JOSEPH BEUYS Filter, 1983 Zinc trunk with lid, 4 copper plates, felt 14-1/4 x 35-1/2 x 19-1/3 inches (36 x 90 x 49 cm) (photo courtesy of: www.gagosian.com)
JOSEPH BEUYS Eiszeit (Ice Age) 1983 Wooden board with synthetic polymer, iron pipe, pencil and handkerchief 98 1/2 x 19 3/4 x 4 1/2 inches 250.2 x 50.2 x 11.4 cm Signed, titled and dated on iron pipe: "EISZEIT, Joseph Beuys, 17.04.1983" (photo courtesy of: www.zwirnerandwirth.com)
JOSPEH BEUYS Lightning with Stag in its Glare (Blitzschlag mit Lichtschein auf Hirsch), 1958–85. Lightning (Blitzschalg) Bronze, iron Stag (Hirsch) Aluminium Boothia Felix Bronze, iron Goat (Ziege) Bronze Primordial Animals (Urtiere) 35 Bronze casts, Edition 0/4, 39 parts Overall dimensions variable. Guggenheim Bilbao Museoa GBM2001.2. © 2009 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Photo: Erika Barahona-Ede (photo courtesy of: www.guggenheim.org)
JOSPEH BEUYS Terremoto, 1981. Typesetting machine with fat, Italian flag wrapped in felt, chalk on nine blackboards, metal container with fat and lead type, recorder with cassette, and printed brochure, 6 feet 8 inches x 12 feet 5 3/4 inches x 16 feet 1 inches (203.2 x 349.9 x 490.2 cm). Solomon R. Guggenheim Museum, New York 91.3960. © 2009 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Photo: David Heald © SRGF (photo courtesy of: www.guggenheim.org)
JOSPEH BEUYS Virgin (Jungfrau), April 4, 1979. Chalk on blackboard, chalk and soap bar on wood table, wood chair, electrical cable, socket, and light bulb, dimensions variable. Solomon R. Guggenheim Museum, New York 94.4265. © 2009 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Photo: David Heald © SRGF (photo courtesy of: www.guggenheim.org)
JOSEPH BEUYS Tafel I: Geist – Recht – Wirtschaft (Board I: Spirit – Law – Economics) 1978 Chalk on blackboard 35 3/8 x 43 1/4 inches 90 x 110 cm 40 1/2 x 48 x 2 inches (framed) 102.9 x 121.9 x 5.1 cm (photo courtesy of: www.zwirnerandwirth.com)
JOSEPH BEUYS Tafel II: Jeder Mensch ist ein Künstler (Board II: Everyone is an Artist) 1978 Chalk on blackboard 35 3/8 x 43 1/4 inches 90 x 110 cm 40 1/2 x 48 x 2 inches (framed) 102.9 x 121.9 x 5.1 cm (photo courtesy of: www.zwirnerandwirth.com)
JOSEPH BEUYS Tafel III: Kapital = Kunst (Board III: Capital = Art) 1978 Chalk on blackboard 35 3/8 x 43 1/4 inches 90 x 110 cm 40 1/2 x 48 x 2 inches (framed) 102.9 x 121.9 x 5.1 cm (photo courtesy of: www.zwirnerandwirth.com)
JOSPEH BEUYS Ohne Titel (Heilkrauterverzeichnis der im Garten des Kunstlers wachsende Pflanzen), 1974 Pencil on cardboard box 13-1/4 x 13-1/4 x 5-11/12 inches (33.5 x 33.5 x 15 cm) (photo courtesy of: www.gagosian.com)
JOSEPH BEUYS Erdtelephon (Earth Telephone) 1968 Telephone, cords, clump of earth with grass on wooden board 7 7/8 x 29 7/8 x 19 1/4 inches 20 x 75.9 x 48.9 cm Signed and dated in pencil on wooden board, verso: "Joseph Beuys 68" (photo courtesy of: www.zwirnerandwirth.com)
JOSEPH BEUYS Wenn Du Dich schneidest, verbinde nicht den Finger sondern das Messer, 1962 Kitchen knife with band aid Knife: 7-1/8 inches (18 cm) (photo courtesy of: www.gagosian.com)
JOSEPH BEUYS Hörner (Horns) 1961 Two African rhinoceros horns, metal, plastic hoses, adhesive gauze bandages and bronze pedestals 57 1/8 x 38 x 23 inches (overall) 145.1 x 96.5 x 58.4 cm (photo courtesy of: www.zwirnerandwirth.com)
JOSPEH BEUYS Jungfrau, 1952 Wax, gauze on cushion 13-1/2 x 15 x 2-7/8 inches (34 x 38 x 7 cm) (photo courtesy of: www.gagosian.com)
Selected Video:
Selected Interview:
Excerpt from an interview with Joseph Beuys by Jorg Schellmann and Bernd Kluser, from the website Global Positioning: Exploring Contemporary World Art, 2003.
Jorg Schellmann and Bernd Kluser: Why doesn’t the Felt Suit have buttons?
Joseph Beuys: Well, that was dictated by the character of felt. That occurred quite naturally. It was tailored after my own suit and I think the whole thing has to retain the character of felt, in the sense that felt doesn’t strive to be smart, so to speak. One has to conserve the character, omit mere trifles, such as complicated buttons, buttonholes, and so on. And if somebody wants to wear the suit, he can fasten it with safety pins.
S, K: Does the association with convicts’ uniforms, on which the buttons and braces have been cut off as a sign of disgrace, apply?
B: Of course I thought of that, but there’s no direct relation. It isn’t meant to be a suit which people wear. The suit is meant to be an object which one is precisely not supposed to wear. One can wear it, but in a relatively short time it’ll lose its shape because felt is not a material which holds a form. Felt isn’t woven. It’s pressed together usually from hare or rabbit hair. It’s precisely that, and it isn’t suited for buttonholes and the like.
S, K: How should one take care of the Felt Suit?
B: I don’t care. You can nail the suit to the wall. You can also hang it on a hanger, ad libitum! But you can also wear it or throw it into a chest.
S, K: Does the suit’s felt material play the role of insulating the physical warmth of a person?
B: The character of warming–yes, that’s obvious. The Felt Suit is not just a gag. It’s an extension of the felt sculptures I made during my performances. There, felt also appeared as an element of warmth or as an insulator. Felt was used in all the categories of warmth sculpture, usually in connection with fat, and it’s a derivative of that. So it does have a bearing on the character of warmth. Ultimately the concept of warmth goes even further. Not even physical warmth; I could just as well have used an infrared light in my performances. Actually, I mean a completely different kind of warmth, namely spiritual warmth or the beginning of an evolution.
(end)
Interview Source:
http://www.artsconnected.org/resource/90724/artist-joseph-beuys
Image Source:
http://www.zwirnerandwirth.com/exhibitions/2007/0207Beuys/index.html
http://www.gagosian.com/artists/joseph-beuys/
http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=1&page=1&f=Highlight&cr=29
Video Source:
http://www.youtube.com/
