Results 1-13 of 13
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- Leve sieht Beuys. Block Beuys — Photographs
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Joseph Beuys created his “Block Beuys” in the 1960s. This complex and extensive installation consists of a wide range of materials and salvaged items that were selected, manipulated, altered and brought together by Beuys in unusual ways. The objects correspond to each other and, in their unmistakable forms, refer to the artist’s work in its entirety. The “Block Beuys” is permanently installed in a series of seven inter-connected rooms in the Hessische Landesmuseum in Darmstadt.
The photographer Manfred Leve has documented the work, “Block Beuys”, not only in the variety of its individual pieces, but also with a view of the entire work of art. His black-and-white photographs, devoid of any kind of staging, allow a thorough and genuine look at this radiant work. Leve sieht Beuys — Leve looks at Beuys.
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- Pulse: Art, Healing, and Transformation
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This book examines the complex relationship between art and therapy. Taking as its starting point the seminal work of Joseph Beuys and Lygia Clark as it relates to the development of an artistic practice that promotes curative effects, the catalogue examines the variety of ways in which these artists’ work has influenced and directed subsequent generations. The catalogue concentrates on the work of contemporary artists at work over the past decade, including Gretchen Bender and Bill T. Jones, Tania Bruguera, Cai Guo-Qiang, Felix Gonzalez-Torres, Irene and Christine Hohenbüchler, Leonilson, Wolfgang Laib, David Medalla, Ernesto Neto, Hannah Wilke and Richard Yarde.
In addition to documenting all of the artists’ work, the essays provide a theoretical, historical, and critical insight into this complex subject. Writers include Sander Gilman, author of many volumes on the relationship between art, science, and medicine and Professor at the University of Illinois at Chicago; Sandra Alvarez de Toledo, a Paris-based author and curator; Thierry Davila, Curator of CAPC, Bordeaux and author of L’Art Médicine; Jessica Morgan, curator of the exhibition; and Gwendolyn DuBois Shaw, professor of African American Studies at Harvard University.
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- 50 Jahre/Years Documenta 1955–2005
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In 1955 the first Documenta was held alongside the National Garden Festival. No one imagined back then that the exhibition would develop into the world’s most important forum for contemporary art. Although the name “Documenta” stands for an all-encompassing vision, each of the 11 exhibitions to date has been unique, with its own aims and atmosphere. The history of Documenta reflects the last half century’s diverse artistic and curatorial approaches, philosophies and forms of presentation, as well as a broad array of political and social currents.
This two-volume publication looks into that history and the phenomenon of Documenta in several ways. Book 1 contains a richly illustrated review of 50 years of art in Kassel and the artworks that made history. In addition to essays on different aspects of Documenta and all previous exhibitions, young artists deal in their own ways with the abundance of material from the Documenta archives.
Book 2 is devoted to well-known and less well-known works from 50 years of Documenta. These are works of art that were unfairly overlooked or were inappropriate for museum-like presentation or were simply ahead of their time. Quiet, poetic, anarchic art — whatever was lost in the turbulence of cultural activities is seen here anew. The book contains about 200 works by 75 artists, including Eija-Liisa Ahtila, Joseph Beuys, Christian Boltanski, Marcel Broodthaers, Robert Capa, Stan Douglas, Walker Evans, Fischli & Weiss, Leon Golub, Ulrike Grossarth, Richard Hamilton, Eva Hesse, Wilhelm Lehmbruck, Paula Modersohn-Becker, Bruce Nauman, Nam June Paik, Gerhard Richter, Paul Thek, Andy Warhol and Wols.
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- Honey is flowing in all directions
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Kassel, documenta 1977. A pump driven by two strong motors forces honey over a 17 meter high pipe into a distribution network, which traverses the rooms of the Museum Fridericianum. This was the core of the "Free International University", which Joseph Beuys brought to life for one hundred days during documenta 6. In the surroundings of this "honey pump at its place of work", Beuys created a situation which emphasised his expanded notion of art, and what made it different from the traditional notion of art. "Place of work" meant talks, speeches, and discussions in work groups, and citizens' action committees from different countries. For one hundred days Beuys related his ideas about how art and society must of necessity change. Texts, diagrams, and scores documented the working process on numerous large-sized boards.
This piece of sculpture was first installed by Beuys in Kassel. On 28th June 1977 he invited us to join him in servicing and maintaining the "honey pump". Without a word being spoken, he led our cameras to every detail of his installation and thus explained its functions and mode of operation. Beuys financed the "honey pump" as well as all related events by private means, which caused considerable problems for him. Today, the "honey pump" is to be found, in pieces, in the Louisiana Museum in the Danish town Humlebaek. The boards are on show in the "Hall for New Arts" in Schaffhausen, Switzerland.
The pictures, which are published for the first time in this volume, have lain in an archive box for twenty years. In early 1997 we have arranged them in this book.
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- Mit dummen Fragen fängt jede Revolution an
- German language edition only
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- Künstler
- German language edition only
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- Out
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Out documents a social era that seems so close and yet so far away: that wild, glamorous, disco-and-drugs-driven decade between the end of the Vietnam war and the advent of AIDS, when every night was a party night and such distinctions as uptown and downtown, gay and straight, black and white were momentarily cast aside. As the editor of Andy Warhol’s Interview from 1971 to 1983, Bob Colacello was perfectly placed to record the scene, which he did in his monthly “Out” column, a diary of the frenetic social life that took him from art openings to movie premieres, from cocktail parties to dinner parties, from charity balls to after-hours clubs, often all in the course of a single evening. Although Colacello started writing his column in 1973, it didn’t occur to him to take his own pictures for it until two years later, when the Swiss art dealer Thomas Ammann gave him one of the first miniature 35-mm cameras to come on the market, a black plastic Minox small enough to hide in his jacket pocket.
