Joseph Beuys, ‘"La rivoluzione siamo noi"’, 1972, Mixed Media, Light impression / polyester foil, Art Resource
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Joseph Beuys

"La rivoluzione siamo noi", 1972

Light impression / polyester foil
75 1/5 × 40 1/5 in
191 × 102 cm
Location
New York
Want to sell a work by this artist? Consign with Artsy.
About the work
AR
Art Resource
New York
Medium
Image rights
bpk, Berlin /Hamburger Kunsthalle, Hamburg, Germany / Photo: Elke Walford / Art Resource, NY / Beuys, Joseph (1921-1986) © ARS, NY
Joseph Beuys
German, 1921–1986
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A major figure of the postwar German avant-garde, Joseph Beuys viewed art as a vehicle for social change. His performance art "actions" were shamanistic experiences incorporating ritualized movement and sound, as well as non-traditional and even repulsive materials such as fat, felt, honey, blood, and dead animals. For example, in his groundbreaking 1965 performance How to Explain Pictures to a Dead Hare, Beuys—who was covered in symbolic materials such as honey, gold leaf, and iron—explained artworks to a cradled hare. Akin to Andy Warhol in influence but with a more widely (and wildly) ranging formal vocabulary, Beuys counted debate and teaching as part of his art and was a leader in many socioeconomic reform movements.

Joseph Beuys, ‘"La rivoluzione siamo noi"’, 1972, Mixed Media, Light impression / polyester foil, Art Resource
Save
Save
View
View in room
Share
Share
About the work
AR
Art Resource
New York
Medium
Image rights
bpk, Berlin /Hamburger Kunsthalle, Hamburg, Germany / Photo: Elke Walford / Art Resource, NY / Beuys, Joseph (1921-1986) © ARS, NY
Joseph Beuys
German, 1921–1986
Follow

A major figure of the postwar German avant-garde, Joseph Beuys viewed art as a vehicle for social change. His performance art "actions" were shamanistic experiences incorporating ritualized movement and sound, as well as non-traditional and even repulsive materials such as fat, felt, honey, blood, and dead animals. For example, in his groundbreaking 1965 performance How to Explain Pictures to a Dead Hare, Beuys—who was covered in symbolic materials such as honey, gold leaf, and iron—explained artworks to a cradled hare. Akin to Andy Warhol in influence but with a more widely (and wildly) ranging formal vocabulary, Beuys counted debate and teaching as part of his art and was a leader in many socioeconomic reform movements.

Joseph Beuys

"La rivoluzione siamo noi", 1972

Light impression / polyester foil
75 1/5 × 40 1/5 in
191 × 102 cm
Location
New York
Want to sell a work by this artist? Consign with Artsy.
Series by this artist
Other works by Joseph Beuys
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