Wednesday, October 14, 2015
Labels: #00iami00 , #AlterArt , #Art , #AuotonomicTour , #chasealias , #Conceptual , #contemporary , #DSPollack , #Identity , #lisson , #NeoDada , #PerformanceArt , #Psychology , #socialMedia
Saturday, October 10, 2015
Joseph Beuys was a German-born artist active in Europe and the United States from the 1950's through the early 1980's, who came to be loosely associated with that era's international, proto-Conceptual art movement, Fluxus. Beuys' diverse body of work ranges from traditional media of drawing, painting, and sculpture, to process-oriented, or time-based "action" art, the performance of which suggested how art may exercise a healing effect (on both the artist and the audience) when it takes up psychological, social, and/or political subjects. Beuys is especially famous for works incorporating animal fat and felt, two common materials - one organic, the other fabricated, or industrial - that had profound personal meaning to the artist. They were also recurring motifs in works suggesting that art, common materials, and one's "everyday life" were ultimately inseparable.
"Every man is a plastic artist who must determine things for himself."
How to Explain Pictures to a Dead Hare (1965)
In this performance piece, Beuys could be viewed - his head and face covered in honey and gold leaf - through a gallery's windows, a slab of iron tied to one boot, a felt pad to the other, as the artist cradled a dead hare. As though carrying out a strange music (if not some macabre bedtime story), Beuys frequently whispered things to the animal carcass about his own drawings hanging on the walls around him. Beuys would periodically vary the bleak rhythm of this scenario by walking around the cramped space, one footstep muffled by the felt, the other amplified by the iron. Every item in the room - a wilting fir tree, the honey, the felt, and the fifty-dollars-worth of gold leaf - was chosen specifically for both its symbolic potential as well as its literal significance: honey for life, gold for wealth, hare as death, metal as conductor of invisible energies, felt as protection, and so forth. As for most of his subsequent installations and performance work, Beuys had created a new visual syntax not only for himself, but for all conceptual art that might follow him.
Gold leaf, honey, dead hare, felt pad, iron, fir tree, miscellaneous drawings and clothing items - Galerie Schmela, Dresden, Germany