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Pereira, Daniela Alves 1982. "Joseph Beuys : o pensamento em ação." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285331.
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Orientador: Cassiano Sydow QuiliciDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Joseph Beuys pertence a uma geração de artistas que buscou discutir a arte como uma possibilidade de ação e conhecimento. Este trabalho tem como ponto de partida a discussão das Aktiones do artista, que a partir de 1960 passam a ser sua principal prática. As ações apontam as tentativas de Beuys de encontrar na arte uma lugar de recriação dos conceitos de pensamento, vontade, criatividade e sensibilidade. A partir daí, elegemos uma possível crise da ação como mote para análise do teatro contemporâneo. Iniciamos a discussão com uma tentativa de contextualizar a ação teatral contemporânea e como ela tem se distanciado de suas referências dramáticas aproximando-se das ideias de experiência e acontecimento. Em seguida, introduzimos as Aktiones beuysianas para podermos repensar o processo de criação do ator/performer dentro de um possível campo de produção artística diversificado e com limites estéticos expandidos, até mesmo além da arte. Chegamos, por fim, a aproximação do conceito de escultura, proposto por Beuys e do seu conceito de ação numa tentativa de entendê-la como indissociável da vida e dos pensamentos do artista, como uma atitude politica e estética capaz de provocar transformações na qualidade do agir humano
Abstract: Joseph Beuys belongs to a generation of artists who aimed to discuss art as a possibility of action and knowledge. This research takes as its starting point the discussion of the artist Aktiones, which since 1960 become his main practice. The actions leads to Beuys¿ attempts to find a place in the art of recreating concepts of thought, will, creativity and sensitivity. From this point, we elected a possible crisis of the action as a theme for analysis of the contemporary theater, a discussion its started with the attempt to contextualize contemporary theatrical action and how it has distanced itself from the dramatic references and approached the idea of experience and event; then we introduce the beuysians Aktiones in order to rethink the creative process of the actor / performer within a possible diverse artistic production field and expanded aesthetic limits, even beyond art. We finally arrived to an approach to the concept of sculpture, proposed by Beuys and the concept of action in an attempt to understand the action as inseparable from the life and thoughts of the artist, as a political and aesthetic attitude capable of causing changes in the quality of the human act
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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Lerm-Hayes, Christa-Maria. "James Joyce als Inspirationsquelle für Joseph Beuys /." Hildesheim : Georg Olms, 2001. http://catalogue.bnf.fr/ark:/12148/cb38940547w.
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Otte, Andrea. "Die Jungfrau im Werk von Joseph Beuys." Norderstedt Books on Demand GmbH, 1997. http://d-nb.info/988288605/04.
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Quermann, Andreas. ""Demokratie ist lustig" : der politische Künstler Joseph Beuys /." Berlin : Reimer, 2003. http://catalogue.bnf.fr/ark:/12148/cb41005881v.
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Rosenthal, Dalia. "O elemento material na obra de Joseph Beuys." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285092.
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Orientador: Ernesto Giovanni BoccaraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: JosephBeuys(1921-1986), artista plástico do pósguerra alemão,conhecido em todo o mundo,é consagradocomoumdosartistasmaisinfluentese divulgadosdesteséculo.Um nome que está intimamente ligadoaousoincomume bizarroquedeuaosmateriaisqueutilizavaemsuas ações,esculturase trabalhosgráficos.Na entradado novo milênio,Beuyscontinuaa ser intensamente interpretado, discutidoe analisado. Os materiais básicos queBeuysutilizouemsuasobrascomo gordura, cobreoufeltro, os uais constituem a tela de fundo de todooseutrabalho, sãoabordadoscomomateriaisquecontêm energiasacumuladasde formapotenciale comgrandespossibilidades detransformação. Beuys compreendia estes materiais como símbolos e energias presentes no contextodasociedade do trabalho artístico(Tashem, 1992). Este modo inovador com que tratou os materiaisartísticos,explorandotodasas suas possibilidades deassociações, determinou a ua posterior importância à toda uma forma de pensar efazer na arte contemporânea.Oobjetivopropostonestadissertaçãoé o deinvestigara vida,o pensamento e a obrade JosephBeuys,enfocandonautilizaçãoparticular que este artista deu aos materiais artísticos
Abstract: Not informed.
Mestrado
Artes
Mestre em Artes
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Fabo, Sabine. "Joyce und Beuys : ein intermedialer Dialog /." Heidelberg : Universitätsverlag G. Winter, 1997. http://catalogue.bnf.fr/ark:/12148/cb376334700.
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Holzhey, Magdalena. "Im Labor des Zeichners Joseph Beuys und die Naturwissenschaft." Berlin Reimer, 2007. http://d-nb.info/994177909/04.
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PORTUGAL, ANA CATARINA MARQUES DA CUNHA MARTINS. "THE JOSEPH BEUYS TROUGHTNULLS AND THE RITUALS ASPECTS IN ACTION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9546@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA obra do artista Joseph Beuys parece marcada pela idéia de rito, mito e xamanismo; ao menos é o que demonstra a maior parte da bibliografia sobre o artista. Para compreendermos a obra de Beuys, partimos da análise de Cliford Geertz e Victor Turner. O primeiro nos proporciona a aproximação da performance artística com a idéia de rito como um momento de pausa que possibilita uma certa reelaboração do indivíduo, funcionando como um espelho social. Com o segundo, através de sua fase liminar, podemos entender como se rompem os limites do cotidiano, ampliando-os, enfatizando transformações subjetivas em si e no outro. Partindo dessas idéias procuramos observar o modo como o artista colocava em ação os seus pensamentos, utilizando-se para isso de princípios ou estruturas semelhantes aos que podemos notar nos ritos. No rito normalmente é possível perceber a busca por uma reconstrução social da realidade, objetivo este, apontado nas ações do artista, no sentido de romper com os limites da arte e de alcançar uma reestruturação social.
The works of the artist Joseph Beuys seems marked for the idea of rite, myth and shamanism at least is what it demonstrates most of the bibliography on the artist. To understand the works of Beuys, we will break of analisy of Cliford Geertz and Victor Turner. The first one in provides the approach to them of the artistic performance with the rite idea as a pause moment that makes possible a certain rework of the individual, functioning as a social mirror. With the second, through its phase liminary, we can understand as to breach the limits of daily, extending it, emphasizing subjective transformations in itself and the other. Leaving of these ideas we look for to observe the way as the artist placed in action its thoughts, using himself for this of similar principles or structures to that we can notice in the rites. In the rite normally it is possible to perceive the search for a social reconstruction of the reality, objective this, pointed in the actions of the artist, the direction to breach with the limits of the art and to reach a social reorganization.
