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14 MEmORY

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Beuys 1.

By ART PERRY
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DBEvYS

With the deayth of German artist Joseph Beuys at tle age of 65,
the moderm world of art, politics and imagination has lost one
of its champions and irovators.

Beuys spoke of peace and freedom in a universal voice that was
naive with utopianism. He had the most powerful presence given
to post-war European art; his felt hat, his vest and that crazy
patch of fur pinned to his chest became one of the institugtions

of furopean art. His sculptures made of animal fat and waxxzs

v2rious materials that would always be in 2 Ste of cnange or flux

nbghtmare but tae public's pees best eteutesit”,
Pon Avert.

F toed
were A museum's worst

When the Guggenheim Museum in New York City gave Beuys a solo

exhibit in 1979, the american art audience had its first large-scale

view of Buageuys' art and philosophy at work.

Thow we mofruld and shape the world in which we live:

He called it social
sculpture
Sculpture as an evolutionary process; everyone an artist." In

other words, Beuys deieves in art that was never static or dead.
Once art became stiff and absolute, captured in the confines of

bronze or mérole, it lost all its life. By using elemants like

fat and honey, Beuys’ evoked from his art and its audience a chang-

ing ongoing sense of being.

2
se

Evefyone is an artist. Like Marcel Duchamp before him Beuys
reatized art had to be part of the living process, of the lives

we dive day-by-day ratner than something, to quote American pop

artist Claes Oldendurg Weits on its ass in an art museum".

OF fe E

snttitn cate

Beuys 2.

Beuys' legacg is that of a philosopher of the potentials of human |

creativity. He believed in the abilities of all of us to be part

of the ideas of creativity. An artist is a title we can all share
Chins |

it's one we should all carry with us as we make decisions or when

we create our own identities. Life is art, and art is life.
Art is not a product of tasteful decoration but one of the most

vital aspect of our existence -- creativity.

Beuys' philosophy and artistic process was totally shamanistic.
He was a leader who looxed after our souls

S, Our energies of
identity,

There was nothing comprimising or selfish in Beuys'

careerism; he was a humanitaiitn who looked to a better Tuture.

And this future demanded change, so his art was basea on change.

M,ch has been written about the powerful effect of Jose

ph Seuys
on tne face of confSporary art.

But somehow like everything els
in his life (and in ours) things will shift, and this educator,
shaman, ecologist, politian, personality and artiss will grow
larger and grander in people's memories as his ideas and beliefs
become more and more crucial to our survival as a human race,
Bueys may not have had all the answers to the anger bitterness~w

destructive nature of our modern Society, but as a creative is 3

center of adeas and hope he continually believed in individual
freedoms and the strength of mankind to realize the gift of art
as a daily process of living; living for the better.

vy MEwoRY °F
pee 2. ase “wa
s
Je DEUYS

fay ART PERRY
lpoorc

With the deazth of German artist Joseph Beuys at tleage of 65, Beuys" legacy is that of @ philosopher of the potentials of mnan

the moderm world of art, politics and imagination has lost one «creativity. He believed in the abilities of all of us to be part

Jof its champions and isfvators. of the ideas of creativity. An artist is a title we can all shard
ie it's one we should ali carry with us as we make decisions or whew

JBeuys spoke of peace and freedom in @ universal voice that was

naive with utopianisn. He had the aost powerful presence given we create our own identities. Life is art, and art is life.

to post-war European art; his felt hat, his vest and tat crazy Art is not a product of tasteful decoration bat ons of the most

patch of fut pinned to his chest becane one of the institugtions vital aspect of our existence —- creativity.

of duropean art. iis sculptures sade of animal fat and artes

frrious materiel that would alsays be in « dite of onange or flux Dauys! philosophy and artistic process was tote1}y

were R'miseun's worst abghtmare but the public's peteobest etm’, He was a leader who looked after our coule, oar energies of
praaltrseeliy enoee Nenana enke

identity, There was nothing comprimising or selfish in Beuys!

IWnen the Guggenheim Museum in New York City gave Beuys a solo he was a hum

shamanistic.

ih who Looked
exhibit in 1979, the american art audience had its firet large-scale 4: Genanded change, so his art was tased on change.
view of Bmeuys' art and philosophy at work, He called it social

sculpture “how we nokuld and shape the world in which we live: Mych has been written about ca
Sculpture as an evolutionary process; everyone an artist." In tae face mati soweRomiacratey

other words, Beuys deieved in art that was never static or dead. . n

powerful effect of Jos

Once art becane oti?f and absolute, captured in the confines of shaman, ecolo, ares

Bronze or marole, it lost all ite life. By using elenants like arger and grander i ideas and beliefs

fat and honey, Bouys' evoked from his art and ite audience a cnang- becone more ai

ing ongoing sense of being.

A more er 1 as @ human race.

Bleys aay not have hea all + to the anger bitterness ~

ctive nature o} jodern society, but ae a creative Md

Bveryqne is an artist, Like Marcel P of Adeas and hope he continually believed in individual

realized art had to ve part of the living process, of the lives mankin ealize the gift of ar:
ne dive day-by-day ratner than souething, to quote American pop a3 & Gaily process of living; living for the Better.

artist Claes Oldenvure’?:

on ite ass in an art miseun".
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