Edited with text by Rita E. Täuber. Text by Bruno Corà, Marc Gundel, Magdalena Holzhey, Stefan Nienhaus, Petra Richter, Beat Stutzer, Kirsten Claudia Voigt.
Hbk, 6.75 x 8.25 in. / 265 pgs / 76 color / 86 bw. | 9/27/2016 | In stock $39.95
Published by Steidl. Edited with photographs by Klaus Staeck, Gerhard Steidl. Text by Bart De Baere, Jan Hoet, Heiner Müller, Klaus Staeck.
A sumptuous room in the Museum of Fine Arts in Ghent in 1980: on its wall hang Flemish Old Master paintings, gleaming in their gilt frames; yet in the middle of the room stand industrial metal shelves, sparsely stocked with packets of everyday perishable products: salt, flour, olives and peas. Each packet is signed by Joseph Beuys and labeled with “1 economic value.” This was Beuys’ compelling installation Wirtschaftswerte (Economic Values), a declaration that culture had once and for all been reduced to economic property. The products selected were notably from the German Democratic Republic, heightening disparities between West and East, capitalism and socialism, high and low culture, the mundane and the luxurious. Das Wirtschaftswertprinzip / The Principle of Economic Value documents the original installation, which Beuys later recreated elsewhere and expanded in a series of multiples. Originally published in 1990, the book has now been redesigned by Klaus Staeck and Gerhard Steidl.
Published by Steidl. Photographs by Klaus Staeck, Gerhard Steidl.
On April 27 1973, Joseph Beuys (1921–86) founded the Free International University for Creativity and Interdisciplinary Research, a staunchly antiestablishment institution designed to help individuals realize their creative potential (regardless of their social, economic and educational backgrounds); and for that creativity—through art—to foster social progress. As part of the university, Beuys staged an ambitious series of 13 workshops over 100 days at Documenta 6 in 1977, including the Migrant Workshop, the Violence and Behavior Workshop, the Nuclear Energy and Alternatives Workshop, and—the subject of this book—the Periphery Workshop.
At the heart of the Periphery Workshop were, in Beuys’ words, the themes of “peripheral regions Europe / enlarging the EEC / France-German axis / common strategies for the regions and the Mediterranean countries.” Visitors were invited to discuss and ask Beuys any question on these topics. Beuys filled dozens of blackboards with fascinating drawings, diagrams and thoughts—intricate artworks that form the basis of this book.
Dimensions of the Early Work of Joseph Beuys, 1946–1961
Published by Steidl. Foreword by Harald Kunde. Text by Anne-Marie Bonnet, Susanne Figner, Volker Harlan, Karlheinz Koinegg, Bettina Paust, Petra Richter, Wolfgang Zumdick.
This book examines the crucial period between Joseph Beuys’ (1921–86) return to his hometown of Kleve after World War II at the age of 24 and his appointment as a professor at the Kunstakademie Düsseldorf in 1961. During this “incubation” phase, key themes relevant to his future work emerged, which structure this book: biography as material for artistic formation; poetry/romanticism; natural sciences: physics, chemistry, botany, zoology and geography; philosophy/anthropology and Steiner; economics, capitalism, labor, politics. The aim of this book, along with the 2021 exhibition of the same name at Museum Kurhaus Kleve for which it is the catalog, is neither to venerate a local saint of Kleve nor to topple an artist from an earlier generation. Instead it highlights the influences and ideas that saw Beuys develop from a “sensitive traditionalist” into a “visionary social sculptor.”
Published by Hatje Cantz. Edited by Susanne Gaensheimer, Isabelle Malz, Eugen Blume, Catherine Nichols.
In 13 chapters, a wide variety of artists and thinkers offer insight into the unparalleled legacy of Joseph Beuys (1921–86) on the occasion of what would have been the German artist and pedagogue’s 100th birthday. Beuys adopted many roles over the course of his prolific career, but one of the guiding principles throughout his life was a radically expansive view of what art is and what art can do on levels both personal and political. He believed that every human being is an artist and that society could be renewed from the ground up. In this publication, the world’s brightest minds enter into a multilayered dialogue with Beuys and his theses about a possible future conceived through art. Words from Ruth Bader Ginsberg, Angela Davis, Jenny Holzer, William Pope.L, Patti Smith, Thich Nhat Hanh, Greta Thunberg and Malala Yousafzai, among many others, contextualize his vision.
Published by Steidl. Edited with photography by Klaus Staeck, Gerhard Steidl. Text by Klaus Staeck, Douglas Davis. Interview by Klaus Staeck.