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TORRES, FERNANDA LOPES. "YVES KLEIN, ANDY WARHOL AND JOSEPH BEUYS: PLACES OF MELANCHOLIA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10053@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Lugar da contingência radical da arte, nos anos 1960 e 1970, tal como proposta pelas obras do francês Yves Klein, do norte- americano Andy Warhol e do alemão Joseph Beuys, o lugar-melancolia dimensiona a crise contemporânea da substância poética a partir da iminente saturação pública da arte. Por que agir quando toda ação é absorvida homogênea e acriticamente? Como se portar diante de uma realidade aparentemente refratária a qualquer valor? Destituídas da realidade da obra como espaço íntegro da possibilidade de ação e conhecimento, tais subjetividades artísticas fragmentárias apontam, segundo nossa hipótese, novas coordenadas para a capacidade produtiva do homem. Klein, Warhol e Beuys elaboram personas artísticas públicas a fim de circular com desenvoltura no iminente contexto cultural aberto, crescentemente dominado por formas de cultura de massa. Esses artistas se identificam com certas categorias artísticas, mas propõem a revitalização da arte a partir do ponto de indiferença entre potência e não-potência poética - condição precípua do dar forma ao mundo e, conseqüentemente, a nós mesmos.
A place of radical contingency in art in the 1960s and 1970s, as proposed by the works of Frenchman Yves Klein, American Andy Warhol and German Joseph Beuys, the place of melancholia gives a dimension to the contemporary crisis concerning the poetic substance in view of the imminent public saturation of art. What is the point of taking action when all action is absorbed both homogeneously and acritically? How should one behave when faced with a reality which would appear resistant to any value? Bereft of the reality of the artwork as an unmarred space for the possibility of action and knowledge, we propose that these fragmentary artistic subjectivities set a new route for man´s productive capacity. Klein, Warhol and Beuys developed public art personae to circulate freely in the impending context of open culture that was increasingly dominated by forms of mass culture. Though they are identified with certain artistic categories, these artists set out to revitalize art from the point of indistinction between poetic potency and non-potency - an essential precondition for shaping the world, and therefore, for shaping ourselves.
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Rocha, Simone Sobral. "Interfaces entre meios: o processo de criação de Joseph Beuys." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5147.
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Previous issue date: 2008-10-30This research consists of reflecting on the production methods of Contemporary Art, specifically, on the study of the creation process used by the artist Joseph Beuys. We will discourse on some specific features of the Visual Arts in this context, attempting to understand how much the interfaces among means shape the communication in certain contemporary art works and make that communication possible. The constructive procedure that is seen in Beuys works, in the adherence of means and in the continuity of his actions, leads to the adoption of a critical perspective that focuses on the creation process, in other words, the criticism of the process as it has been developed by Cecília Almeida Salles. We will use the general theory of creation based on semiotics as an analytical tool, reflecting on the creation as a network that is being built and emphasizing the question about the mobility of the creative process, in which the art work is the process and the process is the art work. Based on Charles S. Peirce s semiotics theory, it is intended to enlarge the study by focusing on the meaning of communication in aesthetic contemporary movements. The dynamism in the sign process allows the interrelation between several artistic demonstrations and the interface among means of action. Through discrimination, analysis and comparison of genetic elements that are established in videos, interviews and photographic registers of Beuys production, we will reflect on the interfaces between means or supports and the interaction of the public as basic elements of his process of production. One of the most relevant elements was to observe the presence of several demonstrations, to what extent they are inseparable and merge in Contemporary Art. Even though a clipping in the Visual Arts may exist, the interface between means is evidenced in a intersemiotic process. Being so, we will think the artist s actions throughout his journey as a continuous process of communication. As we deal with contemporary artistic events, we realize his expressive and communicative qualities that generate questions and invite the public to be and take part of the art work. In the artists actions, the body is a means and a support for the artistic and communicative process. Considering the perceptive experience in this process, we will resort to Norval Baitello s theory and Dietmar Kamper s philosophy, allowing further study on the body and its image. In this non-linear process, Beuys' own actions and the public s actions are elements that lead to other actions, producing new possibilities about the production process in his movement and allowing new networks to be built, shaping the tendency of the artist s poetic project in a dynamic action and not in a static product
Esta pesquisa consiste em refletir sobre os modos de produção na Arte Contemporânea, especificamente, no estudo do processo de criação do artista Joseph Beuys. Discorreremos sobre algumas especificidades das Artes Visuais nesse contexto, objetivando compreender em que medida as interfaces entre meios configuram e possibilitam a comunicação em certas obras contemporâneas. O procedimento construtivo presente na obra do artista, na aderência entre meios e na continuidade de suas ações, levam à adoção de uma perspectiva crítica que enfoca os processos de criação, ou seja, a crítica de processo, assim como vem sendo desenvolvida por Cecília Almeida Salles. Utilizaremos a teoria geral da criação de base semiótica como instrumento de análise, refletindo a criação como rede em construção e enfatizando a questão da mobilidade do processo criativo, no qual a obra é o processo e o processo é a obra. Com base na teoria semiótica de Charles S. Peirce, pretende-se ampliar o estudo focando o sentido da comunicação nos movimentos estéticos contemporâneos. A dinamicidade no processo sígnico permite a inter-relação das diversas manifestações artísticas e a interface entre os meios de ação. Por meio da discriminação, análise e comparação dos elementos genéticos que se estabelecem entre vídeos, entrevistas e registros fotográficos da produção do artista, refletiremos sobre as interfaces entre meios ou suportes e a interação do público como elementos fundamentais do seu processo de produção. Um dos elementos de maior relevância foi observar a presença das diversas manifestações , o quanto são inseparáveis e se fundem na Arte Contemporânea. Por mais que exista um recorte para as Artes Visuais, constata-se a interface dos meios em um processo intersemiótico. Sendo assim, pensaremos as ações do artista em todo seu percurso como um contínuo processo sígnico de comunicação. Ao tratarmos das manifestações artísticas contemporâneas, percebemos suas qualidades expressivas e comunicativas que geram questionamentos convidando o público a ser e fazer parte da obra. Nas ações do artista, o corpo é meio e suporte do processo artístico e comunicativo. Considerando a experiência perceptiva nesse percurso, recorreremos a teoria de Norval Baitello e a filosofia de Diétmar Kamper, possibilitando um estudo mais aprofundado sobre o corpo e sua imagem. Nesse processo sígnico não linear, as próprias ações do artista e do público são elementos que levam à outras ações, gerando novas possibilidades nos processos produtivos em seu movimento e permitindo que novas redes se construam, configurando a tendencialidade do projeto poético do artista em uma ação dinâmica e não em um produto estático
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Röder, Andreas. "Rodin und Beuys : Über das plastische Phänomen der Linie /." München : Deutscher Kunstverlag, 2003. http://catalogue.bnf.fr/ark:/12148/cb391300294.
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Röder, Andreas. "Rodin und Beuys : über das plastische Phänomen der Linie /." Saarbrücken, 2001. http://catalogue.bnf.fr/ark:/12148/cb414781379.
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Gronau, Barbara. "Theaterinstallationen performative Räume bei Beuys, Boltanski und Kabakov." Paderborn München Fink, 2010. http://d-nb.info/984102965/04.
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Thompson, Christopher Michael. "Making felt : Joseph Beuys and the Dalai Lama - un-organising otherness." Thesis, Goldsmiths College (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270582.
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Lindholm, Sven. "Inszenierte Metamorphosen Beuys' Aktionen vor dem Hintergrund von Goethes Gestalttheorie." Freiburg, Br. Berlin Wien Rombach, 2005. http://d-nb.info/985706902/04.
