Imi Knoebel (B. 1940)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE SWISS COLLECTION
Imi Knoebel (B. 1940)


Imi Knoebel (B. 1940)
(i) signed with the artist's initials, inscribed and dated '1 IM 1974' (on the reverse)
(xxviii) signed with the artist's initials, inscribed and dated '28 IM 1974' (on the reverse)
gelatin silver print, in twenty-eight parts
each: 9 ½ x 11 5/8in. (24 x 29.7cm.)
Executed in 1974, this work is number two from an edition of nine
Independent Curator's International, New York.
Acquired from the above by the present owner.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
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Lot Essay

Consistently exploiting the possibilities of abstraction and the conceptual legacy of high Modernist principles, Imi Knoebel is one of the most important contemporary German artists. Created in 1974, shortly after completing his fine art degree under the tutelage of Joseph Beuys at the Kunstakademie Düsseldorf, Projections is an early example of Knoebel’s bold departure from the materiality of traditional painting. Between 1968 and the mid-1970s, Knoebel realized a series of light experiments in which he cast shapes of light onto the walls of darkened studio or on buildings en plein air with empty slide projectors. As one of Beuys’ first students to use photography an independent artistic medium, he captured these fleeting impressions on camera. The twenty-eight photographs in Projections each capture the ephemeral interplay of shadow and light, and of abstraction and figuration. Light beams illuminate fragments of a table, a chair, a fruit bowl or window blinds, but also allow abstract forms to emerge from a pitch-black interior space. The work witnesses Knoebel’s interest in how minimal changes to objects, initially devoid of sense or meaning, could develop the power to generate pictures. Taking elements from his surroundings as a starting point for his art, Knoebel advances Kazimir Malevich’s theory of the Black Square, which postulated painting’s independence from reality, whether subjectively felt and objectively given. His razor-sharp light beams foreshadow the signature ‘Messerschnitte’ or ‘knife cuts’ that would consistently recur in his later acclaimed work.

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