{"id":14078,"date":"2020-11-19T18:49:44","date_gmt":"2020-11-19T17:49:44","guid":{"rendered":"https:\/\/dam.org\/museum\/?post_type=artists_ui&p=14078"},"modified":"2026-09-05T14:25:15","modified_gmt":"2026-09-05T12:25:15","slug":"counterpoint","status":"publish","type":"artists_ui","link":"https:\/\/dam.org\/museum\/artists_ui\/artists\/mohr-manfred\/counterpoint\/","title":{"rendered":"Counterpoint"},"content":{"rendered":"

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\"\"<\/a><\/figure>
\"\"<\/a><\/figure><\/div>[\/vc_column][vc_column css_animation=”fade-up” width=”1\/3″ shift_x=”0″ shift_y=”0″ z_index=”0″][vc_custom_heading text=”Counterpoint (1993-1995)” use_theme_fonts=”yes” css=”” font_size=”16″ text_align=”left” font_weight=”600″][vc_column_text]In this series, two diagonal-paths (through the 6-D hyper-cube) are chosen in the way described in \u201cLaserglyphs\u201d. Each work consists of one thin black line and one thick grey line drawn on canvas. The line width is inversely proportional to the decrease in color intensity from black to grey. To visually maintain the inherent connectivity only such lines can be chosen which have at least one common point in the structure. Both lines have a visual relationship comparable to the counterpoint of a succession of sounds in music. For each work, the picture format is a result of the size and location of the two diagonal-paths in relationship to one another.
\n[\/vc_column_text][vc_column_text]More works<\/strong><\/p>\n

algorithmic modulations (2019)<\/a>
\nTransit-Code (2017-2018)<\/a>
\nArtificiata II (2012-2015)<\/a>
\nparallelResonance (2009-2011)<\/a>
\nklangfarben (2006-2007)<\/a>
\nsubsets.motion (2003-2005)<\/a>
\nsubsets (2003-2005)<\/a>
\nspace.color.motion (2002-2004)<\/a>
\nspace.color (1999-2003)<\/a>
\nHalf Planes (1995-1998)<\/a>
\nCounterpoint (1993-1995)
\nLaserglyphs (1990-1993)<\/a>
\nLine cluster (1989-1990)<\/a>
\nDimensions II (1986-1989)<\/a>
\nDivisibility II + III (1984-1986)<\/a>
\nDivisibility I (1980-1984)<\/a>
\nDimensions I (1977-1979)<\/a>
\nCubic limit II (1976-1977)<\/a>
\nCubic limit I (1973-1976)<\/a>
\nEarly algorithms (1969-1973)<\/a>
\nHard edge (1966-1969)<\/a>
\nEarly work (1960-1966)<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column width=”2\/3″][\/vc_column][vc_column css_animation=”fade-up” width=”1\/3″ shift_x=”0″ shift_y=”0″ z_index=”0″][vc_custom_heading text=”Counterpoint (1993-1995)” use_theme_fonts=”yes” css=”” font_size=”16″ text_align=”left” font_weight=”600″][vc_column_text]In this series, two diagonal-paths (through the 6-D hyper-cube) are chosen in the way described in \u201cLaserglyphs\u201d. Each work consists of one thin black line and one thick grey line drawn on canvas. The line width is inversely proportional to the decrease…<\/p>\n

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