On January 9 1974, Joseph Beuys (1921–86), together with Klaus Staeck and Gerhard Steidl, traveled for the first time to America. This trip was a carefully planned performance that took place in airplanes, taxis, hotels, universities and galleries, and was comprehensively documented in photographs and video. The tour began with a lecture at New York’s New School, visited by artists including Claes Oldenburg, Lil Picard and Al Hansen; the next stop was Chicago, the site of more controversial lectures and an unexpected performance reenacting the death of John Dillinger; then Minneapolis, with more conferences and discussions. Upon returning to Germany, the hundreds of photographs and many hours of videotape were assembled, but it was only in October 1985, shortly before his death, that Beuys finalized the sequence for the book. Originally published in 1987, this new Steidl edition has been wholly reconceived by Klaus Staeck and Gerhard Steidl.
Published by Steidl. Edited with text by Klaus Staeck. Text by Gerhard Steidl. Photographs by Gerhard Steidl.
Documenta, Kassel, 1977: a pump driven by two strong motors forces two tons of honey over a 55-foot-high pipe into a network of tubes that traverses the rooms of the Fridericianum Museum. This was the core of Joseph Beuys’ (1921–86) “Free International University,” which he brought to life at Documenta 6. Around his Honeypump in the Workplace Beuys created events that expanded his notion of art and starkly differentiated it from tradition. For Beuys, “workplace” meant talks, speeches, workgroup discussions and citizens’ action committees. For 100 days he tirelessly expressed his ideas on how art and society must necessarily change, filling numerous blackboards with texts, diagrams and musical scores. On June 28, 1977, Beuys invited Klaus Staeck and Gerhard Steidl to join him in servicing and maintaining his honeypump, which was carefully documented in the photographs of this book, first published in 1997 and now reconceived by Staeck and Steidl.
Published by Steidl. Edited by Eugen Blume, Catherine Nichols. Photographs by Caroline Tisdall. Text by Catherine Nichols.
Is art the only truly revolutionary force? Is the future a category of art? Are these even the questions we need to be asking? One hundred years after the birth of Joseph Beuys, the German state of North Rhine-Westphalia is rearticulating questions fundamental to his art and thought. This publication provides an overview of the extensive program of Beuys 2021: 100 Years of Joseph Beuys—including exhibitions, lectures and performances—and examines what it is that makes this artist so controversial and still so very topical. It explores his complex oeuvre, pays homage to his international impact and rediscovers the revolutionary potential of his thought. A wide range of contributors from many different spheres, generations and cultures enter into a richly associative dialogue with his aphorisms. Together they explore the genesis and viability of Beuys’ vision of a future based on the principles of art.
Published by Galerie Thaddaeus Ropac. Edited by Kelsey Corbett, Oona Doyle. Foreword by Thaddaeus Ropac. Text by Norman Rosenthal.
Accompanying the most important UK exhibition of Joseph Beuys' (1921–86) work in over a decade, this comprehensive publication traces the development of the artist's practice from his early, rarely seen works to his conceptual environments. At the heart of this exhibition stands Stag Monuments, exhibited whole for the first time since its creation.
Twentieth-century artist Joseph Beuys (1921-1986)--legendary and self-mythologizing, enigmatic and controversial--remains an important influence on artists today. Beuys embraced radically democratic artistic and political ideas, proclaiming "Everyone is an artist," and advocating direct democracy through referenda. He famously worked with such nontraditional materials as felt, fat, and plants and animals both alive and dead. Beuys and his work--performance art, drawing, painting, sculpture, installation--received perhaps the most contentious reception of any postwar artist. This reader brings together the crucial writings on Beuys and his work, presenting key essays by prominent artists and critics from North America and Europe. With a foreword by Arthur C. Danto, "Style and Salvation in the Art of Beuys," Benjamin H. D. Buchloh's now classic 1980 essay, "Beuys, Twilight of the Idol," and influential texts by Vera Frenkel, Thierry de Duve, Rosalind Krauss, Peter Bürger, Irit Rogoff, and others, Joseph Beuys: The Reader is the most significant gathering of critical texts on this challenging artist that has ever been assembled. It will be essential reading for any student of Beuys and for all those interested in postwar art, the cult of the artist, and art's engagement with politics and society. Claudia Mesch is Assistant Professor at the School of Art, Arizona State University. Viola Michely is a writer and curator and teaches art and philosophy at the August-Macke School, Bonn.
