Manfred Mohr is a German-born artist recognised as a pioneering figure in software and digital art. Born on June 8, 1938, in Pforzheim, Germany, Mohr’s innovative use of computers, algorithms and plotter machines has significantly influenced modern and contemporary abstract art.
Mohr’s artistic journey began with studies in painting and goldsmithing at the Kunst und Werkschule in Pforzheim in 1957. His early work was heavily influenced by abstract expressionism and his passion for jazz music, which he pursued professionally as a saxophonist. Mohr hails from a family of musicians, and he credits this immersion in music, and later jazz, to honing his abstract and improvisational way of thinking and working. In 1962, he relocated to Barcelona, earning a living as a musician before moving to Paris in 1963 to study lithography at the École des Beaux-Arts. He moved to New York in 1981, where he still lives and works.
Max Bense’s writings on information aesthetics profoundly impacted Mohr, steering him toward a more rational and systematic approach to art and abstraction. In 1967, he met Pierre Barbaud, a pioneer in computer-generated music, who further influenced Mohr to experiment with computers and programming in his pursuit of systems-based artmaking. By 1969, Mohr created artworks using computer algorithms, marking a significant departure from traditional artistic methods.
Mohr was a pioneer of using computers to create art. He taught himself programming in 1969 and used a CDC 6400 computer at the Paris Météorologie nationale algorithms to explore abstraction and the complexities of interdimensionality. His early computer-generated pieces focused on rhythm and repetition, reflecting his musical background.
In the 1970s, he began an in-depth exploration of the cube and hypercube structures, leading to works such as Cubic Limit (1973) and Divisibility (1980–84). These works explore the visual representation of four-dimensional and higher-dimensional objects, challenging perceptions of space and form.
Mohr’s groundbreaking contributions have been showcased worldwide in numerous solo exhibitions and retrospectives. Notably, in 1971, a solo exhibition of the artist’s work was shown at the Musée d’Art Moderne de la Ville de Precognisedgnized as the first museum exhibition featuring entirely computer-generated works. Other significant solo exhibitions include:
Throughout his career, Mohr has received numerous accolades, reflecting his status as a leading figure in digital art. In 1990, he was awarded the prestigious Golden Nica at the Ars Electronica festival in Linz, Austria. He also received the Camille Graeser Prize in Zürich the same year. In 2006, he was honored with the d.velop digital art award [ddaa] in Cologne for his pioneering work. In 2013, he received the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art.
Mohr’s works are part of numerous prestigious public collections, including the Centre Pompidou in Paris, the Whitney Museum of American Art in New York, the Victoria and Albert Museum in London, the Kunstmuseum Stuttgart, ZKM | Media Museum in Karlsruhe, and the Stedelijk Museum in Amsterdam.
More about Manfred Mohr’s work can be found on his official website. He can also be found on Instagram.
Manfred Mohr is a German-born artist and a pioneer of software and digital art. His use of computers, algorithms, and plotter machines has shaped modern abstract art.
Inspired by Max Bense’s theories and Pierre Barbaud’s computer-generated music, Mohr began using programming for art in 1969. This marked a shift from traditional artistic methods to algorithm-driven abstraction.
His key works include Cubic Limit (1973) and Divisibility (1980–84), which explore hypercubes and multidimensional space. His art reflects a deep connection between algorithmic processes and abstraction.
Manfred Mohr has exhibited worldwide, including a historic 1971 solo show at the Musée d’Art Moderne de la Ville de Paris, the first museum exhibition of entirely computer-generated art. Other major shows include retrospectives at ZKM and bitforms gallery.
Hazel Ellis| 2025

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