Journal articles: 'Joseph Beuys'

1

Adams, David, and John F. Moffitt. "Joseph Beuys." Art Journal 50, no. 1 (1991): 96. http://dx.doi.org/10.2307/777096.

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Adams, David. "Joseph Beuys." Art Journal 51, no. 2 (June 1992): 26–34. http://dx.doi.org/10.1080/00043249.1992.10791563.

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Kienast, Verena. "Joseph Beuys: Gesamtkunstwerk mit Strahlkraft." Wiener klinisches Magazin 24, no. 3 (June 2021): 85. http://dx.doi.org/10.1007/s00740-021-00400-5.

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AKSOY, Mehmet AKSOY Ali Ertuğrul KÜPELİ, Merve KÖKEN, Mehmet. "JOSEPH BEUYS SANATINDA SPİRİTÜEL MATERYALLER." Uluslararası Sanat ve Estetik Dergisi 4, no. 4 (2020): 54–65. http://dx.doi.org/10.29228/usved.43543.

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Ottomann, C., P. L. Stollwerck, H. Maier, I. Gatty, and T. Muehlberger. "Joseph Beuys: trauma and catharsis." Medical Humanities 36, no. 2 (November 30, 2010): 93–96. http://dx.doi.org/10.1136/jmh.2010.005595.

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Valler, Ole, Krzysztof Nast, Barbara Strieder, and Peter Scholz. "Joseph Beuys und die Braunkreuzfarbe." Chemie in unserer Zeit 49, no. 1 (October 7, 2014): 30–35. http://dx.doi.org/10.1002/ciuz.201400646.

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Horváth, Gizella. "Bergson, Beuys és a krumplihámozás művészete : Joseph Beuys és Henri Bergson lehetetlen találkozása és gondolataik meglepő hasonlósága." Erdélyi Múzeum 83, no. 4 (2021): 58–68. http://dx.doi.org/10.36373/em-2021-4-6.

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Joseph Beuys a huszadik század második felének egyik legjelentősebb, és egyben az egyik legmegosztóbb művésze. Munkásságának megértéséhez elengedhetetlennek tartom Beuys gondolatvilágának ismeretét. Ezt a világnézetet erősen befolyásolta Rudolf Steiner antropozófiája, és ezt a filiációt Beuys értelmezői is kiemelték, elemezték. Számomra viszont feltűnt egy erős hasonlóság Beuys és Bergson néhány gondolata között, amit a szakirodalom tudtommal egyáltalán nem vizsgál. A továbbiakban ezeket a hasonlóságokat szeretném kiemelni, anélkül, hogy azt állítanám, hogy Beuys ismerte Bergsont és merített filozófiájából. A következő aspektusokra fogok fókuszálni: a vitalista világkép, az értelem és intuíció vitája, a kreativitás mint az élet alaptulajdonsága és mint az emberiség üdvözülésének lehetősége. Talán ezzel a háttérrel világosabbá válhat, hogyan is érthetjük Beuys botrányos kijelentését, amely szerint Mindenki művész.

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Vicini, Magda Salete. "Dimensões comunicacionais no conceito de escultura social de Joseph Beuys como possibilidade de tradução criativa." ARS (São Paulo) 11, no. 22 (December 30, 2013): 75. http://dx.doi.org/10.11606/issn.2178-0447.ars.2013.80657.

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O presente artigo é resultado de pesquisa de doutorado em Comunicação e Semiótica, realizada na PUC-SP, sobre o conceito de Escultura Social na obra de Joseph Beuys, com recorte em pesquisadores como Matthias Bunge e Caroline Tisdall, bem como a influência dos filósofos românticos Schiller, Goethe, Hegel e de Novalis na construção deste conceito na obra de Rudolf Steiner. O contexto da arte é abordado através de críticos de arte que analisam o trabalho artístico de Beuys, cujas características comunicacionais são apresentadas em relação a Humberto Maturana e Francisco Varella e à crítica da comunicação. Finalmente, o artigo aborda a possibilidade de tradução criativa (Walter Benjamin, Georg Steiner e Haroldo de Campos) deste conceito de Joseph Beuys.

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Wolfe, Cary. "The Biopolitical Drama of Joseph Beuys." New Literary History 51, no. 4 (2020): 835–54. http://dx.doi.org/10.1353/nlh.2020.0052.

