Beschreibung
Stuttgart: Domberger and Hansj?rg Mayer, 1966. Large folio (47.7 ? 43.3 cm). Original cloth portfolio in original cloth slipcase; 16 signed and numbered print cycles (each 4 pages with serigraphs), 1 double leaf with title and colophon, 1 double leaf with foreword (4 pages) and 1 double leaf with portraits of the participating artists (4 pages); One graphic bumped at the upper paper edge; else very good. ? The silk screen poster (116.5 ? 81 cm) with horizontal and vertical crease mark; five tiny tears in the right margin; on verso small annotation in ballpoint pen; else very good. Important graphic portfolio of West German avant-garde artists of the sixties; here additionally with the very rare exhibition poster of Galerie Hansj?rg Mayer. One of the most important protagonists was the Stuttgart-based art, science, and drawing theorist Max Bense, who also worked at the Ulm School of Design. As early as the late 1950s, Bense experimented with the production of computer-generated ?stochastic? texts, in which words were randomly selected from a vocabulary collection and put together. In the portfolio, he published a text created ?as a direct application of his semiotic, linguistic, and information-aesthetic investigations.? Some of the graphics in the portfolio are also the result of mathematical calculations. The programmer Frieder Nake, for example, became known from the circle around Bense. At the Stuttgart Computer Center, the mathematician developed ?stochastic? graphics, i.e. images that the computer generates through random decisions, as early as 1965. These beginnings of artificial intelligence caused such concern at the time that Nake wrote in an essay that "there is not the slightest danger that mathematicians or even computers could completely take over image generation." In the commentary on the graphic included here, on the other hand, Julien Offray de La Mettrie's thesis of human consciousness as a machine is emphatically repeated, as Nake's serigraphy "proves (.) that today's electronic calculating machines not only solve mathematical and scientific problems, but can also generate aesthetic states, especially graphics, but also texts, music and others, i.e. that there is a far-reaching analogy between machine and human consciousness (.)." Accordingly, art criticism would be a strictly analytical practice that must be based on objective criteria. The judgments with regard to art history are correspondingly clear. Futurism, Dada, Constructivism, De Stijl, and the Dessau Bauhaus are of lasting importance. Surrealism, on the other hand, according to the author of the foreword, has proved to be a dead end. Op Art, Kineticism, Concrete Art and Poetry are emphasized as the heirs of progress in art history. Dieter Rot is only mentioned in the theoretical remarks in a few lines at the end, after it is emphasized that the portfolio attempts to give a cross-section of the situation in 1966, because ?despite stylistic differences? there is a ?convergent problem situation.? And indeed, the portfolio provides a broad and, above all, aesthetically impressive insight into the contrasting avant-garde movements of the late sixties in West Germany before 1968. One of only 190 copies. Rot, Graphics Index 80.
Bestandsnummer des Verkäufers 55255
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