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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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Crayon and watercolour on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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Stone dust and clay on paper | [
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frame: 674 × 541 × 29 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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Oil paint on paper | [
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"content": "<p>This drawing relates to a sculpture of 1961 called 'Virgin'. Made of teak wood carved in simple geometric shapes, the sculpture is three metres long and lies on the ground with legs splayed, as shown in this work. Beuys's depictions of women often connected them to the natural world and seasonal cycles. The use of dark brown oil paint for the drawing suggests a connection with the earth, and the figure blends easily into its earthy surroundings. The circular stamp to the left of the drawing is likely a later addition.</p>\n",
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}
] | [
"abstraction",
"actions: postures and motions",
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"Beuys, Joseph, sculpture, ‘Virgin’",
"Bible: New Testament",
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"objects",
"people",
"religion and belief",
"symbols and personifications",
"Virgin Mary"
] | null | false | 92 134 2434 221 451 10639 189 723 70 8026 8071 254 | false | artwork |
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Graphite and gold paint on paper | [
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] | 4,005 | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00640 | {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,958 | [
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] | false | 1 | 747 | paper unique graphite gold paint | [] | FILTER | 1,958 | ARTIST ROOMS Tate and National Galleries of Scotland | 1958 | CLEARED | 5 | support: 287 × 203 mm
frame: 680 × 525 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
{
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"content": "<p>A filter suggests the process of refinement and purification. This is connected to a change in material of the kind Beuys explored throughout his work. This drawing was made in the late 1950s when Beuys was living on the farm of the van der Grinten brothers near his home town of Cleves in West Germany. During this time he made hundreds of drawings which he referred to as 'reservoirs' of ideas. Many of the themes from his later work can be found in these pieces. Beuys used gauze filters alongside fat in his sculptures and 'actions' of the 1960s onwards.</p>\n",
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"publication_date": "2009-04-16T00:00:00",
"slug_name": "online-caption",
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] | [
"abstraction",
"geometric",
"gestural",
"non-representational"
] | null | false | 226 227 185 | false | artwork |
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Watercolour and tempera on paper | [
{
"append_role_to_name": false,
"date": "1921–1986",
"fc": "Joseph Beuys",
"prepend_role_to_name": false,
"role_display": "artist",
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}
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00641 | {
"id": 5,
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,958 | [
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] | false | 1 | 747 | paper unique watercolour tempera | [] | Untitled | 1,958 | ARTIST ROOMS Tate and National Galleries of Scotland | 1958 | CLEARED | 5 | support: 351 × 475 mm
frame: 922 × 729 × 37 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
{
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"content": "<p>Beuys was an accomplished watercolourist who had painted since childhood. Made in watercolour and tempera, the torn piece of paper used for this work suggests it was made on any material which came to hand, as impulse struck the artist. Although the subject of this work is unclear, it would have been made to capture a particular idea, which may have reappeared in the artist's later work. For Beuys, the look of the drawing was not important and does not indicate the significance of the work to the artist.</p>\n",
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"publication_date": "2009-04-16T00:00:00",
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}
] | [
"abstraction",
"gestural",
"non-representational"
] | null | false | 227 185 | false | artwork |
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Oil and collage on paper | [
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] | 1,958 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00642 | {
"id": 5,
"meta": {
"type": "art.Classification"
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,958 | [
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] | false | 1 | 747 | paper unique oil collage | [] | Untitled | 1,958 | ARTIST ROOMS Tate and National Galleries of Scotland | 1958 | CLEARED | 5 | support: 210 × 297 mm
frame: 680 × 525 × 39 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>This work was made in oil paint on architectural paper. The background of horizontal and vertical lines printed on the paper contrasts sharply with the artist's brushstrokes. The coldness of the printed lines jars against the richness and warmth of the oil paint. Just as with his later sculptural works, Beuys's drawings of the late 1950s were an exploration of form and material. As an artist, he was always interested in bringing together opposing elements in his work and exploring the properties of the materials he used.</p>\n",