With their skewed angles, multilayered compositions, and arbitrary lighting effects, Colacello’s pictures have an immediacy, a veracity, and an aesthetic not often found in the work of professional party photographers. He wasn’t standing at the door pairing up celebrities and telling them to smile; he was in the middle of the action – “an accidental photographer”, he likes to say, catching his “subjects” off-guard. And what subjects he had: Diana Vreeland, Jack Nicholson, Raquel Welch, Mick Jagger, Yves Saint Laurent, Nan Kempner, Gloria Swanson, Anita Loos, Willy Brandt, Joseph Beuys, Robert Rauschenberg and Warhol himself, at his most relaxed and private. Here as well are those who didn’t survive the endless party – Truman Capote, Halston, Studio 54’s Steve Rubell, Egon von Furstenberg and Tina Chow. Because space in Interview was limited, only a handful of Colacello’s pictures were published each month, so most of these images have never been seen before. They bring to life a carefree but reckless moment in history when social mobility and personal expression were played out to the limits.
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- Rockers Island, Olbricht Collection
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The Olbricht collection is one of the largest but least well-known art collections today. For the first time the Museum Folkwang presents a representative selection of works which the Essen-based collector Thomas Olbricht has gathered over the last 15 years. Its focus lies on contemporary art and features paintings, sculptures, photography as well as installations.
Works by artists as diverse as Diane Arbus, Stephan Balkenhol, Joseph Beuys, Maurizio Cattelan, Peter Doig, Andreas Gursky, Damien Hirst, Sarah Lucas, Elizabeth Peyton, Richard Prince, Daniel Richter, Ed Ruscha, Norbert Schwontkowski and Cindy Sherman will be exhibited, among others. The different artistic and chronological approaches to related subject matter offer fresh views, construct innovative constellations and pose new questions for contemporary art. This richly illustrated catalogue accompanies the exhibition and provides detailed insight into this fascinating collection.
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- Beuys. Die Revolution sind wir
- Die Revolution sind wir – Beuys’ programmatische Behauptung erscheint heute genauso zeitgemäß, brisant, ja wegweisend wie zu seinen Lebzeiten. Joseph Beuys: Das ist das im 20. Jahrhundert einmalige Phänomen einer von der Kunst her gedachten Umgestaltung aller gesellschaftlichen Verhältnisse. In jüngster Zeit ist besonders in der jüngeren Generation von Künstlern und Kunsthistorikern international ein großes Interesse an dem Werk und der Gestalt von Joseph Beuys zu beobachten. Dieser Band befragt Beuys’ Werk nach seinen historischen, philosophischen, theologischen, politischen, wissenschaftlichen und künstlerischen Wurzeln. Reich an Bildern, Dokumenten und Schriften, versucht er Beuys als einmaliges Phänomen einer künstlerischen Biographie zu fassen. In zahlreichen Essays werden Beuys und seine Behauptung aus heutiger Sicht kritisch befragt: Welche Revolution? Wer sind wir? Und was hat Beuys, was hat die Kunst damit zu tun?
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- Darmstätder Werkblock
- At the end of September 2007, the Hessisches Landesmuseum in Darmstadt closed for renovation. This has also meant a proposed restoration of the seven-room installation by Joseph Beuys known as Block Beuys, 1970–86. The walls of the rooms are famously covered in brown and beige jute and the floors are carpeted. Beuys worked on the installation himself over many years, adding and changing things up to his death. The rooms continue to carry the aura of this activity and so the museum’s decision to remove the jute and carpet has caused great upset among lovers of Block Beuys worldwide. The controversy centers on the fact that Beuys never made particular reference to the jute walls, allowing the assumption that they are not relevant to any question of renovation. Just prior to the museum’s closure, Dean painstakingly filmed the walls, the carpet and any detail of the gallery décor, which was soon to be replaced, seeing them as analogous to the entropy in and of Beuys’s art, whilst carefully avoiding any sighting of the work itself. Working closely with Gerhard Steidl, she is extending the film into an artist’s book.
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- The Helga and Walther Lauffs Collection
- This two-volume catalogue documents the collection of Helga and Walther Lauffs, one of Europe’s most important private collections of twentieth century post-war art, comprising key examples of Pop Art, Arte Povera, Minimalism, Post-Minimalism, and Conceptual Art.
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- Seven Books Grey 2011
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Book One: Complete Works & Filmography 1991 – 2011 is a comprehensive illustrated list of all the exhibited films, projects and related works.
Book Two: Selected Writings 1992 - 2011 is an illustrated collection of many of the artist’s texts written around her own films and projects, as well as on the work of other artists.
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- Beuys Book
- Joseph Beuys was photographed extensively during his life, whether at work, while travelling or at home. But only a few photographers had the privileged access and tenacity of Klaus Staeck and Gerhard Steidl. Graphic artist Staeck and printer/publisher Steidl accompanied Beuys with their cameras from 1970 until his death in 1986. Staeck and Steidl were part of Beuys’ entourage, worked closely with him to produce his multiples and objects, and documented intimate aspects of the life of this unmatched artist-performer. These photos reveal Beuys’ unique charismatic personality that influenced not only those he met, but society and art in general.
