JOSEPH BEUYS: AN EXHIBITION
Exhibition Extended Till April 21
Joseph Beuys, Celtic + ~~~, 1971, Super 8 film, bottle with gelatin, beeswax, 10 photographs, in coffer, 40 x 30 cm / 15 3/4 x 11 3/4 in, signed verso, print with handwritten annotations for printing by the artist before the edition of 75 + XXV + 12 p.p. + 21 a.p.
Joseph Beuys, Continuum, 1984, copper plate, engraved and printed, photograph and DVD, in wooden box, 12 1/2 x 25 in Copper Plate / 18 7/8 x 31 5/8 x 2 5/8 Box, numbered 27/40 on a label on the underside of the box, edition of 40
Joseph Beuys, Filzanzug (Felt Suit), 1970, felt sewn as a suit, 170 x 100 cm / 66 7/8 x 39 3/8 in, edition René Block, Berlin – without the edition tag, edition of 100 + 10 h.c.
Joseph Beuys, Capri-Batterie, 1985, yellow light bulb with socket, lemon, 4 1/2 x 5 1/8 x 3 3/8 in / 7 x 7 1/4 x 7 1/4 in Box
Joseph Beuys, Auguren, 1982, color offset lithograph on cardboard, 60 x 41 1/2 cm / 23 5/8 x 16 3/8 in, signed and numbered XVII/XX, edition of 200 + XX
Joseph Beuys, “Fingernail Impression in Hardened Butter, 1971, butter, wax in plastic box on gray cardboard, 24 x 21 x 1 cm / 9 x 8 x 1/4 in, signed and numbered, edition of 150
Joseph Beuys, Enterprise 18.11.72, 18:16 Uhr, 1973, zinc coffer, photograph, camera, felt, 41 x 30.5 x 15.5 cm / 16 x 12 x 6 in, signed and numbered 3/24 on paper in camera, on zinc coffer metal plaque: ‘Joseph Beuys “Enterprise 18.11.72, 18:16 Uhr” Photo Michael Ruetz Auflage 24 Stück Nr. 3 Edition Hundertmark’, Edition of 24 + V + 2 p
Joseph Beuys, Untitled (double object), 1968-1979, two drawings, each with stamps, 6 x 11 1/2 cm / 2 3/8 x 4 1/2 in, each signed verso and dated
Joseph Beuys, The Eurasian (Sulphur Work), 1971, silkscreen, sulphur and pencil on paper, 60 x 47 cm / 23 5/8 x 18 1/2 in, signed lower centre
Joseph Beuys, Suite Schwurhand – Scrolls, 1980, lithograph on paper, rolled on grey Rives paper, 38 1/2 x 28 3/10 cm / 15 1/8 x 11 1/8 in, signed lower centre, inscribed ‘gut sum Druck’ (good for printing), print with handwritten annotations for printing by the artist before the edition of 75 + XXV + 24 a.p. + 17 h.c.
Joseph Beuys, Suite Schwurhand – Vogel, 1980, etching and lithograph on paper, rolled on Arches paper, 32 x 24.5 cm / 12 5/8 x 9 5/8 in, print with handwritten annotations for printing by the artist before the edition of 75 + XXV + 12 h.c. + 22 a.p.
Joseph Beuys, Suite Zirkulationszeit – Meerengel zwei Robben, 1982, etching and acquatint on grey laid paper, 38 x 28.5 cm / 14 7/8 x 11 1/8 in, signed lower right, inscribed ‘gut sum Druck’ (good for printing) verso inscribed ’32 B’ print with handwritten annotations for printing by the artist before the edition of 75 + XXV + 17 h.c. + some a.p.
The seeming banality of so much of the material Beuys incorporated into his multiples was at once a response to Pop Art, a critique of modern Western consumption (he was for a time put under the rubric “Capitalist Realism” along with Gerhard Richter, Sigmar Polke, et. al.), and a poetic elevation of the insignificant—a search for the marvelous on the kitchen table. The gross familiarity of the materials and objects that constitute Joseph Beuys’ multiples is not simply part of their power, but, magically, their most exotic feature. The transformation of near-nothing into a galaxy of potential—that is alchemical. – Excerpt from the essay by Peter Frank
CMay Gallery is pleased to present Joseph Beuys: An Exhibition, a showcase of works by one of the most influential artists of the 20th century.
Joseph Beuys: An Exhibition features a diverse group of original works created from 1968 to 1986, including works on paper, multiples, mixed media, and sculptures.
Joseph Beuys (1921-1986) studied natural sciences before the war, but upon return to his hometown in 1945, he decided to continue his studies in art. Beuys enrolled in the Monumental Sculpture program at Düsseldorf Academy of Fine Arts the following year where he later studied under Ewald Mataré.
Beuys remains a pioneering figure in contemporary performance art. He is perhaps best known as a leading figure of the avant-garde FLUXUS movement, which brought together artists of all disciplines from around the world to contest the authority and elitism of the art world by way of radical experimentation. Beuys used found objects that he referred to as “very basic to life and not associated with art” to create works that he labeled as ‘vehicles’ for transformation towards a better future or as he called it a social sculpture. He was an artist, a teacher, an activist, the co-founder of the Free International University and the German Green Party. Joseph Beuys: An Exhibition presents the artist’s career within the framework of his own philosophy.
This exhibition has been made possible through collaboration with Galerie Thomas Modern in Munich, Germany.