KP Brehmer

KP Brehmer, in full, Klaus Peter Brehmer (12 September 1938 in Berlin, Germany – November 16, 1997 in Hamburg, Germany), was a German painter, graphic artist and filmmaker. From 1971 to 1997 he was professor at the Hochschule für bildende Künste Hamburg.

Most of his works can be considered as political art or the visualization of political trends.

Brehmer was born 1938 in Berlin After school he graduated from 1957 to 1959 as a process engraver and as early as 1959 he first made etchings. The training was followed from 1959 to 1961 by the study of graphics at the Werkkunstschule Krefeld, now in the class of, a disciple of .

Beginning in 1961, he started using photographic films, radiograms, and block prints, and further studied graphics at the Kunstakademie Düsseldorf, where he worked until 1963 with Coester.

After a year's residence in Paris at the studio of Stanley William Hayter, he returned to Berlin, and dedicated himself to various types of graphic design. In this time his folded graphics, stamps series, colors and scales, different demographics and film works were produced.

In 1971 he became professor at the Hochschule für bildende Künste Hamburg and in 1987 and 1988, he was a guest lecturer at the China Academy of Art in Hangzhou.

In the earliest works using photomechanical reproduction techniques (block prints, screen printing and offset printing), soon "real" objects such as architectural, technical and organic elements were added to the abstract motifs.

Influenced by the emerging new definitions of art and direction as the pop art around 1960, but also by the political rebellion of the younger generation of the 60s, Brehmer defined a new form of language, which, in opposition to abstract art of the 50s, served realistic motifs. Thus arose around 1963 so-called trivial graphics, as the cliché pressure (a high-technology, also known as "Rasterätzung" or Autotypie) were exported. Brehmer used "everyday" motifs from advertising and the mass media, like naked women, cars or spacemen. he finally overcome with the construction of boxes and the limited dimensionality of printmaking. In the mid-60s he took advantage of a new motif: the stamp, which can be defined as authoritative body with cultural definition of power. Sometimes he combined these individual graphics to album pages or stamp-bags.

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