Joseph Beuys: Trending quotes (page 3)

“He [the Dalai Lama] asked me for my participation and I rejected the plan to make a kind of sculpture there in this old way, to make in a kind of special place this special modern sculpture. I told him that my idea would be this time to plant seven thousand oaks in Kassel, seven thousand trees. And to mark every tree with a little stone, so that everybody after three, two, five or six hundred years can still see that in 1982 there was an activity. After the radical destruction of the forests here in Germany for all this technological nonsense, that there was an impulse that came in the same time, to plant seven thousand oaks. This is such a kind of activity during the Documenta [in Kassel], that has to do with the 'Documenta', but is a real other thing in the conventional understanding of art.”

Joseph Beuys

Source: 1980's, Interview with Louwrien Wijers, 1981, p. 185 - Beuys' statement on planting seven thousand oaks in Kassel, in 'Joseph Beuys and the Dalai Lama'

Art , Way , Idea , Understanding

“Even the act of peeling a potato can be an artistic act if it is consciously done.”

Joseph Beuys

Three quotes of Joseph Beuys, in 'An interview with Joseph Beuys,', Willoughby Sharp, published in 'Artforum,' November 1969; as quoted in Six Years: The Dematerialization of the Art Object from 1966 to 1972, Lucy R. Lippard, University of California Press, 1973, p. 121
1960's

“I want to found a free school for creativity and interdisciplinary research in Düsseldorf [where Beuys was teaching at the Art Academy]. I hope that I will succeed. Everyone can come to me. This school has a legal status... First a school is there to develop ability, that is consciousness, then the children will recognize what a future social structure should look like; that means that one can learn a social feeling or a social sense…”

Joseph Beuys

1970's, Every Man an Artist: Talks at Documenta 5', 1972

Children , School , Hope , Art

“The outward appearance of every object I make is the equivalent of some aspect of inner human life... My feelings then had this special kind of darkness – almost black like this mixture of rubber and tar. It is certainly an equivalent of the pathological state mentioned before, and expresses the need to create a space in the mind from which all disturbances were moved: an empty insulated space.”

Joseph Beuys

As cited in: Joseph Beuys, Dia Art Foundation. Joseph Beuys, Dia Art Foundation, 1988. p. 23 ; Statement about the ' Rubberized Box http://rubberizedbox.blogspot.nl/2007/10/rubberized-box-by-joseph-beuys-1957.html' by Joseph Beuys, 1957
1970's, Interviews with Caroline Tisdall, 1974 & 1978

Life , Feeling , Appearance

“my art cannot be understood primarily by thinking. My art touches people who are in tune with my mode of thinking. But it is clear that people cannot understand my art by intellectual processes alone, because no art can be experienced in that way.”

Joseph Beuys

Quote in interview with Willoughby Sharp, 1969; as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 212, note vii
1960's

People , Art , Way , Understanding

“Let's finally try to talk about a system that transforms all the social organism into a work of art, in which the entire process of work is included, whether it's work by Francisco Goya or Kounellis or mine, as well as agriculture, the sciences, or education or technology, something in which the principle of production and consumption really takes on a form of quality. One must not only transform the creation of paintings or sculptures, but the entire social form. It's a gigantic program.”

Joseph Beuys

Quote of ‎Joseph Beuys, from The felt hat: Joseph Beuys, a life told, Lucrezia De Domizio Durini, p. 201
1980's

Education , Art , Science , Painting

“People who say: 'Ah, this Beuys will go back to the middle ages, or to the stone dwellers, cliff dwellers.' No, there is a misunderstanding. I have nothing against the materialistic methodology of analytics, but I think we have to enlarge this thing, not to get caught in a very restricted one-sidedness in our way of looking towards life. Because the problems of life, soul, humankind's spirit, the problems of intuition, imagination, and inspiration, the problems of birth and death, the problems of survival in a bigger shape, and to bring in the image of the meaning of man.”

Joseph Beuys

Source: 1970's, Interview with Louwrien Wijers, 1979, p. 249; Also cited in: Louwrien Wijers (1996). Writing as Sculpture: 1978 - 1987. p. 40

Life , Death , People , Age

“To be a teacher is my greatest work of art. The rest is the waste product, a demonstration. If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren't very important any more. I want to get to the origin of matter, to the thought behind it.”

Joseph Beuys

1960's

Art , Teachers

“It is a kind of vehicle, you know. It's a kind of making, spreading out ideas, that is what I think. It spreads out the idea. You must care for information and I personally try to make information available not only in a written way... I try also to work with images, with fantasy, with jokes, with humor. It accelerates the discussion of the problem of a new society.... so I work coming from the idea of art as the most important means to transform the society.”

Joseph Beuys

Quote from 'I put me on this train', interview with Art Papier, 1979; as cited in: Joseph Beuys in America: Energy Plan for the Western Man, Carin Kuoni; New York, 1993, p. 44
1970's

Art , Way , Idea , Problem

“Only on condition of a radical widening of definitions will it be possible for art and activities related to art [to] provide evidence that art is now the only evolutionary-revolutionary power. Only art is capable of dismantling the repressive effects of a senile social system that continues to totter along the death-line: to dismantle in order to build 'A SOCIAL ORGANISM AS A WORK OF ART.”

Joseph Beuys

Source: 1970's, I Am Searching For Field Character,' 1973/74, p. 48

Death , Art