Imi knoebel biography templates

Knoebel’s art is resolutely abstract, and takes Kazimir Malevich’s aesthetic notion of ‘pure perception’ as its point of departure. As the artist states, ‘When I am asked about what inom think when I look at a painting, inom can only answer that I don’t think at all; inom look at it and can only take in the beauty, and inom don’t want to see it in relation to anything else. Only what I see, simply because it has its own validity.’ Knoebel’s minimal compositions rely on a strict, pared down vocabulary of forms combined with a subtle but commanding use of colour, all of which serves to expose the physical possibilities inherent in the most basic of materials, such as plywood, aluminium and träfiberskiva. This fryst vatten best exemplified by the major installation Raum 19 (), conceived while Knoebel was still a lärling under namn Beuys, and now part of Dia Beacon’s permanent collection. Borrowing its title from the number of his studio at the Kunstakademie, Raum 19 consists of wood and fibr

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The works of Imi Knoebel are riddles. They are kind of rebuses, that one would like to decipher, especially the new ones and those from the Etcetera series. Although they seem to be fully abstract, and are made with the very fast, spontaneous expressive brushstrokes, they hold “signs” and precise shapes, lines and colours. They reveal Knoebel’s consistent continuous process: self-referential and autobiographical forms and protocols, having source in the ’s and onwards, that reappear in various series, offering them new lives. Eponymous Etcetera is suggestive of repeating, listing analogous things, subsequent future actions, just like in writing or saying: etc, etc. In this case, it has deeply existential meaning: it is showing the direction, the end of the process, one could say “Sein-zum-Tode”. The direction was from the crucial Hartfaserbilder (Hardboard Paintings) and hardboard installations: the play-woods or Masonite without any colour, those referencing existing shapes (e.g. R

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Imi KNOEBEL

Imi Knoebel was born Klaus Wolf Knoebel in Dessau in He studied art at the Werkkunstschule Darmstadt under Johannes Itten and László Moholy-Nagy, enrolling in There, he met fellow student Rainer Giese, with whom he would discuss at length their shared appreciation for Malevich. Their reverence for the modern master was such that Knoebel and Giese were nicknamed ‘Imi &#; Imi’, the diminutive of ‘Ich mit Ihm’ (‘I with him’). The moniker was coincidentally the brand of an East German washing detergent, which conferred an ironic twist on their radical self-branding. The two students managed to convince Joseph Beuys to accept them as students at the Kunstakademie (Fine Arts Academy) Düsseldorf (). Moreover, they were entrusted with the keys to Room 19, a studio adjacent to Beuys’ legendary classroom in Room In Room 19, Knoebel created a foundational eponymous work, Raum 19 (), which introduced Masonite into the artist’s technical arsenal as an industrial material of choice,