PUBLISHER MIT
PUBLISHING STATUS Active
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9780262633512RETAIL List Price: $26.95 CDN $26.95
AVAILABILITY OUT OF STOCK
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Joseph Beuys (1921–1986)—a German sculptor and performance artist--became one of the most influential figures in modern and contemporary art. His charismatic presence, extraordinary life, and unconventional artistic style (incorporating ritualized movement and sound, and materials such as fat, felt, earth, honey, blood, and even dead animals) gained him international notoriety during the 1960s, 70s, and 80s. Beuys’s innovative influence is particularly felt in the field of sculpture, whose definition he expanded to encompass performance art, vitrine cases, and site-specific environments.
This beautifully illustrated book investigates Beuys’s sculpture, arguably the most fundamental portion of his artistic work, as well as his extraordinary influence. Featured objects include a stunning selection of Beuys’s remarkable vitrines—sly cousins of standard museum presentations, featuring both hand-made and found objects serving as “exhibitions” on Beuys’s own topics; blackboards on which he recorded his lectures and performances; room-sized environments; and many other sculptural projects that frequently served as physical documentation for Beuys’s performances.
With a comprehensive chronology of Beuys’s activities as an artist and activist, this book is essential for those interested in the life, work, and legacy of one of the art world’s most intriguing figures.
PUBLISHER Yale
PUBLISHING STATUS Active
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9780300104967RETAIL List Price: $50.00 CDN $50.00
AVAILABILITY OUT OF STOCK
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
'If we want to achieve a different society where the principle of money operates equitably, if we want to abolish the power money has developed over people historically, and position money in relationship to freedom, equality and fraternity ...then we must elaborate a concept of culture and a concept of art where every person must be an artist...' - Joseph Beuys. The world of finance exerts a huge influence over our lives, being responsible for economic turmoil and seemingly interminable peaks and crashes. Whereas money was once a simple means of exchange, today it is a commodity in itself and as 'capital' exerts power over individuals, degrading work to tradable labour. Can we find a new way of understanding money today, so that we can begin to overcome its destructive aspects? In November 1984, a remarkable discussion took place at the Meeting House in Ulm, Germany. It featured the radical artist Joseph Beuys, two professors (of Financial Sciences and Political Economics) and a banker. Beuys would appear to be out of place among these heavyweight academics, professionals and authors. But rather than being intimidated by his fellow panellists, Beuys - also a social and political activist - demonstrates his groundbreaking thinking on the subject, and his ability to bring fresh perspectives. Here for the first time is a transcript of this debate, together with analysis by Ulrich Rosch, which will be of equal interest to artists, economists and spiritual seekers.
PUBLISHER Clairview Books
PUBLISHING STATUS Active
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781905570256RETAIL List Price: $19.00 CDN $19.00
AVAILABILITY out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Beginning with Joseph Beuys’ (1921–86) “Eurasienstab” action, performed with Henning Christiansen at Wide White Space Gallery in Antwerp in 1968, this book documents Beuys' reflections on Eurasia (the combined continental landmass of Europe and Asia).
Published by Kerber. Edited with text by Rita E. Täuber. Text by Bruno Corà, Marc Gundel, Magdalena Holzhey, Stefan Nienhaus, Petra Richter, Beat Stutzer, Kirsten Claudia Voigt.
Widely regarded as one of the most influential figures of the second half of the 20th century, Joseph Beuys (1921–86) was prolific in his production of performance art, sculpture, installations and graphic art. Joseph Beuys and Italy focuses on a hitherto little-noted aspect of the artist’s work: his special relationship to Italy throughout his life. It was in Italy that his best-known editions and final large installation, “Palazzo Regale,” were created. It was in Italy where the artist felt most at home, and, for Beuys the social reformer, felt his idea of social sculpture most reflected in the culture, history and lifestyle of the Italian people.
With 100 exhibits, drawings, works on paper, multiples and objects, as well as archival film and audio material, this volume invites readers along on a special journey to Beuys’ Italy.
Published by Kerber. Edited by Heiner Bastian. Foreword by Poul Erik Tøjner, et al. Text by Heiner Bastian, Aeneas Bastian.
This publication assembles a superb selection of some 200 drawings, watercolors and collages by Joseph Beuys (1921–1986) that has not been made public for more than a quarter of a century. Beuys’ drawings have a special status within his oeuvre, and have been cited by several generations of artists as decisive and influential. These works coined a new idiom in drawing, whose signature features include a deliberate or apparent clumsiness, the use of unorthodox substances such as hare’s blood and rust that seeps deeply into the paper weave, diagrammatic imagery and the use of graph paper. Collage elements (felt, newspaper) further heighten the intense materiality of these works, which is in turn offset by handwritten and typed notes on various projects--embryonic thoughts that add a provisional, processual dimension. This substantial volume documents a milestone oeuvre in twentieth-century drawing.