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Gutiérrez Galindo, Blanca. "Joseph Beuys, modernidad, vanguardia y posmodernidad." ANIAV - Revista de Investigación en Artes Visuales, no. 9 (September 29, 2021): 87. http://dx.doi.org/10.4995/aniav.2021.15828.

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<p>Las celebraciones con motivo del centenario del nacimiento de Joseph Beuys en su país natal, Alemania, han estado acompañadas por aquella polarización que marcó la recepción de su obra. Enseguida presentamos un análisis de la discusión suscitada con motivo de su exposición retrospectiva, celebrada en el Museo Guggenheim de Nueva York al final de 1979 y principios de 1980. Nuestro objetivo es mostrar que la obra de este artista se convirtió en el terreno de discusión sobre la vigencia de la idea de vanguardia en las prácticas artísticas al final de los setenta e inicios de los años ochenta en Estados Unidos y Alemania, es decir, en los años en que recomposición del capitalismo generaron la percepción de que las energías utópicas, características de la modernidad, se habían agotado. Para ello revisaremos los argumentos de autores como Hans Magnus Enzensberger, Jürgen Habermas, Andreas Huyssen, Benjamin H. D. Buchloh, Rosalind Krauss, Hal Foster y Peter Bürger, quienes desde diferentes espacios reflexivos y lugares de enunciación participaron en el debate.</p>

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Hayes, Christa-Maria Lerm. "Joseph Beuys 'Extends' James Joyce's Work." Circa, no. 104 (2003): 35. http://dx.doi.org/10.2307/25563964.

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Tali, Margaret. "The Son’s Coming Home: Narrative Economies of Joseph Beuys’ Art." Culture Unbound 10, no. 2 (August 15, 2018): 281–300. http://dx.doi.org/10.3384/cu.2000.1525.20180815.

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This article deals with the narration of Joseph Beuys’ art in Germany. My focus is set on the ways that particular curatorial strategies have been applied to Beuys’ artistic practice in the Hamburger Bahnhof in Berlin. I contextualize the readings in the interests of different stakeholders involved in the rescaling of the artist’s heritage. Beuys’ framing in the two recent retrospective exhibitions in Berlin and Düsseldorf and the regular display of his works in the Hamburger Bahnhof leads me to argue that private collectors have become closely involved in the process of curating in novel ways, which in turn requires a new critical reading of exhibition practices. Narrative economy is a concept proposed for understanding these interests and their articulations in exhibition curation.

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Ortuzar-González, Mónica. "Transversalidad en la obra de Joseph Beuys." Arte, Individuo y Sociedad 34, no. 3 (April 21, 2022): 1069–86. http://dx.doi.org/10.5209/aris.77094.

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Este año 2021 celebramos el aniversario del nacimiento de Joseph Beuys que ha llevado a numerosas revisiones del escultor en varias ciudades alemanas mediante exposiciones y textos temáticos (chamanismo en el Museo Schloss Moyland) o diversas influencias (democracia en Düsseldorf). Nuestro artículo aporta a esta actualidad una metodología con que acercarse al artista desde la filosofía y desde la Historia del Arte. Desde la primera recuperamos el modelo dialéctico de Hegel que Novalis abrió a una trascendentalidad y entendemos como resultado de poner en acción cada par polar de modo que origina una síntesis o tercer elemento que nosotros tratamos como obra de arte. Desde la Historia del Arte recogemos la mayor contribución que hizo Beuys a la misma, la Temperatura, entendiéndola como derivada del par (frío/calor), dualidad en tránsito que describe el proceso con que se realiza una obra de arte como (materia/material) o (vida/muerte). Concluimos que esta metodología atraviesa de modo transversal toda la Teoría de la Escultura de Beuys y puede ser entendida como un intento de transubstanciarla a través del movimiento iniciado sobre materiales beuysianos como grasa o chocolate y para elaborar las obras de arte.

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Sayın Yücel, Hüda. "ACI ÇEKEN ROMANTİK BİR ŞAMAN ÜTOPYASI: JOSEPH BEUYS(1921-1986)." NWSA Academic Journals 16, no. 4 (October 25, 2021): 213–34. http://dx.doi.org/10.12739/nwsa.2021.16.4.d0284.

