Joseph Beuys, ‘La rivoluzione siamo noi’, 1971-72, Il Ponte
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Joseph Beuys

La rivoluzione siamo noi, 1971-72

Silkscreen on polyester with handwritten text
75 3/5 × 39 2/5 in
192 × 100 cm
Bidding closed
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About the work
Bibliography
IP
Il Ponte

Edition Modern Art Agency (Lucio Amelio), Naples and Edition Tangente, Heidelberg

Medium
Signature
Signed, titled and numbered 45/180 and stamped lower right
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’, 1971-72, Il Ponte
Save
Save
View
View in room
Share
Share
About the work
Bibliography
IP
Il Ponte

Edition Modern Art Agency (Lucio Amelio), Naples and Edition Tangente, Heidelberg

Medium
Signature
Signed, titled and numbered 45/180 and stamped lower right
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, 1971-72

Silkscreen on polyester with handwritten text
75 3/5 × 39 2/5 in
192 × 100 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Series by this artist
Other works by Joseph Beuys
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Conceptual Art