Joseph Beuys: Kind

Joseph Beuys was German visual artist. Explore interesting quotes on kind.

Joseph Beuys: 100 quotes3 likes

“But I saw the relationship between people, I saw their thoughts, I saw their kind of expressionistic behavior in every difficult situation. I saw all the time the unclearness in the psychological condition of the people. You know, that was the time called the 'Roaring Twenties' and I felt that this expressionistic behavior, this unformed quality of soul power and emotion of life... I saw it, that it would lead to a kind of catastrophe. That was my general feeling.”

Joseph Beuys

Source: 1980's, Interview with Kate Horsefield, 1980, pp. 62-63; Also cited in: Video Data Bank, School/Art Institute Chicago, (1981) Profile, Volume 1

“I had the feeling that another kind of life -- perhaps in a transcendental area -- would give me a better possibility to influence, or to work, or to act within this contradiction. So, this was my general feeling: on the one side, this beautiful undamaged nature form which I took a lot and had a lot of possibilities for contemplation, meditation, research, collecting things, making a kind of system; and on the other side, this social debacle that I felt already as a coming dilemma.”

Joseph Beuys

Source: 1980's, Interview with Kate Horsefield, 1980, p. 62; also quoted in: Video Data Bank, School/Art Institute Chicago, (1981) Profile, Volume 1

“It is a special kind of secret how these Asiatic elements [of American Indians] came over the Bering Strait long ago. It's the same with the coyote. When I worked with the coyote [this quote refers to the performance by Beuys when he was locked up together with a coyote in a cage for a few days in René Block Gallery, New York City in 1974], I had the idea that it was not an indigenous animal. It came as a wolf with the Indians over the Bering Strait. And this Asiatic wolf, or step wolf, changed his whole biological configuration and behavior. Then it was my idea to import the coyote once more back to Europe, and you could see it [the coyote] change back to the European wolf or Siberian wolf. It is a transformed European wolf, the coyote, how it came to the character of a brush wolf.”

Joseph Beuys

Quote of Beuys in an interview with Alan Moore and Edit deAk, 1974; as cited in: Joseph Beuys in America: Energy Plan for the Western Man., Carin Kuoni; New York, 1993, p. 213
1970's

“I wished to go completely outside and to make a symbolic start for my enterprise of regenerating the life of human kind within the body of society and to prepare a positive future in this context… I can see such a use for the future as representing the really progressive character of the idea of understanding art when it is related to the life of humankind within the social body in the future.”

Joseph Beuys

Quote of Beuys, in Studio International Vol. 195, (1981), p. 46
1980's

“I think he [ Andy Warhol ] would be very interested in the moment that the Dalai Lama appears, being involved in such a kind of idea. Andy has always difficulties with this kind of political activities, because he works in another kind of world, but he is always... Also when he was here [in Germany] last week, he is very interested to hear a lot of new information. He has a kind of observing sense in the back of his mind. So, he is always interested to follow the development, and there is really a kind of imaginative process going on, I think.”

Joseph Beuys

Source: 1980's, Interview with Louwrien Wijers, 1981, p. 189 - in 'Joseph Beuys and the Dalai Lama'

“I was invited to come here to speak about my idea of art, which is to enlarge the effectivity of art beyond the idea of art as coming out of art history — an art idea which contains the well-known disciplines like sculpture, architecture, painting, music, dancing, poetry and so on. I would like to declare why I feel that it's now necessary to establish a new kind of art, able to show the problems of the whole society, of every living being — and how this new discipline — which I call social sculpture — can realize the future of humankind. It could be a guarantee for the evolution of the earth as a planet, establish conditions for other planetarians too, and you can control it with your own thinking.”

Joseph Beuys

Source: 1970's, Joseph Beuys... Public Dialogue' 1974, p. 5; Lead paragraph of article

“I don't know what they call mysticism, it is in truth perhaps the interest of the spirit; that the work expresses the spirit, and not the formal aspect. While in the United States a lot of art production runs along the line of formalist art; what one could call the post-modernism, a kind of formalist intention like Don Judd, Carl Andre, Robert Morris, and these.”

Joseph Beuys

Source: 1970's, Interview with Louwrien Wijers, 1979, p. 243; Also cited in: Louwrien Wijers (1996). Writing as Sculpture: 1978 - 1987. p. 38

“I think the tree is an element of regeneration which in itself is a concept of time. The oak is especially so because it is a slowly growing tree with a kind of really solid heartwood. It has always been a form of sculpture, a symbol for this planet.”

Joseph Beuys

Joseph Beuys (1982), cited in: Claudia Mesch (2013) Art and Politics: A Small History of Art for Social Change Since 1945. p. 160
1980's

“The idea of creativity is for me the problem of the future. Since the creative power is not a simple thing. It has a rich structure. It is divided into a lot of different principles and represented by figures, and these figures you can also write down in a kind of symbolic mantra. It is important to work on every point of creativity and see how the human being stands in the energy that comes out from the surrounding world.”

Joseph Beuys

Quote in a conversation between Lama Sogyal Rinpoché and Joseph Beuys, 1982; republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993. p. 197
1980's

“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'

“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 <br class="br">1970's, Interviews with Caroline Tisdall, 1974 & 1978

“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