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Walters, Victoria Mary. "Joseph Beuys and the Celtic Wor(l)d : The Language of Healing." Thesis, University of Ulster, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502889.
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Nunes, Juliana Bernabé. "Todos somos artistas: um diálogo entre Nietzsche e Beuys." Universidade Federal do Espírito Santo, 2010. http://repositorio.ufes.br/handle/10/3646.
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Previous issue date: 2010-12-14A intenção desta dissertação consiste em pensar o princípio diretriz que funda e perfaz tanto a concepção artística de Friedrich Nietzsche, quanto a de Joseph Beuys, a fim de compreender o elemento que os reúne em uma mesma perspectiva em relação à arte, a saber, a de que ela é a tarefa propriamente dita da vida. Ampliando o horizonte das questões da arte para além das discussões estéticas, ambos a concebem como um pathos, um impulso, isto é, como uma disposição do homem frente a si mesmo, à vida que ele mesmo é. Trata-se aqui, portanto, do estabelecimento de um diálogo entre o filósofo e o artista acerca da arte como a constituição mais própria da vida, do existir do homem sobre esta terra e, assim, como o solo desde onde se pode proferir uma crítica decisiva à decadência da postura moderna.
The intention of this thesis is to think the guiding principle that grounds and makes both the artistic conception of Friedrich Nietzsche and Joseph Beuys, in order to understand the element that brings them together in the same perspective in relation to art, namely that it is the proper task of life. Expanding the horizon of the issues of art beyond the aesthetic discussions, both view it as a pathos, an impulse, ie, as a disposition of man to himself, to the life he himself is. It is here, therefore, the establishment of a dialogue between the philosopher and the artist about art as the constitution of life itself, of man's existence on this earth, and so long as the soil where it can make a decisive criticism to the decadence of the modern position.
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Bunge, Matthias. "Zwischen Intuition und Ratio : Pole des bildnerischen Denkens bei Kandinsky, Klee, und Beuys /." Stuttgart : F. Steiner Verl, 1996. http://catalogue.bnf.fr/ark:/12148/cb375122729.
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LIGHT, SANDRA J. "CONVERGING ENERGIES: A COMPARISON OF SELECTED WORKS BY JANINE ANTONI AND JOSEPH BEUYS." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1029514089.
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Davvétas, Dīmosthénīs. "Ecriture poétique et langage plastique chez Beuys, Tapies, C. Y. Twombly." Paris 8, 1999. http://www.theses.fr/1999PA081642.
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Ce travail consiste en l'etude des liens entre ecriture poetique et langage plastique dans l'oeuvre de beuys, dans celle de tapies et dans celle de twombly. L'analyse est fondee sur la question des relations entre ecritures et images, question que soulevent les oeuvres de ces trois artistes - meme si l'ouvrage n'examine pas de pres les raisons de leur rapprochement (la n'est pas vraiment son propos). Le travail participe en quelque sorte du documentaire. Non seulement en effet il examine les oeuvres des artistes et les textes divers qu'ils ont ecrits, mais il se fonde sur des propos recueillis de leur bouche a l'occasion d'entretiens que j'ai eu le bonheur d'obtenir d'eux.
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Thibault, Jennifer. "The Role of Art in Memory: Case Study of Joseph Beuys and Kara Walker." Thesis, Boston College, 2007. http://hdl.handle.net/2345/507.
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Thesis advisor: Rachel A. FreudenburgThis undergraduate thesis deals with the role of art in national trauma and history. I looked at Joseph Beuys, a post-World War II artist and Kara Walker, a contemporary African American female artist. I used the German installation artist, Joseph Beuys, as a lens for looking at art's reaction and handling of the trauma of World War II. I discussed Kara Walker because she seeks to create a critical understanding of America's racial past through art and who explores, as well, contemporary racial and gender stereotypes. Both artists are important for understanding memory, history, and identity-both personal and national identity
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: Germanic Studies
Discipline: College Honors Program
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Scheibe, Marit [UNESP]. "Thinking being an artist: a lousa como objeto artístico na obra de Joseph Beuys." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/153968.
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Esta dissertação enfoca a Lousa como objeto artístico na obra de Joseph Beuys, procurando uma aproximação com o observador, captando seu interesse na direção dos caminhos sensíveis propostos pelos rabiscos. Pretende conduzir a sensibilidade do espectador para expandir a vivência de valores humanistas. Como suporte, revela-nos o empenho do artista por uma arte viva. A pesquisa se oferece como um fio condutor a quem se interessa pela ampliação do conceito de arte, e, ao mesmo tempo, se propõe a evidenciar, através do mergulho em alguns símbolos, as direções e paisagens do pensamento do artista.
The present study focuses on the Blackboard as an artistic object in the work of Joseph Beuys and aimes an aproximation with the observer. It wants to capture the interest of the spectator for the sensible paths proposed by the scribbles. It intends to drive the sensitivity of the spectator in order to expand the experience of humanistic values. As a support, the blackboard reveals the artist´s commitment to a living art, to life. The research offers itself as a guiding thread to those who are interested in the expansion of the concept of art. At the same time, it aims to evidence, through an immersion in some symbols, the directions and landscapes of the artist´s thought.
Não recebi financiamento
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Vissault, Maïté. "La problématique de l'identité allemande à travers la réception de l'oeuvre de Joseph Beuys." Rennes 2, 2001. http://www.theses.fr/2001REN20048.
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Centrée sur une analyse des mécanismes d'inscription du mythe de l'artiste "allemand" Joseph Beuys dans le paysage culturel, politique et social ouest-allemand des années 60, 70 et 80, cette étude se penche plus particulièrement sur le rôle joué par ce mythe dans la définition culturelle et identitaire de la société ouest-allemande et sur la manière dont il endossa l'image torturée de la genèse difficile d'une nation. Figure centrale de l'art "contemporain", considéré de son temps soit comme un génie, soit comme un charlatan, Joseph Beuys incarna en effet la "renaissance" de l'art allemand qui accompagna la construction de la société ouest-allemande après la seconde guerre mondiale. Considéré dans les années 70 comme un véritable "phénomène", son triomphe sur la scène artistique internationale tint aussi bien à la parfaite gestion et stylisation de son image publique, à sa verve et à son talent pour s'insérer et provoquer de vastes débats de société, qu'à la manière dont il sut incarner et actualiser certains traits de caractère fondamentaux de cette identité allemande refoulée et divisée depuis la fin de la guerre. Ainsi réactiva-t-il, par exemple, la figure du génie et du mentor - dans le sens de la bildung -, se fit l'apôtre de "l'art total ", du drame fondamental vécu par l'humanité, de la souffrance comme catharsis et, s'identifiant à la figure du messie, raviva l'idée d'une mission spirituelle dévolue au peuple allemand et contenue dans la langue. Soutenu et encensé par un milieu de l'art - et une nation - en quête d'affirmation, Joseph Beuys sut ainsi répondre de multiples façons au manque de définition culturelle dont souffrait alors la République Fédérale d'Allemagne et lui offrir une représentation sur la scène internationale. En étudiant les rouages du mythe de Beuys, cette recherche ouvre donc une réflexion critique plus vaste sur la fonction sociale et politique du mythe de l'artiste contemporain et sur son impact sur la valeur et la compréhension esthétique de l'œuvreCentred around an analysis of the mechanisms of the inscription of the myth of "german" artist Joseph Beuys within the cultural, political and social landscape of West Germany in the 60'S, 70'S and 80'S, this study focuses more specifically on the role played by this myth in the cultural - and identity - definition of West-German society and the way it assumed the tortured image of the difficult genesis of a nation. A central figure in "contemporary" art, considered either a genius or a charlatan in his time, Joseph Beuys effectively embodied the "Renaissance" of german art that accompanied the building of West German society after World War II. Considered a veritable "phenomenon" in the 70'S, his triumph on the international art scene owed just as much to the perfect manipulation and stylization of his public image, his verve and talent for inserting himself and provoking broad social debates as to the way he embodied and actualized certain fundamental character-traits of this german identity, repressed and divided as it had been since the end of the war. He thus reactivated, for example, the figures of genius, and mentor (in the sense of bildung), appointed himself apostle of "total art", of the fundamental drama experienced by humanity and of suffering-as-catharsis, and, identifying himself with the figure of the Messiah, revived the idea of a spiritual mission conveyed to the german people and contained in language. Sustained and praised by an art milieu - and a nation - in search of affirmation, Joseph Beuys was able to respond in manifold ways to the lack of cultural definition suffered by the Federal Republic of Germany at the time, and procure representation on the international scene. In studying the machinery of the Beuys' myth, this research initiates a broader critical reflection on the social and political function of the myth of the contemporary artist and its impact on the value and aesthetic understanding of the work
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Scheibe, Marit 1976. "Thinking being an artist : a lousa como objeto artístico na obra de Joseph Beuys /." São Paulo, 2017. http://hdl.handle.net/11449/153968.
