Joseph Beuys Book order

A reconceived edition of Steidl’s classic account of Beuys’ 1974 American tour On January 9 1974, Joseph Beuys (1921–86), together with Klaus Staeck and Gerhard Steidl, traveled for the first time to America. This trip was a carefully planned performance that took place in airplanes, taxis, hotels, universities and galleries, and was comprehensively documented in photographs and video. The tour began with a lecture at New York’s New School, visited by artists including Claes Oldenburg, Lil Picard and Al Hansen; the next stop was Chicago, the site of more controversial lectures and an unexpected performance reenacting the death of John Dillinger; then Minneapolis, with more conferences and discussions. Upon returning to Germany, the hundreds of photographs and many hours of videotape were assembled, but it was only in October 1985, shortly before his death, that Beuys finalized the sequence for the book. Originally published in 1987, this new Steidl edition has been wholly reconceived by Klaus Staeck and Gerhard Steidl.

Diagrams as drawing as Beuys’ Documenta workshop on expanding Europe On April 27 1973, Joseph Beuys (1921–86) founded the Free International University for Creativity and Interdisciplinary Research, a staunchly antiestablishment institution designed to help individuals realize their creative potential (regardless of their social, economic and educational backgrounds); and for that creativity―through art―to foster social progress. As part of the university, Beuys staged an ambitious series of 13 workshops over 100 days at Documenta 6 in 1977, including the Migrant Workshop, the Violence and Behavior Workshop, the Nuclear Energy and Alternatives Workshop, and―the subject of this book―the Periphery Workshop.At the heart of the Periphery Workshop were, in Beuys’ words, the themes of “peripheral regions Europe / enlarging the EEC / France-German axis / common strategies for the regions and the Mediterranean countries.” Visitors were invited to discuss and ask Beuys any question on these topics. Beuys filled dozens of blackboards with fascinating drawings, diagrams and thoughts―intricate artworks that form the basis of this book.

On Beuys' sculptural indictment of economic value A sumptuous room in the Museum of Fine Arts in Ghent in 1980: on its wall hang Flemish Old Master paintings, gleaming in their gilt frames; yet in the middle of the room stand industrial metal shelves, sparsely stocked with packets of everyday perishable products: salt, flour, olives and peas. Each packet is signed by Joseph Beuys and labeled with "1 economic value." This was Beuys' compelling installation Wirtschaftswerte (Economic Values), a declaration that culture had once and for all been reduced to economic property. The products selected were notably from the German Democratic Republic, heightening disparities between West and East, capitalism and socialism, high and low culture, the mundane and the luxurious. Das Wirtschaftswertprinzip / The Principle of Economic Value documents the original installation, which Beuys later recreated elsewhere and expanded in a series of multiples. Originally published in 1990, the book has now been redesigned by Klaus Staeck and Gerhard Steidl.

Kassel, documenta 1977. A pump driven by two strong motors forces two tons of honey over a 17-meter-high pipe into a network of tubes that traverses the rooms of the Fridericianum Museum. This was the core of Joseph Beuys' “Free International University” which he brought to life at documenta 6. Around his Honeypump in the Workplace Beuys created events that expanded his notion of art and starkly differentiated it from tradition. For Beuys, “workplace” meant talks, speeches, workgroup discussions and citizens' action committees. For 100 days he tirelessly expressed his ideas on how art and society must necessarily change, filling numerous blackboards with texts, diagrams and musical scores. On 28 June 1977 Beuys invited Klaus Staeck and Gerhard Steidl to join him in servicing and maintaining his honeypump, which was carefully documented in the photographs of this book, first published in 1997 and now re-conceived by Staeck and Steidl

Accompanying the most important UK exhibition of Joseph Beuys' (1921-86) work in over a decade, this comprehensive publication traces the development of the artist's practice from his early, rarely seen works to his conceptual environments. At the heart of this exhibition stands Stag Monuments, exhibited whole for the first time since its creation.

Joseph Beuys war fasziniert von Eurasien und seiner endlosen, Ost und West verbindenden Weite. MIT Zeichnungen, Skulpturen, Installationen, Performances, Filmen und Multiples suchte er die fließenden Konturen Eurasiens, einem auf Geschichte und Mythen gründenden, aber fest in der Gegenwart verwurzelten Raum, zu imaginieren. Beuys’ Aktion Eurasienstab, die er 1968 zusammen mit Henning Christiansen in der Antwerpener Galerie Wide White Space aufführte, dient dem Band als Ausgangspunkt für eine Reflexion über territoriale Räume, reale und imaginäre. Hier begegnete er erstmals den Künstlerkollegen Marcel Broodthaers und James Lee Byars.

The core of the 'Joseph Beuys. Outside the box' exhibition are the unique collection and archives from Museum Sztuki, Lódz, the oldest European museum of contemporary art in Poland. The exhibition is produced and curated by EMMA and Museum Sztuki. Museum Sztuki?s collection of works by Joseph Beuys is a creation of the artist himself. The compilation, called 'Polentransport', is one of his most spectacular actions. It is an act of solidarity with Poland which in 1980?1981 saw a momentary release from the grip of the Communist party. 10 million citizens joined the Solidarity movement. Enabled and inspired by this uprising, Beuys went to Poland in 1981. He brought along his personal archives (printed material, posters, photos, drawings, prints and objects) documenting 30 years of his production. He donated the entire collection, contained in a wooden trunk, to the museum in Lódz. 'Polentransport' was intended to promote change, as a symbol of free creativity and action.0The exhibition highlights Beuys as a topical artist. Beuys?s ideas of peaceful change, activism or recycling immaterial conceptual art are still relevant today. His art spurs us to consider what we can do about ongoing injustices.00Exhibition: EMMA - Espoo Museum of Modern Art, Finland (08.02.-21.05.2017).

Joseph Beuys and Italy focuses on an up to now little noted aspect. Beuys had a special relationship to Italy throughout his life: Here is where his most well known editions and last big installation, “Palazzo Regale”, were created. Here is where he felt at home and, for the Beuys the social reformer, his idea of social sculpture was again reflected in the culture, history, and lifestyle of the people. With around one hundred exhibits, drawings, works on paper, multiples, objects, as well as archival, film and audio material — including numerous works never before presented in Germany — the exhibition catalogue invites viewers along on a special journey to Italy.