For me it is the WORD that produces all images. It is the key sign for all processes of moulding and organizing. When I use language, I try to induce… - Joseph Beuys
" "For me it is the WORD that produces all images. It is the key sign for all processes of moulding and organizing. When I use language, I try to induce the impulses of this power.. ..the power of evolution.
But language is not to be understood simply in terms of speech and words. That is our current, drastically reduced, understanding of language.. .Beyond language as verbalization lies a world of sound and form impulses, a language of primary sound without semantic content, but laden with completely different levels of information.
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About Joseph Beuys
Joseph Beuys (May 12, 1921 – January 23, 1986) was a German conceptual artist, who produced work in a number of forms including sculpture, performance art, video art and installations. He was inspired by the ideas of Rudolf Steiner and the French artist Yves Klein. Beuys was an important teacher of famous neo-expressionist German artists as Jörg Immendorff, Walter Dahn, Anselm Kiefer and Blinky Palermo. Beuys held a lot of lectures in the U.S. Beuys enlarged the area of art to the whole life of mankind; everybody is an artist. He introduced the notion of social sculpture.
Also Known As
Pen Names:
Boĭs, Iosef
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Bojs, Joze
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Beuys, Joseph (Joseph Heinrich)
Alternative Names:
J. Beuys
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Jozef Bojs
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Iosef Boĭs
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Josef Beuys
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Joseph Heinrich Beuys
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Joseph Beyus
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Additional quotes by Joseph Beuys
In: Times Thermic Machine, 1982
To be a teacher is my greatest work of art. The rest is the waste product, a demonstration. If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren't very important any more. I want to get to the origin of matter, to the thought behind it.
'Fat' traverses the path from a chaotically dispersed, undirected energy form to a form. Then it appears in the famous fat corner.. ..now [a wedge of fat in the angle between seat and back of the wooden old Chair, Beuys used in the fat-sculpture, like 'Stuhl mit Fett' (Fet Chair), 1964] intersects the human body in the region that houses certain emotional forces [Beuys laughed, and so did everyone else of the public].
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