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Orientador(a): José Paiani SpaniolBanca: Sérgio Romagnolo
Banca: Marco Garaude Giannotti
Resumo: Esta dissertação enfoca a Lousa como objeto artístico na obra de Joseph Beuys, procurando uma aproximação com o observador, captando seu interesse na direção dos caminhos sensíveis propostos pelos rabiscos. Pretende conduzir a sensibilidade do espectador para expandir a vivência de valores humanistas. Como suporte, revela-nos o empenho do artista por uma arte viva. A pesquisa se oferece como um fio condutor a quem se interessa pela ampliação do conceito de arte, e, ao mesmo tempo, se propõe a evidenciar, através do mergulho em alguns símbolos, as direções e paisagens do pensamento do artista
Abstract: The present study focuses on the Blackboard as an artistic object in the work of Joseph Beuys and aimes an aproximation with the observer. It wants to capture the interest of the spectator for the sensible paths proposed by the scribbles. It intends to drive the sensitivity of the spectator in order to expand the experience of humanistic values. As a support, the blackboard reveals the artist's commitment to a living art, to life. The research offers itself as a guiding thread to those who are interested in the expansion of the concept of art. At the same time, it aims to evidence, through an immersion in some symbols, the directions and landscapes of the artist's thought
Mestre
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Dear, Jackie. "What possibilities for art are represented by the 'new' and the 'public' of new genre public art." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310054.
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Vicini, Magda Salete. "Dimensões comunicacionais no conceito de escultura social de Joseph Beuys: um processo de tradução criativa." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4346.
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Previous issue date: 2011-10-24This investigation confront and checks the amplitude of the concept of Social Sculpture based in the authors Tisdall (2008), Kuoni (1993), Bunge (1998) and Borer (2001), and relates to all works produced by Joseph Beuys. Contextualize the concept of social sculpture of Joseph Beuys in relation to his life and his art, from theories and concepts as the Rudolf Steiner s anthroposophy and Romanticism in Hegel, Schiller, Goethe and Novalis. Present some considerations about his work with researchers as Durini (2008), Lauf (1993), Harlan (2005), Bunge (1998), Tisdall (1998, 2008) and Adriani, Konnertz and Tomas (1979). Approach the context of art from visual arts critics who analyze his artwork from the 1960s. The desired yield, say, the intention in this context, is close to an understanding of the inter-semiotic translation Plaza (2008), considering it as symbolic translation. We conceive that the concept of Social Sculpture was close to the critique of current communication, among these, the analysis of democratic representation in the absence of Negri and Hardt (2005), the process of communication and interaction between man and nature in Maturana and Varella (1995 ), the critique of technology Flusser (2008) and the invisible economy of knowledge as Gorz (2005). Since the concept of Social Sculpture was understood, the aim is to make a translation of this concept in digital production, considering aspects of translation theory. To clarify our translation option in the theoretical considerations in support of Benjamin (2008), Gentzler (2008), Steiner (2005) and Campos (1997, 2005 and 2006), building a creative process for the translation that is down from our experience as an artist, teacher, manager of Brazilian culture and citizenship, reading and directing the social and cultural contexts the concept of Social Sculpture. Thus, it was fundamental the understanding of the translation originated in linguistic and language as building elements of human culture - the basis of the human essence in the work of Joseph Beuys -, the authors Rudolf Steiner (2001), Cassirer (2001, 2005), Bachelard (2008), Steiner (2008) and Baudrillard (1993). We got the concluded that the Social Sculpture is presented as critical to communication and culture, and means to provoke thoughts, words and actions. Joseph Beuys sought the meeting with the human essence of the lived reality, using art as a way to challenge and expand the notion of human beings and the the world. From this understanding, made the translation of digital production: Otherspoken/ListenImage
Essa investigação busca a compreensão do conceito de Escultura Social de Joseph Beuys, que requer a adoção de uma visão de suas dinâmicas comunicacionais como processos criativos constantes, fundindo-se com sua vida. O primeiro objetivo desta Tese é encontrar a definição do conceito de Escultura Social de Joseph Beuys que sustente a sua proposta de comunicar-se a partir de uma arte ampliada. O segundo é relacionar esse conceito à produção artística de Beuys, revelando, a partir de seus contextos vividos, suas obras e possíveis influências à sua arte, a natureza dessa comunicação. E, finalmente, o terceiro objetivo é realizar uma tradução criativa como tradução simbólica, cuja essência interprete o conceito de Escultura Social. Além disso, uma análise da epistemologia da arte de Joseph Beuys, tanto em críticas de jornais, vídeos, livros e catálogos de exposições brasileiras e estrangeiras. Para visualizar o conceito de Escultura Social, foram feitas análises das obras de Beuys produzidas como performances, ações, múltiplos (cartões postais e objetos) e desenhos. Para fundamentar o conceito de Escultura Social, a Tese se fundamenta em Tisdall (1998, 2008), Kuoni (1993), Bunge (1998) e Borer (2001), na Antroposofia de Rudolf Steiner e no Romantismo em Hegel, Schiller, Goethe e Novalis. Apresenta a obra de Beuys em pesquisadores como Durini (2008), Lauf (1993), Harlan (2005), Adriani, Tomas e Konnertz (1979). Concebe que o conceito de Escultura Social apresenta proximidades com as teorias da comunicação, dentre estas, Negri e Hardt (2005), Maturana e Varella (1995), Flusser (2008) e Gorz (2005). Compreendido o conceito de Escultura Social, realiza uma tradução desse conceito em produção digital. Para tornar clara a opção de tradução nos apoiamos nas considerações teóricas de Benjamin (2008), Gentzler (2008), Steiner (2005) e Campos (1997, 2005, 2006). A produção pretendida aproxima-se de uma tradução intersemiótica na compreensão de Plaza (2008). Para tanto, foi fundamental entender a tradução com origem na linguística e na linguagem como elementos de construção da cultura humana, - base da essência humana na obra de Joseph Beuys -, nos autores Rudolf Steiner (2001), Cassirer (2001, 2005), Bachelard (2008), Steiner (2008) e Baudrillard (1993). Concluído que a Escultura Social se apresenta como crítica à comunicação, à política e à cultura, e meio para provocar pensamentos, palavras e ações, percebemos que Joseph Beuys buscava o encontro da essência humana com a realidade vivida. A partir dessa nossa compreensão, construímos a tradução em videoáudio: faladoOutro/EscutaImagem
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Galliver, Tara S. "The reception of Joseph Beuys within the United Kingdom, Ireland and the United States, 1970-1979." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420489.