Published by Silvana Editoriale. Text by Antonio d'Avossa, Nicoletta Ossanna Cavadini, Rainner Rappmann.
Every Man Is an Artist investigates Joseph Beuys’ (1921–1986) voluminous output of multiples. For Beuys, multiples were a vehicle for communication, discussion and debate--a means for disseminating his philosophy beyond a collector audience and putting broader progressive ideas into circulation. From 1965 to 1985, Beuys produced almost 600 multiples in a variety of media, many of which incorporated felt (his signature material), and including graphic works, found objects, photographs, audiotapes and films. While other artists focused on creating games or do-it-yourself performances, Beuys’ pieces generally function as didactic tokens of a larger spiritual agenda, such as a set of wooden boxes in which people may store their thoughts. With a wealth of reproductions (120 in color), this volume offers a concise overview of Beuys’ politicization of aesthetics and the distribution of art.
PUBLISHER
BOOK FORMAT Paperback, 9.5 x 9.5 in. / 192 pgs / 120 color / 72 bw.
PUBLISHING STATUS Pub Date 7/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 104
PRODUCT DETAILS ISBN 9788836624010TRADE List Price: $40.00 CDN $50.00
Joseph Beuys (1921-1986) was photographed extensively during his life--at work, while traveling or at home. But only a few photographers had the privileged access and tenacity of Klaus Staeck and Gerhard Steidl. Graphic artist Staeck and printer/publisher Steidl accompanied Beuys with their cameras from 1970 until his death in 1986. Staeck and Steidl were part of Beuys' entourage, worked closely with him to produce his multiples and objects, and documented intimate aspects of the life of this unmatched artist-performer. These photos reveal Beuys' unique charismatic personality that influenced not only those he met, but society and art in general.
Published by Zwirner & Wirth. Edited by Kristine Bell, Greg Lulay, Alexandra Whitney. Text by Alexandra Whitney, Mark Rosenthal.
Joseph Beuys (1921-1986) is widely considered one of the most important German artists of the twentieth century. His innovative experiments with materials and genres radically expanded the possibilities of art-making, thus influencing successive generations of artists. Beuys' practice was multi-faceted, incorporating drawings, installations, performances and even political activism into a unique body of work which promoted a mutable, new kind of art that encouraged individual and social transformation. The works in this exhibition catalogue, which include more than a dozen drawings and six sculptures made between 1953 and 1984, exemplify Beuys' unusual fusion of ideology and myth with formal invention.
PUBLISHER Zwirner & Wirth
BOOK FORMAT Hardback, 7.75 x 10.75 in. / 64 pgs / 24 color.
PUBLISHING STATUS Pub Date 2/1/2008 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 160
PRODUCT DETAILS ISBN 9780977356867FLAT40 List Price: $45.00 CDN $55.00
Published by Verlag für moderne Kunst. Text by Wolfgang Dreschsler, Doris Leutgeb.
This sampler explores three Joseph Beuys works in three media: the collection of drawings, Kölner Mappe or Cologne Portfolio; the sculptural object "Tür," or "Door;" and an environment, "Basisraum Nasse Wäsche," literally "Basic Room Wet Laundry." The Cologne Portfolio is an unusually broad, privately assembled group of 64 Beuys drawings made between 1945 and 1973, put together by a Cologne collector and later brought to Vienna's Museum of Modern Art. "Tür," 1954-56, is a burnt door to which Beuys applied a heron's skull and a rabbit pelt. The installation piece, "Basisraum Nasse Wäsche," was created in 1979 for two Viennese exhibitions, and has traveled to several venues over the years. Photo documentation of its various presentations shows how very much each exhibition space has impacted this important Beuys environment.
Published by Edition Schellmann. Edited by Jàrg Schellmann. Essays by Dierk Stemmler, Joan Rothfuss, Jàrg Schellmann and Peter Nisbet. Afterword by James Cuno and Kathy Halbreich.