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Graphite, oil paint and typescript on paper | [
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] | 4,008 | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00643 | {
"id": 5,
"meta": {
"type": "art.Classification"
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,959 | [
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] | Untitled | 1,959 | ARTIST ROOMS Tate and National Galleries of Scotland | 1959 | CLEARED | 5 | support: 210 × 297 mm
frame: 680 × 525 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>The brown used in this drawing is the 'Breunkreuz' (literally translated as 'Brown cross') oil paint Beuys used from the 1950s onwards. The effect of the paint reminded the artist of the walls and floors of houses in his native West Germany, and recalls earth and nature. Here, the matt paint looks as if it has been painted over something to hide it, with the deliberate triangular shape at the top of the page, and the way the paint clings closely to the edges of the strange shape or figure below.</p>\n",
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"adults",
"figure",
"figure",
"from recognisable sources",
"gestural",
"non-representational",
"people"
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Oil paint and graphite on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00644 | {
"id": 5,
"meta": {
"type": "art.Classification"
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,959 | [
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] | false | 1 | 747 | paper unique oil paint graphite | [] | Untitled | 1,959 | ARTIST ROOMS Tate and National Galleries of Scotland | 1959 | CLEARED | 5 | support: 279 × 214 mm
frame: 920 × 730 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"abstraction",
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"irregular forms",
"non-representational"
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Graphite on paper | [
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{
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] | 1,959 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Woman with falling stone | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00645 | {
"id": 5,
"meta": {
"type": "art.Classification"
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] | false | 1 | 747 | paper unique graphite | [] | Woman with falling stone | 1,959 | ARTIST ROOMS Tate and National Galleries of Scotland | 1959 | CLEARED | 5 | support: 296 × 207 mm
frame: 680 × 525 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>In this drawing we see a female figure, drawn between the vertical lines of lined paper, as if trapped inside an accounts book. The drawing is an example of the artist incorporating the features pre-existing on his material to enhance his work. This device of trapping the woman serves to highlight her isolation. This is a feature frequently seen in Beuys's drawings of women in the 1950s, as is the lack of definition on the figure's face. The woman is shown as statuesque but the falling stone looms ominously above her head, bringing the threat of impending violence to the image.</p>\n",
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Graphite and oil paint on paper mounted between perspex in zinc frame | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00646 | {
"id": 5,
"meta": {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,959 | [
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] | false | 1 | 747 | paper unique graphite oil paint mounted between perspex in zinc frame | [] | Untitled | 1,959 | ARTIST ROOMS Tate and National Galleries of Scotland | 1959–60 | CLEARED | 5 | support: 200 × 292 mm
frame: 214 × 307 × 50 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>Mounted between two sheets of plexiglass and displayed in a zinc frame, this drawing has been transformed into a three-dimensional object. The conical shapes are reminiscent of stylised cooling towers from a power station, complete with smoke at the top. This reflects the artist's interest in sources of heat and power. The two crosses represent positive energy. Beuys's choice of zinc for the frame would have been a deliberate one, as he chose his materials for the qualities they represented. Zinc is a metallic element and an essential mineral for life, but equally is poisonous in high concentrations.</p>\n",
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2 works on paper, oil paint and fat | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00647 | {
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] | false | 1 | 747 | paper unique 2 works oil paint fat | [
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],
"id": 10704,
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] | 2 Sheep’s Heads | 1,961 | ARTIST ROOMS Tate and National Galleries of Scotland | 1961–75 | CLEARED | 5 | support: 755 × 774 mm
frame: 924 × 940 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>The title of this drawing translates as '2 Sheep's heads', which are represented by shapes torn in the dark-painted paper. It is a two-part work, with one part painted in oil paint and the other in oil paint and fat. Beuys often used fat as a substance in his 'actions' and sculptures, however he used it less frequently in his drawings due to the nature of the material. He viewed fat as an alchemical material, with multiple uses. Fat could be a source of nourishment and fuel, as well as representing warmth and the creative principle. Beuys made a multiple based on this work.</p>\n",