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Bernardes, Proença Renata. "Les transformations de la relation artiste - oeuvre - spectateur à travers de l'art de Joseph Beuys, Hélio Oiticica et Robert Smithson." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0091.
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Une recherche sur les transformations du rapport entre l'art et son spectateur qui ont profondément changé le monde de l'art dans les années 60-70 et dont la marque ne cesse de se faire sentir. « L’œuvre » et les espaces de l'art sont repensés: ils sont invariablement considérés trop limités pour pouvoir exprimer les désirs de ces artistes, qui veulent tous élargir la notion et le champ de l'art. C'est donc un rapport social inédit qui prend place dans la sphère culturelle. Il s'agit d'une étude de ce phénomène social à travers les productions et l'expérience de l'art de Joseph. Beuys, Hélio Oiticica et Robert Smithson, trois exemples emblématiques appartenant à trois cultures différentes : l'allemande, la brésilienne et l'américaine. Ce processus de transformation de l'attitude interne de l'artiste par rapport à son "œuvre" et au spectateur est analysé à partir du surgissement des premiers objets-concepts jusqu'au développement d'un art environnementalThe phenomenon of the transformation between art and the spectator had changed considerably the art world during the 1960's and 1970's and continues to do so until today. The notion of the art work, in relation to the art spaces, have been revaluated: They are considered very limited to express the desires of those artists that want to expand the notion and the art field as a whole. Therefore, a new social rapport took place in the cultural scene. My research is about this social phenomenon, studied through the artwork and the artist's creative experience of Joseph Beuys, Hélio Oiticica and Robert Smithson; three symbolic examples representing three different cultures: German, Brazilian and American. The process of transformation of the artist, in relation to his work and the spectator, is analyzed since the appearance of the first conceptual objects until the development of environmental art
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Kolk, Katrin [Verfasser], Regine [Gutachter] Prange, and Ulrich [Gutachter] Schneider. "Von der Wand in den Raum : das Material Filz im Werk von Joseph Beuys / Katrin Kolk ; Gutachter: Regine Prange, Ulrich Schneider." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2021. http://d-nb.info/1235524590/34.
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Tomic, Milena. "Rituals and repetitions : the displacement of context in Marina Abramovic's Seven Easy Pieces." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2489.
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This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail.
First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.
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Watanabe, Shinya [Verfasser], Jürgen [Akademischer Betreuer] Schulz, Siegfried [Gutachter] Zielinski, and Michael [Gutachter] Diers. "Searching for EUR-ASIA Joseph Beuys and Nam June Paik's Life Long Collaboration / Shinya Watanabe ; Gutachter: Siegfried Zielinski, Michael Diers ; Betreuer: Jürgen Schulz." Berlin : Universität der Künste Berlin, 2018. http://d-nb.info/1203555032/34.
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BACH, CHRISTINA ELIZA. "HOW TO EXPLAIN ART TO DEAD HARES? STRATEGIES OF ART OF THE SECOND POSTWAR: TONY SMITH, FRANK STELLA, DONALD JUDD, FLUXUS GROUP, JOSEPH BEUYS AND ANDY WARHOL." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8277@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORO trabalho examina a especificidade das relações culturais e das intermediações sociais instauradas pelas obras de Tony Smith, Frank Stella e Donald Judd, pelos eventos performáticos do Grupo Fluxus, pelas Aktionen de Joseph Beuys, e pela Pop Art de Andy Warhol. O texto é conduzido pela hipótese de que tais poéticas foram fundamentais para uma renovação estatutária da arte, obtida, principalmente, via sucessivas inaugurações de modos inéditos de trocas públicas. Os anos seguintes ao fim da Segunda Guerra Mundial exigiram sérias reavaliações e respondem até hoje pelos mais díspares comportamentos. A seleção pressupõe, em segundo plano, a incidência de um significativo ápice poético estimulado pelas urgências morais. As obras de arte resultantes desse aperto existencial distinguem-se, dentre outras tantas inovações estéticas, por uma extravagante apresentação e uma controvertida índole: fermentaram a contracultura do final da década de 1960, encaminharam os movimentos da seguinte e alimentaram os debates pós-modernistas dos últimos vinte anos.
The present work examines the specificity of the cultural relations and social intermediations established by Tony Smith's, Frank Stella and Donald Judd works, by Fluxus's Grup performatic events, by Joseph Beuys's Aktionen, and by Andy Warhol's Pop Art. The text is driven by the hypothesis that such poetics were fundamental for a statutory renewal of the art, obtained, mainly through successive inaugurations of completely new ways of public exchanges. The following years after the end of the World War II demanded serious revaluations which answers until today to the most disparate behaviors. This present selection of works and authors presupposes, in a second plan, the incidence of a significant poetic apex stimulated by moral urgencies. The resulting works of art of this existential configuration stand out, among other so many aesthetic innovations, by an extravagant presentation and a controverted disposition: they fermented the counterculture of the end of the decade of 1960, guided the movements of the following years and fed the post-modernists debates of the last twenty years.
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Kuni, Verena. "Der Künstler als "Magier" und "Alchemist" im Spannungsfeld von Produktion und Rezeption Aspekte der Auseinandersetzung mit okkulten Traditionen in der europäischen Kunstgeschichte nach 1945 ; eine vergleichende Fokusstudie ausgehend von Joseph Beuys /." [S.l.] : [s.n.], 2006. http://archiv.ub.uni-marburg.de/diss/z2006/0143.
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Batorowicz, Beata Agnieszka, and n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship." Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.
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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art historys patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
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Вежбовська, Ліліана. "Актуальне мистецтво у просторі міста: масштабні відповіді на виклики часу." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10726.