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Benavides, Juan Francisco. "Joseph Beuys, la estética hoy, un compromiso político." Index, revista de arte contemporáneo, no. 04 (December 21, 2017): 43–48. http://dx.doi.org/10.26807/cav.v0i04.76.

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Joseph Beuys es uno de los más influyentes artistas en el mundo contemporáneo, sus ideas y propuestas aún no han sido comprendidas del todo y muchas de ellas resultan transgresoras hasta hoy en día, en especial su declaración de que “todo el mundo es artista”. Beuys no sólo se enfrenta al quehacer artístico, comprende que el arte es algo mucho más profundo y complejo, es una energía que mueve al mundo y que, como muchas de las energías en el pensamiento occidental, es incomprendido y valorizado sólo desde su apariencia y superficialidad. Palabras clave: Estética, conceptualismo, arte contemporáneo, apariencia, transgresión.

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Grallert, Margot. "Catching the Light: “Doing Art” and Education." Leonardo 42, no. 2 (April 2009): 138–44. http://dx.doi.org/10.1162/leon.2009.42.2.138.

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Drawing upon the author's experience as a painter and visual art consultant in a public elementary school, this paper describes how “doing art” applies to the artistic thought process. The artwork of Joseph Beuys provides an historical perspective. The author shows how Beuys' use of three-dimensional form parallels her own work with color; like Beuys, she identifies an educational value behind “doing art.” She also reviews cognitive-science literature in light of her experience. She hopes that this paper will encourage scientists to design research projects to explore the artistic thought process and ultimately demonstrate the relevance of how we learn to what we learn.

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Gieser, Laura. "Mythos und Simulation – die Erfindung Joseph Beuys’." Germanica, no. 35 (December 31, 2004): 153–72. http://dx.doi.org/10.4000/germanica.1796.

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ERGÜR, Gökcen, and Banuhan Ulusoy. "Sanatçı Personasının İnşasına Bir Örnek: Joseph Beuys." Kesit Akademi 31, no. 31 (2022): 300–318. http://dx.doi.org/10.29228/kesit.62265.

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19

Adams, David. "Joseph Beuys: Pioneer of a Radical Ecology." Art Journal 51, no. 2 (1992): 26. http://dx.doi.org/10.2307/777391.

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Beyoğlu, Aylin. "Sanatta Mekân Kurgusu Bağlamında Joseph Beuys Yapıtları." Dokuz Eylül Üniversitesi Güzel Sanatlar Fakültesi Dergisi, no. 21 (January 28, 2019): 33–41. http://dx.doi.org/10.17484/yedi.438007.

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Vicini, Magda Salete. "Arte de Joseph Beuys: pedagogia e hipermídia." Comunicação & Educação 14, no. 1 (April 30, 2009): 23. http://dx.doi.org/10.11606/issn.2316-9125.v14i1p23-32.

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Angoso de Guzmán, Diana. "La materia viva: oro, alquimia y sanación en Elena del Rivero and Joseph Beuys = Live Matter: Gold, Alchemy and Healing in Elena del Rivero y Joseph Beuys." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 6 (December 7, 2018): 429. http://dx.doi.org/10.5944/etfvii.6.2018.20107.

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Esta investigación revisa los conceptos dispuestos hasta ahora en torno a la alquimia y a la magia centrándose en dos fuentes primarias del arte contemporáneo —las obras y los artistas— a la vez que se abre al método transdisciplinar para integrar teorías emergentes en el ámbito de los Nuevos Materialismos. Tomando como modelo de estudio un artista clave de la segunda mitad del siglo XX, Joseph Beuys, y una artista contemporánea, Elena del Rivero, se diseccionan las cualidades de la materia viva para analizar el proceso de sanación. A través de la alquimia y la magia, se reconoce el carácter performativo y fluido de los materiales, poniendo el foco en los materiales-en-movimiento y la capacidad agencial del material mientras se transforma en una fuerza curativa. Así, las obras de Joseph Beuys y Elena del Rivero ejemplifican las propiedades materiales del oro y sus potencialidades en la sanación, tanto espiritual como material. This study revises key concepts arranged around alchemy and magic in contemporary art focusing on two primary sources –artworks and artists- as it opens up to a cross-sectorial method which embraces emerging theories in the field of New Materialism. Taking Joseph Beuys and Elena del Rivero’s artworks as case studies, the healing process is analyzed dissecting the particular qualities of vibrant matter. Through magic and alchemy, the perfomative and fluid character of materials is acknowledged, as well as their agentic nature and the manner in which materials-in-movement are transformed into healing forces. Beuys and del Rivero’s artworks exemplify the material properties of gold and its healing potentialities, both spiritual and material.

