Köln, Documenta IV, Heidelberg, Eurasienstab über den Alpen, Demokratie ist lustig, Gib mir Honig, Jeder Griff..., Geschuppt, Klaus Steack, Signature 1956, Jack Burnham, Joseph Beuys, Lasst Blumen sprechen

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Köln, Documenta IV, Heidelberg, Eurasienstab über den Alpen, Demokratie ist lustig, Gib mir Honig, Jeder Griff..., Geschuppt, Klaus Steack, Signature 1956, Jack Burnham, Joseph Beuys, Lasst Blumen sprechen

Artist Joseph Beuys German, 1921-1986

Publisher Edition Staeck, Heidelberg, [1974]

Date[1974]

Dimensionsbox: 6 15/16 x 4 13/16 x 2 1/8 in. (176 x 122 x 54mm)
card: 4 1/8 x 5 3/4 in. (104 x 146mm)

MediumReproductions: photolithographs of photographs, some manipulated, and hand-written text, in gray, sepia and black on coated white wove paper Text: photolithography

ClassificationBooks

Credit LineMolly and Walter Bareiss Art Fund

Object number

1988.154A-N

Not on View

Collections

Works on Paper

Published Referencescf. Schellmann, Jörg, editor, Joseph Beuys, the Multiples: Catalogue raisonné of Multiples and Prints, Cambridge, Mass., 1997, no. 103 (see also nos. P 1-P 3, P 5, P 8-15, P 17-18)Exhibition HistorySplendid Pages: The Molly and Walter Bareiss Collection of Modern Illustrated Books, Feb. 14--May 11, 2003Label TextJoseph Beuys Multiples While in the German air force during World War II, Joseph Beuys almost died in a plane crash in the frozen Crimean peninsula in the Ukraine. He survived because someone wrapped him in felt and an insulating layer of animal fat. As a result of this experience, these materials later became recurring motifs in his works, symbolizing warmth. They also symbolize spiritual warmth, the genesis of change, and/or a spiritual awakening. After the war Beuys became an artist, teaching at the Düsseldorf Academy beginning in 1961. Eleven years later the administration dismissed him because of his unorthodox teaching methods. In response, Beuys founded his own school, the Free International University, where he could teach and create art. Part of his theories of freedom and democracy included the production of multiples—a work of art that could be reproduced many times. With his multiples, Beuys hoped his art and his ideas would reach a large number of people. Beuys often used commonplace materials and drab colors, believing they would evoke a colorful world within the viewer. For him, it did not matter if the multiples were not easily or fully understood. He said, “…the multiples are often quite minimal allusions, just suggestions.”