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У статті досліджуються особливості взаємодії сучасного міського простору з актуальним мистецтвом. Такий спосіб діалогу сьогодні стає особливо актуальним за об'єктивної невідповідності вимогам сучасності українських міських ландшафтів, особливо, столичних. З його допомогою митці шукають способів привернення уваги до справжніх проблем міста, провокуючи глядача до зміни способу мислення, до відмови від стереотипного сприйняття. Тема досліджується на прикладі аналізу трьох мистецьких акцій, які здійснювалися у середовищі міст. Глобальні масштаби і незвичні форми актуального мистецтва розглядаються у контексті викликів глобалізаційних процесів.This article investigates the features of interaction between the modern urban space and contemporary art. Today, this dialog has come to the forefront. Ukrainian urban landscapes aren`t in line with the objective demands of contemporaneity. This is especially true for the capital of Ukraine. In this way, contemporary artists search for a possibility to attract attention to the real problems of the city. They use provocations to change the kind of thinking of their viewers and to move away from stereotypes.The topic is explored using the examples of three art performances in the urban space.The global scale and unusual forms of this contemporary art are considered in the context of the challenges of globalization processes.
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Batorowicz, Beata Agnieszka. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367273.
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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history's patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Kuni, Verena [Verfasser], and Christa [Akademischer Betreuer] Lichtenstern. "Der Künstler als 'Magier' und 'Alchemist' im Spannungsfeld von Produktion und Rezeption. Aspekte der Auseinandersetzung mit okkulten Traditionen in der europäischen Kunstgeschichte nach 1945. Eine vergleichende Fokusstudie – ausgehend von Joseph Beuys / Verena Kuni ; Betreuer: Christa Lichtenstern." Heidelberg : arthistoricum.net, 2006. http://d-nb.info/1204261423/34.
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Daniel, Hugo. "Les Voies du dessin : statut et redéfinitions du dessin dans les avant-gardes occidentales des années 1950-1960." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010547.
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L’absence du dessin des histoires de l’art des années 1950-1960 interroge, alors même que des signes de reconnaissance de la part d’artistes comme Rauschenberg, Hesse, Tinguely,Twombly, Beuys, ou Lebel et d’autres acteurs ont pu être observés.Le dessin doit être défini à partir de ses opérations et compris dans sa relation aux autres médiums. Il est donc considéré comme pratique. En mettant en oeuvre une histoire matérielle, culturelle et sociale de l’art, qui s’appuie sur les dessins eux-mêmes, des documents d’archive et des entretiens avec des acteurs de la période, il s’agit de saisir les relations qui font vivre le dessin.Il s’agit d’appréhender la reconnaissance du dessin et sa redéfinition, entre les interrogations des artistes, les évolutions des critiques et les projets des galeristes et commissaires d’exposition pour montrer comment le dessin se comprend comme une réalité complexe, en acte. Le dessin se redéfinit également comme un moyen de manipuler des images qui deviennent pléthoriques. L’histoire de la psychiatrie confère à la pratique du dessin une valeur expérimentale rarement égalée dans l’histoire de l’art. Cette pratique expérimentale découle de son association à la pensée et met au jour une continuité insoupçonnée dans la période. Qu’il s’agisse d’en renforcer l’assimilation à une « origine de l’art », d’en faire la matrice d’un regard et d’une méthode artistique plus générale, ou le lieu marginal d’une expérience spécifique, la pratique du dessin se comprend dans un éventail large de ses réalitésDrawing is hardly studied in works of art history focusing on the 1950s and 1960s. This fact is all the more surprising that many artists, such as Rauschenberg, Hesse, Tinguely, Twombly, Michaux or Lebel, but also critics, gallerists and curators took notice of the medium at that time.Drawing must be defined according to its operations and analyzed in its relationshipwith other media. It is approached as a practice. This project is based on a material, culturaland social understanding of art history, it relies on the study of drawings, but also on archive documents and interviews with major figures of the period. From the working process of artists, to the changing discourses of critics and therenewed interest of curators and gallerists, drawing is redefined as a complex object. It allows artists to deal with the flow of images that characterizes the 1950s and 1960s. It also takes on an experimental quality because of its association to the thought process. Psychiatrists andartists have used the practice of drawing to better understand the mind. Whether it is used as an origin of art or as a marginal space implying specific experiences, drawing in the 1950sand 1960s is multi-faceted and is studied as such
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Worley, Taylor. "Theology and contemporary visual art : making dialogue possible." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.
Full textAbstract:
Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.
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Kulykivska, Mariia. "President of Crimea. Constitution : Author(s) Autonomous Republic of Xena-Maria." Thesis, Konstfack, Institutionen för Konst (K), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7252.
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In this essay, two voices are heared, from two women: a certain artist Xena, who talks about her life and its dramas, interwoven with her own experiences from her diaries; and the voice of Maria, who analyzes Xena's life story and her art, diffracted through the prim of the history of 21stC art. Art the outset, "President of Crimea. Constitution", announces its author as Xena-Maria; but it is not yet clear whether the author is one person or two, nor who they are. Is it Maria who writes here, or Xena, or both? Or are they one and the same person? But at the end of the story, which is told rather in a form of certain legends and fairy tales, Maria and Xena turn into one whole, and meaningfully put an ellipsis after the words "to be continued". This reception was specially intended by the artist Maria Kulikovska, author of this essay, in order to protect both herself and the reader from possible persecutions by migration services and goverment officials of various countries, especially Russia. Also, for her it is an opportunity to step aside and analyze her own life and art form a third person, about which, perhaps, a fictional character from her childhood talks - a sensible step for Maria Kulikovska. The step that her creative language conceptually continues is to replicate casts of her own body and establish them in different spaces and contexts. So she fairly confuses the viewer as to where is the truth, and where is fiction; where is herself, and where is her clone - only now, here, she has applied the same trick in her text. This essay tells a very personal story of the life of a human body, a migrant woman in forced relocation, displacements, alienation and persecutions for her views on life and the conduct of society, and for her moral values expressed throught architecture, sculpture, drawings, performances, actions and public statements. Through the prism of geopolitical upheavals, it tells the artist's own story: How her analysis of own body position and boundaries helped her overcome stigma regarding the body of a woman from Eastern Europe, and how art can save and redeem in an unending inner drama.
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Chen, Szu-Chiao, and 陳思橋. "The Research of Joseph Beuys' Social Sculpture." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/mp4mv9.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
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German artist Joseph Beuys (1921-1986), famous: "Everyone is an artist", he proposed the "social sculpture", which is the most specific work “7000 Oaks”(7000 Eichen) : presented in 1982 at the Documenta Ⅶ,Kassel. The most controversial is the establishment of the “German student party”, which joined the social and political movement, but it can be discussed in the field of art The purpose of this study is to understand the formation process of Beuys’ "social sculpture" which comes from "art is equal to life". "Social organism” and "everyone is an artist" are mutual relations. Based on "extended concept of art" and human creativity and mutual cooperation, to achieve the "social sculpture" ideal and make the world better. This study adopts the rooting theory of "qualitative research method". The analysis period is after 1960 – Beuys is appointed Professor of Monumental Sculpture at the Düsseldorf Academy of Art. In conclusion, the most valuable is that Beuys practiced the referendum democracy, social movement, education and equality, and completed the world's largest Environmental sculpture. "Social sculpture" inspires "Art of Life" in Taiwan. The point of "People into the Art" is to percept deeply and to experience the life. And then, the focus of solving social problems naturally returns to humanistic care.
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Fritz, Nicole [Verfasser]. "Bewohnte Mythen : Joseph Beuys und der Aberglaube / Nicole Fritz." 2004. http://d-nb.info/971580715/34.