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Heaton, Rebecca. "Letting Art Teach: Art Education ‘After’ Joseph Beuys, Gert Biesta (2017)." International Journal of Education Through Art 16, no. 3 (September 1, 2020): 459–61. http://dx.doi.org/10.1386/eta_00044_5.

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Quiroga Garza, Marcela. "Joseph Beuys: una visión de las prácticas artísticas contemporáneas y sus posibilidades políticas." Calle 14 revista de investigación en el campo del arte 13, no. 24 (July 1, 2018): 322–43. http://dx.doi.org/10.14483/21450706.13529.

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Hay una relación entre las ideas del artista Joseph Beuys con algunas prácticas y teorías artísticas contemporáneas, mayormente las que se relacionan con acciones directas, cierto activismo y algunos proyectos de desarrollo cultural. Beuys, inserto en un movimiento mundial amplio en los años sesenta, hizo un diagnóstico de las prácticas e instituciones humanas tales como el trabajo, el arte, las relaciones interpersonales, entre otras, y propuso un proceso para restaurar valores perdidos por la racionalización del pensamiento y lo que devino de ello. Este proceso incluye lo que podría ser el remedio del malestar social, el cómo ejecutarlo y su posible resultado. Su legado más importante es constantemente olvidado o dejado de lado por analistas y críticos. Beuys dejó una gran cantidad de páginas de las conferencias que dictó, de las obras procesuales que incluían horas y días de diálogo con grupos de personas y un sinnúmero de entrevistas.

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Vella, Raphael. "Joseph Beuys and the Artistic Education: Theory and Practice of an Artistic Art Education, Carl-Peter Buschkühle (2020)." International Journal of Education Through Art 17, no. 1 (March 1, 2021): 206–8. http://dx.doi.org/10.1386/eta_00059_5.

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Verspohl, Franz-Joachim. "Avantgarde und soziales Bewusstsein: Das Beispiel Joseph Beuys." Marburger Jahrbuch für Kunstwissenschaft 22 (1989): 241. http://dx.doi.org/10.2307/1348641.

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Relich, Mario. "Richard Demarco, Joseph Beuys and the Dusseldorf Connection." Scottish Affairs 31, no. 3 (August 2022): 382–87. http://dx.doi.org/10.3366/scot.2022.0423.

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Seung-Ho Kim. "The Art Present after Auschwitz: Joseph Beuys' Objects." Misulsahakbo(Reviews on the Art History) ll, no. 44 (June 2015): 141–61. http://dx.doi.org/10.15819/rah.2015..44.141.

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Rosenthal, Dália. "Joseph Beuys: o elemento material como agente social." ARS (São Paulo) 9, no. 18 (2011): 110–33. http://dx.doi.org/10.1590/s1678-53202011000200008.

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Marchetti, Florencia. "Felt: Fluxus, Joseph Beuys, and the Dalai Lama." Visual Studies 27, no. 3 (November 2012): 314. http://dx.doi.org/10.1080/1472586x.2012.642970.

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Eugene Blume. "Joseph Beuys: Schmerzraum. Hinter dem Knochen wird gezählt." Journal of History of Modern Art ll, no. 24 (December 2008): 81–114. http://dx.doi.org/10.17057/kahoma.2008..24.004.

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Schulz, H. "Schädel und Unterkiefer. Zum „Urschlitten“ von Joseph Beuys." Mund-, Kiefer- und Gesichtschirurgie 3, S1 (May 26, 1999): S7—S11. http://dx.doi.org/10.1007/pl00014521.

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de Duve, Thierry. "Joseph Beuys, or The Last of the Proletarians." October 45 (1988): 47. http://dx.doi.org/10.2307/779043.

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Pereira, Daniela Alves. "Joseph Beuys: uma investigação sobre modos de ação." Revista aSPAs 4, no. 1 (June 30, 2014): 92. http://dx.doi.org/10.11606/issn.2238-3999.v4i1p92-101.