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||||||||||||||
Collage and oil on paper and cardboard | [
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{
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{
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00648 | {
"id": 5,
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,961 | [
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] | false | 1 | 747 | paper unique collage oil cardboard | [] | Demonstration: Hand | 1,961 | ARTIST ROOMS Tate and National Galleries of Scotland | 1961 | CLEARED | 5 | support: 220 × 220 mm
frame: 680 × 525 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>Beuys often included the human figure in his drawings of the 1950s and early 1960s. However, this painting focuses solely on the hand, the most important tool of the artist. The title is ambiguous as it appears to present the hand as a symbol of defiance but it could also refer to the most basic way for humans to make their mark - the handprint. The hand on the left may be based around the dimensions of the artist's own, but the hand to the right has a more animalistic feel, with the long fingers like claws.</p>\n",
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Collage, oil and watercolour on card | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00649 | {
"id": 5,
"meta": {
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] | <p><span>Cross </span>1961 is a two-part collage with cream coloured backing card as its support. A rectangular piece of grey, oil-painted card is affixed to its centre, with another vertically orientated rectangle positioned on top of it to compose a roughly symmetrical cross. This top piece of card is a similar cream colour to the support, with patchy russet watercolour covering two-thirds of its surface, with a splodge of grey oil in the top-right corner. The colouring appears semi-transparent on the vertical strip, in contrast to the opacity of the grey oil paint on the horizontal strip underneath. The left and bottom edges of the top rectangle are lined with grey to heighten the sense of layering and relief. While the design of the cross is geometric, the application of paint on the vertical strip is gestural.</p> | false | 1 | 747 | paper unique collage oil watercolour card | [
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] | Cross | 1,961 | ARTIST ROOMS Tate and National Galleries of Scotland | 1961 | CLEARED | 5 | support: 430 × 365 mm
frame: 680 × 525 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Cross </i>1961 is a two-part collage with cream coloured backing card as its support. A rectangular piece of grey, oil-painted card is affixed to its centre, with another vertically orientated rectangle positioned on top of it to compose a roughly symmetrical cross. This top piece of card is a similar cream colour to the support, with patchy russet watercolour covering two-thirds of its surface, with a splodge of grey oil in the top-right corner. The colouring appears semi-transparent on the vertical strip, in contrast to the opacity of the grey oil paint on the horizontal strip underneath. The left and bottom edges of the top rectangle are lined with grey to heighten the sense of layering and relief. While the design of the cross is geometric, the application of paint on the vertical strip is gestural.</p>\n<p>The art historian Christina Demele explains that: ‘The cross made its first appearance in Joseph Beuys’ work in 1943 in connection with his war experiences [in the artist’s <i>Crimean Notebook</i>] … Beuys produced various works on the subject of the cross as well as sketches and three-dimensional realisations of sacred objects. Beuys’ goal was to express Christian thought in a contemporary form.’ (Demele 2010, p.86.) The curator Ann Temkin has investigated the many interpretative layers of Beuys’s use of the cross, writing: </p>\n<p class=\"cttext\">\n</p><blockquote>Whereas the cross operates in terms of Beuys’s central metaphor of energy production for the making of art, and the living of life, the choice of the cross as a symbol brings with it inherent spiritual references. The particular significance of the cross within the system of Beuys’s theory of sculpture joins with the artist’s deep and longstanding interest in its traditional iconographies.<br/>(Temkin and Rose 1993, p.42.) </blockquote>\n<p>The symmetrical Greek cross formation also informed Beuys’s use of materials, in particular the brown, household oil paint the artist termed Braunkreuz or ‘Brown cross’ after the form on which he first experimented with the paint. Its reddish-brown hue (similar to the watercolour used in <i>Cross</i>) is reminiscent of rust, dried blood, and dirt, while the name evokes associations from Christianity to Nazism to occultism. It features in many of Beuys’s drawings of the 1960s, ranging from small interventions such as the triangle in <i>Play 17 </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-play-17-ar00115\" title=\"View the details of this artwork\"><span>AR00115</span></a>) to grand painterly sweeps, for example the main element in the drawing <i>Felt Action </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-felt-action-ar00700\" title=\"View the details of this artwork\"><span>AR00700</span></a>). </p>\n<p class=\"cttext\">In addition to the more obvious religious and spiritual interpretations of the cross, Beuys also took an interest in the secular concepts inherent in its design. Temkin further explains: <br/>\n</p><blockquote>the idea of the cross acquires meaning as a general symbol of unification. Beuys’s vision of social change, like that of many other artists during the 1960s, centered on repairing a divided world and a divided self. The political bisection of Germany exemplified the wide gap between Eastern and Western philosophy, religion, economy, and government. The cross suggested for Beuys the unification of East and West necessary for a healthy society, as much as inner integration was required for a fully realized human being.