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Browse by: Max Bill (Biography) (0.17 seconds)
 
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A few years later I discovered that when making a Moebius strip one could orientate it in different directions.
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And despite the fact that the basis of this mathematical way of thinking in art is in reason, its dynamic content is able to launch us on astral flights which soar into unknown and still uncharted regions of the imagination.
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By a mathematical approach to art, it is hardly necessary to say I do not mean any fanciful ideas for turning out art by some ingenious system of ready-reckoning with the aid of mathematical formulas.
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Even in modern art, artists have used methods based on calculation, inasmuch as these elements, alongside those of a more personal and emotional nature, give balance and harmony to any work of art.
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Far from creating a new formalism, what these can yield is something far transcending surface values since they not only embody form as beauty, but also form in which intuitions or ideas or conjectures have taken visible substance.
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I made the first Moebius strip without knowing what it was.
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I tried to make something that would turn in the air and would give the impression of spiralling, and trying over an over again with the paper I came to a shape like this, a shape with only one surface which has all the characteristics of the Moebius strip.
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In one of these recently conquered domains, the artist is now free to exploit the untapped resources of that vast new field of inspiration.
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It is objected that art has nothing to do with mathematics; that mathematics, beside being by its very nature as dry as dust and as unemotional, is a branch of speculative thought and as such in direct antithesis to those emotive values inherent in aesthetics... yet art plainly calls for both feeling and reasoning.
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So far as composition is concerned, every former school of art can be said to have had a more or less mathematical basis.
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The first strip that I made is exactly the same as this one, which is a real Moebius strip, however that one was shorter and had a central support.
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The orbit of human vision has widened and art has annexed fresh territories that were formerly denied to it.
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They are works where the external edge crosses the surface: for example, I take a surface with six angles, I join these angles and I have a complete circle: that way, all this group of figures takes on new characteristics which no longer have anything in common with the Moebius strip, they are only folded surfaces, cut according to my imagination.
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Thus, the more succinctly a train of thought was expounded, and the more comprehensive the unity of its basic idea, the closer it would approximate to the prerequisites of the mathematical way of thinking.
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We call those works of art concrete that came into being on the basis of their inherent resources and rules - without external borrowing from natural phenomena, without transforming those phenomena, in other words: not by abstraction.
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When a figure is balanced on a pivot in space it becomes elongated in all four directions; that is the basic principle behind this square on a pivot.

Biography

Max Bill (December 22, 1908 – December 8, 1994) was a Swiss architect, artist, and designer.

After an apprenticeship as a silversmith, Bill took up studies at the Bauhaus in Dessau.

In 1944, he became a professor at the school of arts in Zurich.

Among Bill's most famous designs is the "Ulmer Hocker" of 1954, a chair that can also be used as a shelf element or a side table. Although the chair was a creation of Bill and Dutch designer Hans Gugelot, it is often called "Bill Hocker" because the first sketch on a cocktail napkin was Bill's work.

A large granite sculpture by Max Bill was installed adjacent to the Bahnhofstrasse, Zürich in 1983. As is often the case with modern art in public places, the installation generated some controversy.

...(more on Wikipedia)

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Max Bill".
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