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Crowley, M. "Bernard Stiegler Goes Seal-Hunting with Joseph Beuys." Forum for Modern Language Studies 49, no. 1 (November 5, 2012): 45–59. http://dx.doi.org/10.1093/fmls/cqs063.

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Walters, Victoria. "Working ‘in the Opposite Direction’." Anthropological Journal of European Cultures 19, no. 2 (September 1, 2010): 22–43. http://dx.doi.org/10.3167/ajec.2010.190203.

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This paper will argue that revisiting the ideas and practice of the twentieth-century German artist Joseph Beuys is germane to contemporary discussions of place and human ecology in anthropology. Through an exploration of work undertaken by the artist and a discussion of the influence of Goethe on his practice, it will explore the way in which Beuys' approach to art was informed by a set of methodologies which saw the inner life of the human being and the outer world with which she or he engages as profoundly linked in both physical and psychic terms. Beuys' work points, the author will suggest, to the potential for a myth of fieldwork and a communication of its results that places the anthropologist within a constantly changing world of matter that she or he shapes and transforms and is, in turn, transformed by.

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Burke, Meaghan. "Art Together, Prayer Together: Relational and Revelatory Practices of Joseph Beuys, Dietrich Bonhoeffer and Leslie Iwai." Religions 14, no. 1 (December 22, 2022): 24. http://dx.doi.org/10.3390/rel14010024.

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This paper investigates a theology of prayer embedded within social and artistic practice. It considers how conceptual art broadened social possibilities for art, and how for Joseph Beuys and later Leslie Iwai, these possibilities probe spiritual realities. Beuys’ democratic methodologies, considering everyone as performing the world-shaping work of the artist, were central to his practice and described by Beuys as representations of Christ. In Life Together, the artist’s contemporary, Dietrich Bonhoeffer offers his own approach to Christ’s presence within sociality. The book reflects on his time directing a seminary where communal life was not only shaped by spiritual exercises like prayer, but also enriched by the arts. Consequently, one may read Life Together as grounding for socially and spiritually attuned artistic endeavours. This has been the case in Leslie Iwai’s conceptually and communally motivated artistic practice, which has developed alongside prayer practices and her own readings of Life Together. Social-spiritual features of Beuys’ conceptual art—seeing Christ and one another concurrently—are extended in Bonhoeffer’s articulation of prayer—not only revealing God and each other but also a means of presenting one another to God. Affinities between conceptual art and prayer emerge: both may be disclosive, holding together seen and unseen realities. Iwai can be seen to work from a conceptual mode of social-spiritual disclosure, and from consonant revelatory and intercessory practices of prayer echoing those of Bonhoeffer’s Life Together.

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Führer, Heidrun. "“Take the Beuys off!” – Reconsidering the Current Concept of Ekphrasis in the Performative Poetry of Thomas Kling." Aletria: Revista de Estudos de Literatura 27, no. 2 (October 2, 2017): 157–88. http://dx.doi.org/10.17851/2317-2096.27.2.157-188.

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A portrait poem by the German poet Thomas Kling (1957-2005) about the German artist Joseph Beuys is the starting point to reconsider the current ekphrasis discourse in the light of experienced visuality by combining the concept of ancient rhetoric with modern ideas of imagination, multimodality and performativity.

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Jasinski, Isabel. "As cinzas de Beuys em Bellatin e o ritual da lebre morta: articulações do humano e do animal pela linguagem artística." Caracol, no. 17 (June 19, 2019): 137–69. http://dx.doi.org/10.11606/issn.2317-9651.v0i17p137-169.

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As vivências da arte contemporânea muitas vezes se produzem em espaços de relação e desvio. Nessa perspectiva, a literatura pode ser lida a partir de múltiplos processos que se contaminam. Este artigo trata dos principais aspectos do livro Lecciones para una liebre muerta de Mario Bellatin e da performance “Como explicar quadros a uma lebre morta” de Joseph Beuys para considerar a concepção de arte que está no substrato dos processos colocados em jogo em ambas obras. A imagem da performance de Beuys em Lecciones para uma liebre muerta é imprevisibilidade que se metamorfoseia, Beuys é vestígio na obra de Bellatin, não é apropriação nem demanda correspondência. Ela aprimora a fissura no interior do conhecimento, se manifesta como “signo secreto” que não objetiva esclarecer por meio da lógica de equivalência. O caráter pedagógico das “lições” não propicia o ensinamento em uma relação hierárquica, porém evidencia um apelo ao aprendizado que a arte propicia enquanto expansão das percepções sensitivas do ser humano.