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"The joseph beuys trought's and the rituals aspects in action." Tese, MAXWELL, 2006. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=9546:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
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Malaka, Stephan [Verfasser]. "Die Aktualisierung der Alchemie im Werk von Joseph Beuys : der Beuys-Block als Manifestation eines okkultistisch geprägten Weltbildes / von Stephan Malaka." 2009. http://d-nb.info/99579989X/34.
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Dumett, Mari. "Throwing fat in the fire: Joseph Beuys in the heat of revolt, West Germany 1967-69." Thesis, 1998. http://hdl.handle.net/2429/8928.
Full textAbstract:
Between the years 1967-69, the Federal Republic of Germany erupted as a space of
political and cultural crisis, like other nations across Western Europe and North
America, but as was the case with each, West Germany's own entanglement of historical
pressures and contemporary reality rendered the circumstances of its crisis distinct.
Within this space the period marked a significant shift in the receptive tide of the work
of the artist Joseph Beuys. His art, particularly his performances known as aktionen,
began to be considered more seriously and to be appreciated in ways it had not been
before. Hardly signalling a remission of the controversy that had surrounded his work
during the earlier years of the decade, this "appreciation" generated a phenomena of
notoriety that encompassed a spectrum from adorational zeal to vehement disdain. To
some the work was even perceived as threatening. Thus, by the end of the decade,
Beuys was simultaneously considered the enfant terrible of the West German art
world, a clear and present danger to the existing educational order and the most important
contemporary artist in the nation. Why was it that the reception of Beuys' work
changed at this particular moment? How was it able to take on compelling force - like
an epicenter located in the art world, but emitting shock waves that reached beyond this
sphere's traditional confines? Seeking to explore theses questions, this thesis takes the
approach that answers lie in the work's complex relationship to the specifically German
circumstances of crisis in which it was produced.
Given the copious documented on this historical moment and Beuys' canonical
status, the amount of analysis on Beuys' work from this time is surprisingly modest
with regard to English language reception. More importantly, however, is the not so
surprising nature of the analysis that does exist. Beuysian scholarship is plagued by a
positivist tradition within which: the artist is taken at his word, the aktionen are accepted
as perfect visual correlates of his theory of Social Sculpture and ultimately he is
valorized as a hero of radical West German youth in the 1960s. Beginning from a
general barreness of criticality, analysis in this tradition presents further dilemmas.
Firsdy, it elides the reality that the dynamic of crisis was more complex than an "us"
(marginalized other) versus "them" (the Establishment) standoff. The left itself was
fractured. Often the same general problems were targeted — the archaic, authoritarian
and oppressive hegemonic structures of society—but the "best" means to ignite change
was debated, allowing for multiple projects of liberation to be set forth. Secondly, it
negates the conflict inherent to a rhetorical position, by which, for example, a project
"for social change" is potentially recoupable to non-critical, non-parodic (perhaps even
reactionary) baseline effects. Beuys took part in a dialogue of social transformation,
offering his own work as a particular type of historical explanation and intervention,
and its provocation can only be understood in terms of a shifting dynamic of connections
and disjunctures with alternate articulations, preceding and contemporaneous,
emerging from within and beyond the art world.
The aim is to dispel the myth of Beuys, to deconstruct the constructions of the
artist and the work of art in the period when they were first penned into West German
cultural heritage books. The method chosen, however, is different from past
deconstructive efforts. Rather than attempt to stock pile "evidence" on one side of the
Beuys' debate - was he a shaman or a sham? - it is the conscious mechanisms embodied
in the work itself that are under investigation. In fact his work was more complex than
an immediate placement allows. Through close critical analysis of the single aktion
Vacuum—Mass of October 1968, it is possible to speak of the work in terms of the
social and psychological cracks within which it maneuvered. Thereby revealing the fact
that despite an initial appearance of amenability between his endeavors and the antiauthoritarian
movement (a perception prompted by his general call to action), despite
his rhetoric of "everyone an artist" (with its implied conceptualization of an egalitarian
society), despite certain provocative anarchic impulses and despite subsequent texts that
function merely as rhetorical reiteration it becomes clear that there were distinctions by
which Beuys consciously distanced himself from the radical youth. Setting in place a
veneer of radicality, he needed to work in a mode divergent from others in order to
protect his constructions. Beyond a benign disparity, the conflicts and contradictions
embedded in Beuys' performance, as manifest most significantly in the space of the
aktion, the practice of action art itself and the utilization of a symbolic language,
signified potentially dangerous reifications of the very problems the youth and their
theoretical mentors of the leftist West German intelligentsia saw as reasons for revolution.
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Coetzee, Michelle. "The artist as a visionary : a consideration of Jackson Pollock, Joseph Beuys and Jackson Hlungwani as visionary artists." Thesis, 1996. http://hdl.handle.net/10413/5984.
Full textAbstract:
This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary.Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.
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"Pure Sugar." Thesis, 2013. http://hdl.handle.net/10388/ETD-2013-09-1263.
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"How to explain art to dead hares? strategies of art of the second postwar: tony smith, frank stella, donald judd, fluxus group, joseph beuys and andy warhol." Tese, MAXWELL, 2003. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=8277:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
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Vilhena, Joana da Cunha e. Costa Consiglieri de 1972. "Artista xamã nas artes plásticas:uma experiência xamânica e ecológica na arte contemporânea." Doctoral thesis, 2013. http://hdl.handle.net/10451/8011.
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Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2013O segundo volume da tese apenas poderá ser consultado em formato físico, na Biblioteca da FBAUL
A presente tese debruça-se sobre uma reflexão sobre um espírito xamânico e ecológico na Arte, através do qual se procura na humanidade e na natureza a essência para além da aparência, como um ato ético perante o mundo. Para tal, é percorrido um caminho que se inicia no Romantismo e termina na Arte Contemporânea, seguindo uma variedade de leituras, desde a ontológica à pragmática cultural, considerando as suas deambulações e caminhadas, além de outras experiências “cósmicas” in situ. Numa perspetiva atual, tal pensamento está espelhado nos artistas e pensadores de várias épocas, que demonstraram uma atitude de “artista xamã”, num sentido mais universal, abarcando o artista antropológico, cosmic transformer e transformer, ou que se identificaram com o próprio xamã, ao revelarem a essência e a relação que o povo indígena tem com o “lugar-natural”. Os Românticos são estudados nas suas particularidades, tanto pela sua visão trágica da natureza, como pela sua visão ecológica e cosmológica. Dentro desta linha trágica, apresenta-se a leitura antropológica do teatro e as reações pessimistas que foram desenvolvidas e projetadas no pensamento das artes plásticas. Kandinsky e Joseph Beuys são considerados “artistas xamãs”, num estudo mais incisivo, por serem ambos notáveis pela transposição da figura e do mundo do xamã para as artes. Kandinsky, por relacionar a arte modernista com a música dos xamãs, e Beuys, por interligar as ações “transformativas” contemporâneas com a figura do xamã. Dando continuidade à assunção de um espírito xamânico, surge uma nova linha de transformers, razão pela qual estudamos alguns artistas, os mais representativos pelas suas intervenções na paisagem: Hamish Fulton, Nikolaus Lang e Chris Drury, a título de exemplo. É também no desenvolvimento destas intervenções que se destacam os “escultores do cosmos”, por assumirem o “lugar” enquanto visão antropológica. Quanto aos artistas portugueses, salientamos as nuances de transformers, enquanto cósmicos e conceptuais, de Alberto Carneiro, Graça Pereira Coutinho, Cristina Ataíde, Francisco Tropa e Rui Chafes, bem como o paradigma do “lugar-natural” português, apresentado pela “escultora do cosmos” Clara Menéres.
