dusseldorf

Imi Knoebel

Galerie Hans Strelow

For the Modernists, nonfigurative art was the inevitable goal of all future evolution in the arts. According to midcentury wisdom, one was either an abstractionist or dead. Then came the declaration of the end of Modernism, and objective artists, content painters, triumphed over the “contentless” artists. Now, roughly five years after the victory celebration of the figurative artists, art brokers are announcing the rebirth of nonobjective painting with “geometria nova” (new geometry), a style exemplified by the work of John Armleder, Helmut Federle, Matt Mullican, and Gerwald Rockenschaub. What does Imi Knoebel have to do with the recent success of nonobjective painting? Perhaps only this, that his work is attracting the interest of viewers fatigued by the merry-go-round of figurative painting, fascinating them with its interplay of planar and color field, of color as matter and space as

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