Out of print since 1999, the classic catalogue raisonnª of Joseph Beuys's multiples is available again at last. Beuys, the most influential German--and perhaps the most influential European--artist of the postwar period, was born in 1921. He had planned to be a doctor, but following World War II he enrolled in the Dsseldorf Academy of Art. As a professor there in the early 1960s he encountered the influence of Fluxus and began to make and show the multiples--prints and boxes and other objects in editions--that became such a key part of his work. Those highlighted here include sleds, pieces of felt, signed head shots of the artist and texts calligraphed onto bank notes in francs, marks and schillings. Bruno Cora Tea mocks both mass production and boutique cachet by refilling a Coca-Cola bottle with tea, resealing it with flourishes worthy of a Belgian beer, and putting the whole thing in a glass-fronted box. Joseph Beuys: Multiples includes some 600 pieces, annotated lists of the major collections where they can be found, essays from significant curators and scholars and an interview with the artist.
PUBLISHER Edition Schellmann
BOOK FORMAT Hardcover, 8.5 x 12 in. / 544 pgs / 320 color / 540 bw.
PUBLISHING STATUS Pub Date 3/1/2006 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2006 p. 98
PRODUCT DETAILS ISBN 9783888142109TRADE List Price: $95.00 CDN $127.50 GBP £85.00
Published by Richter Verlag. Edited by Pamela Kort and Max Hollein. Essays by Claude Keisch, Helene Pinet, Josephine Gabler and Dieter Koepplin.
Between 1947 and 1964 Joseph Beuys produced a swath of works on paper that, in their style, technique, and formal vocabulary, echo those of Auguste Rodin by way of his teacher and mentor, sculptor, Wilhelm Lehmbruck. Although Beuys's work remains very different from his predecessors', it does take up themes they had pursued, including the idea of the torso as an autonomous, enclosed form and of the fragment as the simplest and most elementary embodiment of immutability. This book sets Beuys's works on paper and sculptures opposite the works on paper and sculptures of Rodin and Lehmbruck, and finds both striking affinities and autonomy.
Published by Steidl. Artwork by Joseph Beuys. Photographs by Klaus Staeck. Contributions by Gerhard Steidl.
On January 9th, 1974, Joseph Beuys travelled to America for the very first time in his life. His trip was meticulously planned, with an art/performance scheduled in between each airplane, taxi and hotel, at prominent universities and galleries. Each venture in the New World was documented in these photographs. Single shots, sequences and photo-novels were produced, in addition to film stills and the movies Dillinger and The Dead Eyes of London. Beuys himself put together the layout for this book just before he died in October 1985. This unique travel report, which lay unpublished for over 20 years, is now presented in the exact format intended by Beuys.
On January 9th, 1974, Joseph Beuys travelled to America for the very first time in his life. His trip was meticulously planned, with an art/performance scheduled in between each airplane, taxi and hotel, at prominent universities and galleries. Each venture in the New World was documented in these photographs. Single shots, sequences and photo-novels were produced, in addition to film stills and the movies Dillinger and The Dead Eyes of London. Beuys himself put together the layout for this book just before he died in October 1985. This unique travel report, which lay unpublished for over 20 years, is now presented in the exact format intended by Beuys.
This beautifully produced book documents an extraordinary chapter in Joseph Beuys' life and work: his artistic and poetic experience during a stay in the Seychelles toward the end of his life. Included here are an account of Beuys' own writings during this important period and a variety of related objects, some of them never previously exhibited: artwork, documents, manuscripts and souvenirs. Together they form a unique “diary” reflecting Beuys' mature belief about the relationship of art, nature and modern culture.
PUBLISHER Charta
BOOK FORMAT Paperback, 8.25 x 11 in. / 144 pgs / 10 color / 45 bw.
PUBLISHING STATUS Pub Date 9/2/1996 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 1996
PRODUCT DETAILS ISBN 9788881580897TRADE List Price: $35.00 CDN $40.00
Published by Dia Art Foundation. Artwork by Joseph Beuys. Text by Pamela Kort, Christopher Phillips.
Arena is a major but rarely exhibited Beuys work that consists of 100 panels containing several hundred photographs of Beuys, spanning the artist's career from the late 40s to 1972. Realized in 1973, "Arena" attains a monumental scale and the sort of grand design appropriate to an artistic summa; as such, the project amounts to a broad portrait of Beuys' artistic persona. It is here documented for the first time.
NEW YORK Showroom by Appointment Only 75 Broad Street, Suite 630 New York NY 10004 Tel 212 627 1999
LOS ANGELES Showroom by Appointment Only
818 S. Broadway, Suite 700 Los Angeles, CA 90014 Tel. 323 969 8985
ARTBOOK LLC D.A.P. | Distributed Art Publishers, Inc.
All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.