This thesis deals with the "shamanic and ecological spirit" in Art, seeking within Humanity and Nature the essence beyond appearances, as an ethical act vis-a-vis the world, from the Romantic era up until the Contemporary Art period, offering ontological and cultural pragmatics readings through its ramblings and perambulations, as well as other in situ "cosmic" experiments. With a contemporary perspective, it reverberates artists and thinkers from different eras giving the "shaman artist" a more universal sense, encompassing the anthropological artist, the "cosmic transformer" and "transformer", and the shaman proper, when he reveals the essence and the relationship that links the indigenous people to the "natural place". The Romantics' peculiarities are studied for their tragic approach to Nature as well as their ecological and cosmological vision. In line with this tragic parentage, we present the anthropological reading of the theatre and the pessimistic reactions that derived from it and were projected onto the Visual Arts' thought. In a more keen study, Kandinsky and Joseph Beuys are both considered "shaman artists" for their remarkable transfer of the figure and world of the shaman into the scope of Art. The former by relating modernist art to the music of the shamans, and the latter by connecting contemporary "transformative" actions to the figure of the shaman. We also present a new lineage of "transformers", studying some artists notable by their landscape interventions: e.g. Hamish Fulton, Nikolaus Lang and Chris Drury. followed by the "cosmic sculptors" and their anthropological approach to "place". Finally, we focus on the cosmic and conceptual nuances of Portuguese "transformers" such as Alberto Carneiro, Graça Pereira Coutinho, Cristina Ataíde, Francisco Tropa and Rui Chafes, and on the paradigm of the Portuguese natural place presented by the "cosmic sculptor" Clara Menéres.
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Brennand, John. "Voice Lab: Songs of being as embodied philosophical inquiry." Thesis, 2017. https://vuir.vu.edu.au/36763/.
Full textAbstract:
This PhD by Creative Project consists of three distinct but interwoven parts – the development and investigation of a wordless vocal performance practice with volunteer participants, a culminating performance ‘product’ which creatively documents, elucidates and illuminates the investigation, and a written exegesis which contextualises and complements the investigation and culminating production. The project sets out to cultivate an original voice practice and performance practice philosophy through an innovative re-interpretation and application of established practices and ideas. I locate the core generating propositions of the project in three recurring themes derived from the articulations and artistic life of Joseph Beuys (1921-1986), around the potential of every person as artist, the notion of artist as shaman, and the notion of creativity sourced at its spring point. I both concur with and diverge from Beuys through these themes in the cultivation of a practice and practicing philosophy that speaks of my desire to acknowledge and engage with the invisible yet emergent forces inherently available in inspiration, emotion, instinct, intuition, and perception, as implicit in the multi-resonant possibilities of voice, and as material for art practice and creative agency. The research project proposes that this immersive experiential performance practice can provide creative methods that broaden the constituents of knowing via the expansion of each individual’s perceptual and expressive palette, in relational creative engagement. The thesis is conducted through, for, and into, performance as art practice and generative method, as process and outcome via a practice led research methodology. The performance practice explored in the project is the primary site of embodied knowledge production. The practice drew upon, synthesized, and developed from a very broad range of established body, perceptual, meditative and theatrical voice and breath-based practices. This includes influences and melding of practices from Ilse Middendorf (Perceptible Breath), Paul Newham (Voice Movement Therapy), Karlheinz Stockhausen (Composition “Stimmung”), Yoga (Prana and Nada), Chi gong, voice for actor training of Zygmunt Molik and of Michael Chekhov, the extended voice work of Linda Wise, and includes methods that have evolved from my own dedicated practice over several decades. The complementary exegesis performs as a map of the evolution, contextualization, and imbrication of the practice towards performance and performance philosophy, and comprises 30% of the overall creative project. The exegesis will be provided to examiners immediately following the performance. The creative component of the thesis comprises 70% of the project and included conducting voice workshops with two groups of volunteer participants from Melbourne and Adelaide spanning a period of one year. The heart of the creative project involved conducting intensive monthly four-hour workshops with participants in two groups - one in Adelaide, one in Melbourne - over a period of one year. These workshops evolved through the process of applying, and building upon, techniques drawn from the practices listed above, and included reflective journaling. This workshop process was followed by a systematic collection of individual improvised vocal recordings, and interview/conversational recordings from participants over a further four months. The journals were exclusively used as a resource for the participants own reflections, which they were able to access and review during the audio recording process. At the end of the recording phase of the project I asked the participants to fill out a questionnaire regarding their personal experience with the practice and the project. The intention of the questionnaire was to provide reflective space and bring to the surface any additional insights and reflections regarding the participants’ experiences. This information is integrated to the exegetical writing regarding the experiences of the participants in “Participants’ Experiences and Insights” (p. 82) and provided in full in Appendix (p. 103). The culminating multi-modal performance uses audio recordings from the participants’ engagement in wordless improvisation collaged with recordings of interviews with the participants about the effects and affects of the practice. The multi modal performance of orchestrated pre-recorded audio, visual projection and live solo performance is a creative documentation and applied extension of the practical philosophies cultivated in the project. The performance itself is designed to provide reflective space for the audience to have individual generative subjective responses, in alignment with and as an extension of Beuys’ notional potential of ‘everyone as artist’ and as an extension of the project’s intention toward inviting subjective perceptual agency. The development of the performance draws propositional dialogic ground from the work and ideas of artist Susan Hillier and her notion of ‘Voice as body’, which suggests that the ‘truth’ of the body is found in the voice as non-representational extension of the body as opposed to body represented by image. I also propose a multi-sensory embodied perceptual reading of the performance by drawing alliance and constructively imbricating Maurice Merleau–Ponty’s assertions on synaesthesia as performative philosophical ground. The thesis questions the ingrained and pervasive logocentric world-view that prioritizes the rational and seen over the invisible but perceivable felt. Instead of the Cartesian dictum of “I think therefore I am”, as a practice based researcher I suggest a notion of resonant embodiment that shifts and broadens the locus of self and knowing, proposing a more relational dictum of “I resonate therefore I am in 4 active concert with all that is becoming”. This project creatively addresses the knowledge gap inherent in dominant scientific academic epistemologies arrived at through verbal argument and deduction, by focusing on the acquisition of wordless tacit generative ‘living’ knowledge evoked through engaging experiential emergent and creative endeavour, to discover ‘what works’, while inviting insightful rhizomatic perspective, and asserting multiple ways of ‘knowing’. This project, through both the performance and exegetic components, suggests that engaging in the experiential process specific to this performance practice offers transformative meta-value for those that participate, and is analogous to and builds upon Beuys’ notion of the expanded concept and function of art to enliven individual and interconnected creative capacity.