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Körner, Stefan, and Florian Bellin-Harder. "The7000 Eichenof Joseph Beuys – experiences after twenty-five years." JoLA - Journal on Landscape Architecture 2009, no. 2 (November 2009): 6–19. http://dx.doi.org/10.3939/sjola.2009.2009.2.6.

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정연심. "Mathew Barney and Joseph Beuys: For and Against Mythology." Journal of History of Modern Art ll, no. 24 (December 2008): 167–202. http://dx.doi.org/10.17057/kahoma.2008..24.007.

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Scribner, Charity. "Object, Relic, Fetish, Thing: Joseph Beuys and the Museum." Critical Inquiry 29, no. 4 (June 2003): 634–49. http://dx.doi.org/10.1086/377723.

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Fenner, Felicity. "De-Beuysed But Not Forgotten: Joseph Beuys in Sydney." Public Art Dialogue 9, no. 2 (July 3, 2019): 182–91. http://dx.doi.org/10.1080/21502552.2019.1644131.

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Körner, Stefan, and Florian Bellin-Harder. "The7000 Eichenof Joseph Beuys – experiences after twenty-five years." Journal of Landscape Architecture 4, no. 2 (September 2009): 6–19. http://dx.doi.org/10.1080/18626033.2009.9723418.

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45

Cernicchiaro, Ana Carolina. "Os animais performáticos de Beuys, Sherk, Berwick e Dion." Revista Crítica Cultural 9, no. 1 (August 12, 2014): 87. http://dx.doi.org/10.19177/rcc.v9e1201487-96.

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Nas performances animais de Joseph Beuys, Bonnie Sherk, Rachel Berwick e Mark Dion, o ponto de vista irredutível da alteridade inumana funda novos modos estéticos e éticos que colocam em questão as dicotomias ocidentais entre sujeito da arte e objeto de arte, mas também entre natureza e cultura, humano e inumano, mesmidade e alteridade.

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Lieb, Stefanie. "Leiden als „sakramentale Substanz“ – die „Heilkunst“ von Joseph Beuys und ihre Bezüge zur christlich-mittelalterlichen Materialikonologie." Spiritual Care 10, no. 3 (May 28, 2021): 208–17. http://dx.doi.org/10.1515/spircare-2021-0029.

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Zusammenfassung Der Künstler Joseph Beuys (1921–1986), dessen 100. Geburtstag in diesem Jahr groß begangen wird, wollte mit seiner Kunst den Menschen „heilen“ – und dies vor allem inspiriert durch einen christlich-spirituellen Ansatz. Besonders die spirituelle Aufladung mittelalterlicher Kunst mit ihrer Materialikonologie scheint dabei für ihn eine wichtige Rolle gespielt zu haben.

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Cesare, T. Nikki, and Jenn Joy. "Performa/(Re)Performa." TDR/The Drama Review 50, no. 1 (March 2006): 170–77. http://dx.doi.org/10.1162/dram.2006.50.1.170.

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Newly commissioned pieces from Performa05 raise questions about shifting modes of transmission and witness in the staging of performance and visual art, also key concerns considered in response to Seven Easy Pieces, 2005, Marina Abramovic's (re)performance of seminal works by Vito Acconci, Bruce Nauman, Joseph Beuys, VALIE EXPORT, and Gina Pane.

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Song, Hai-Young. "A Study on the Concept of Capital of Joseph Beuys." Korean Bulletin of Art History ll, no. 53 (December 2019): 223–45. http://dx.doi.org/10.15819/rah.2019..53.223.

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Wolf, Gunter. "“Show Your Wound” Medicine and the Work of Joseph Beuys." Annals of Internal Medicine 133, no. 11 (December 5, 2000): 927. http://dx.doi.org/10.7326/0003-4819-133-11-200012050-00031.

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Jea-Won Kim. "Utopia bei Joseph Beuys und seine Schritte zur (politischen) Verwirklichung." Journal of History of Modern Art ll, no. 24 (December 2008): 139–66. http://dx.doi.org/10.17057/kahoma.2008..24.006.

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Journal articles on the topic 'Joseph Beuys'

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