joseph beuys german 1921 1986 fat chair 1964 felt suit 1970 l.
Skip this Video
Loading SlideShow in 5 Seconds..
Joseph Beuys (German, 1921-1986), Fat Chair , 1964 Felt Suit , 1970 PowerPoint Presentation
Download Presentation
Joseph Beuys (German, 1921-1986), Fat Chair , 1964 Felt Suit , 1970

Loading in 2 Seconds...

play fullscreen
1 / 41

Joseph Beuys (German, 1921-1986), Fat Chair , 1964 Felt Suit , 1970 - PowerPoint PPT Presentation

  • Uploaded on

Joseph Beuys (German, 1921-1986), Fat Chair , 1964 Felt Suit , 1970. Joseph Beuys: How to Explain Paintings to a Dead Hare , Performance on Nov. 26, 1965.

I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
Download Presentation

Joseph Beuys (German, 1921-1986), Fat Chair , 1964 Felt Suit , 1970

An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.

- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript

Joseph Beuys, The Pack (2 views), 1969. Volkswagen bus with twenty-four wooden sleds, each with felt, flashlight, fat and stamped with brown oil paint


Beuys, Honey Pump at the Workplace for Documenta, 1977, electric motors pumped honey through a gigantic assemblage of pipes in the stairwell of the Museum, symbolizing the circulation of life and flowing energy.


(left) Beuys lecturing in New York, 1974Joseph Beuys, Action Piece, 26-6 February 1972; presented as part of seven exhibitions held at the Tate Gallery 24 February - 23 March 1972"Man is only truly alive when he realizes he is a creative, artistic being."

Louise Bourgeois (French American b. 1911), Photoportrait by Robert Mapplethorpe; (right) Fillette, 1968, latex, 24in. H

Bourgeois with sculpture on roof of NY apartment building, c.1944(center) Femme Maison (Woman House) 1947, ink on paper(right) The Listening One 1947-9. bronze (cast in the late 1980s)


Alberto Giacometti (Swiss Surrealist, 1901-1966), Suspended Ball, 1930-31, Surrealist sculpture, plaster and metal; (left below) Jean Arp (Alsace-born French, 1886-1966), Head with 3 Annoying Objects, 1930; (right) Bourgeois, The Destruction of the Father, 1974, Plaster, Latex, wood & fabric, 93/142/97”


(left) Bourgeois. Soft Landscape, 1967, plastic(right) Bourgeois, Janus Fleuri, 1968, bronze,10 in H(left below) Giacometti, Spoon Woman (Femme cuillère), 1926, Bronze, 56 in. H

Eva Hesse (left) Accession II 1967 galvanized steel, rubber tubing, c. 30”squareHesse with Accession II in 1968
Hesse, 1970. Fiberglass over polyethylene over aluminum wire. 7 units each 78 in. x 40 in. Berkeley: University Art Museum

Hesse in New York apartment holding Ingeminate, 1966; Hesse Ingeminate 1965, surgical hose, papier-mâché, cord and sprayed enamel over balloons (detail)


Compare Eva Hesse, 1969, with Marcel Duchamp, Sixteen Miles of String, 1942(part of his installation for the First Papers of Surrealism, Guggenheim’s Art of this Century gallery, NY)


(left) Lygia Clark, Relief Painting with Yellow Square, oil, 1957, 30 in. HBrazilian Neoconcretism compare: Kasimir Malevich, Suprematism, White on White, 1918

Lygia Clark, Sundial, 1960, 3 views, Neoconcretism compare with (LR) Max Bill, 1947-8 Tripartite Unity, Concretism
Lygia Clark, Mandala, from the series, Collective Body, 1959, Elastic bands linking people at their writsts or ankles

(left) Lygia Clark,Mask with Mirrors, 1967; (below) Dialogue, 1968The mask holds small movable mirrors in front of the eyes, juxtaposing and fracturing reflections of the self and the surrounding world. (right) Clark, Sensorial Gloves, 1968. Part of Nostalgia of the Body series.Gloves are made of various materials, sizes and textures. Participants use the many combinations of gloves and balls of different sizes, textures and weights, and then hold the balls again with bare hands. Purpose is to rediscover touch.


Lygia Clark and Helio Oiticica, Dialogue for Hands, 1966 elastic Möbius band Elastic Möbius band“Helio and I are like a glove. He is the outside of the glove, very much linked to the exterior world. I am the inside. And the two of us exist from the moment there is a hand which puts on the glove” Clark


(left) Hélio Oiticica (Brazil, 1937-1980), White Crossing Red – Metaschema1968, oil, 21 in. H; compare Piet Mondrian, Tableau, 1921, Neoplasticism


Hélio Oiticica, Spatial Relief, 1959, synthetic polymer paint on wood, 38x48x8”compare (right) AlexanderRodchenko 1891-1956,Spatial Relief, 1920, Russian Constructivism

Helio Oiticica, Glass BolidePortuguese word for fireball or flaming meteor 4 Earth, 1964, Glass, earth, and painted gauze

Hélio Oiticica, Tropicalia, 1967, installation exhibited in the New Brazilian Objectivity exhibition at the Museu de Arte Moderna in Rio de Janeiro

Helio Oiticica, Mosquito of Mangueira wearing Cape 6 (Paragole 10), 1965, and dancing with Glass Bolide 5 (Homage to Mondrian), 1964
This entire experience into which art flows, the issue of liberty

itself, of the expansion of the individual's consciousness, of the

return to myth, the rediscovery of rhythm, dance, the body, the

senses, which finally are what we have as weapons of direct,

perceptual, participatory knowledge . . . is revolutionary in the total sense of behavior.(Oiticica)