structures: the cube
Receives awards at the World Print Competition-73, San Francisco, and the 10th Biennial in Ljubljana
Begins to work with the 4-D hypercube and graph-theory. Introduces "Diagonal-Paths" into his work.
Workphase: Divisibility, dissection of cube
Quasi-organic growth programs on the cube
First retrospective exhibition, Wilhelm-Hack-Museum, Ludwigshafen
Renews work on the 4-D hypercube. Four-dimensional rotation as generator of signs
Extends work to the 5-D and 6-D hypercube. Rotation as well as projection as generators of signs
Receives the 'Golden Nica' at Prix Ars Electronica in Linz and the 'Camille Graeser Prize' in Zürich
Workphase: Laserglyphs, diagonal-paths through 6-D hypercube are cut from steel plates with a laser
The first comprehensive monograph on Manfred Mohr is published by Waser-Verlag, Zürich
Is elected a member of the American Abstract Artists
Receives an Artists' Fellowship from New York Foundation for the Arts
Selected for Pioneering Artists, Siggraph Orlando, Florida
Invited to sign the Golden Book of Pforzheim, Germany
Starts to use color (after using black and white for more than three decades) to show
the complexity of the work through differentiation
Designs and builds small pc's to run his program "space.color" and since 2004 also the program "subsets"
The resulting images are visualized in real time on LCD flat panels in a slow, non repetitive motion
Receives the d.velop digital art award [ddaa] for digital pioneering, Köln / Bremen
Develops the program"klangfarben", which encompasses a body of paintings and animations based on the 11-dimensional hypercube using its diagonal paths as compositional building blocks.
The program runs on a PC and the resulting images (animation) are visualized in real time on two square LCD flat panels in a slow, non-repetitive motion
Development of the program "parallelResonance". Digital-paintings and animations are also based on the 11-dimensional hypercube and its diagonal paths as graphic elements. As in all my screen works the images, are changing in a slow and non repetive motion.
Development of the program "Artificiata II". Digital-paintings and animations are based on the 11 to 13 dimensional hypercube and its diagonal paths as graphic elements. The animation algorithm contains random variations of speed and suites of stills adding a musical rhythm to this work.
Receives the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art.
Honored with retrospective show The Algorithm of Manfred Mohr, 1963-Now at ZKM - Media Museum, Karlsruhe and
was chosen as Featured Artist, in a solo show at ArtBasel/Basel with bitforms gallery.
Extension of his program "Artificiata II" to four parts - baseline, traces, projections and dimensions, and parity - using different aspects of the underlying algorithm.