<br/>(Temkin and Rose 1993, p.43.) </blockquote>\n<p>This interest in the potentially transformative unification of East and West, for which the cross stands as a potent symbol, forms the basis for certain performative ‘actions’ by Beuys which took place in 1966: <i>Eurasia </i>and <i>Manresa</i> (see the drawing in ARTIST ROOMS, <i>Score for Manresa </i>1966, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-score-for-manresa-ar00124\" title=\"View the details of this artwork\"><span>AR00124</span></a>). Both actions involved the physical splitting of a handmade cross used in the performance, for which the artist was the sole participant surrounded by various props, tools and symbolic materials. Appearing in Beuys’s single-page work <i>Play 17</i> are the personifications of this bifurcated condition: the Eastern and Western Man. These later conceptual developments give a greater resonance to the artist’s apparently simple decision to construct the form in <i>Cross</i> from two separate and physically distinct pieces of card. </p>\n<p>The artist’s personal secretary, Heiner Bastian, wrote in 1979: ‘The cross stands for a possible society, for an infinite guilt indefinitely in need of absolution; for silence, but not the silence of death; for morality, but not that felt in the face of death.’ (Bastian 1979, p.83.) This reflection upon the moral, social and religious complexities of the cross formation points to the weighty consequences of using such a motif as the basis for a collage, and as a recurring presence across Beuys’s artistic practice, which is saturated in religious and mystical allusions and iconography – for example, <i>Halved Felt Cross over Cologne </i>1977 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-halved-felt-cross-over-cologne-p07600\" title=\"View the details of this artwork\"><span>P07600</span></a>). </p>\n<p>\n<b>Further reading</b>\n<br/>Heiner Bastian, ‘Signs are Senses’, in Heiner Bastian and Jeannot Simmen (eds.), <i>Joseph Beuys – Zeichnungen, Tekeningen, Drawings</i>, exhibition catalogue, Nationalgalerie, Berlin 1979, pp.73–84, reproduced pl.70.<br/>Ann Temkin and Bernice Rose, <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993.<br/>Christian Demele, ‘Crosses’, in Marion Ackermann and Isabelle Malz<i> </i>(eds.), <i>Joseph Beuys, Parallel Processes</i>, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010, p.86. </p>\n<p>Stephanie Straine<br/>March 2011</p>\n</div>\n",
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] | Trance in the House of the Shaman | 1,961 | ARTIST ROOMS Tate and National Galleries of Scotland | 1961 | CLEARED | 5 | support: 177 × 164 mm
frame: 680 × 524 × 28 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00651 | {
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frame: 680 × 525 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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5 works on paper, oil paint | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00652 | {
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] | Braunkreuz | 1,962 | ARTIST ROOMS Tate and National Galleries of Scotland | 1962 | CLEARED | 5 | support (upper left): 169 × 178 mm
support (upper right): 125 × 179 mm
support (lower left): 115 × 179 mm
support (lower centre): 177 × 178 mm
support (lower right): 120 × 179 mm
frame: 540 × 674 × 27 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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] | <p><span>For Siberian Symphony</span> 1962 is an oil and watercolour work on paper by the German artist Joseph Beuys that relates to his live action <span>Siberian Symphony, First Movement</span>, performed by the artist in February 1963 at the Düsseldorf Art Academy where Beuys was Professor of Monumental Sculpture. The drawing is on pale brown packing paper which has a torn right edge and a very irregular bottom edge. The oil paint used for parts of the drawing has soaked through, making the paper support appear transparent in places, as well as staining the outer edges of the paper a dark brown colour. The watercolour used for the remainder of the drawing is darker and redder in colour in comparison to the more yellow oil paint, which has left a greasy residue around its lines and forms. The brown paper had previously been folded in two places, where the two horizontal lines of the composition are located. At the top of this structure there is a silhouetted figure of what appears to be a hare, Beuys’s totem animal. In <span>Siberian Symphony </span>a dead hare was tied up and hung from a blackboard upon which the artist wrote sentences throughout the action. The other main element is the large shape near the bottom of the composition, which is the rough silhouette of a grand piano with its lid raised. The symphony action included a piano composition by the artist, which incorporated elements and harmonies of works by avant-garde composer Erik Satie (1866–1925). At the right side of the drawing is a wavering, disjointed vertical line that contains three circular blobs of paint: this signifies the electrical wires and pine twigs that connected lumps of clay in a system that linked the piano to the hare within the tableau of <span>Siberian Symphony</span>.</p> | false | 1 | 747 | paper unique oil paint watercolour | [] | For Siberian Symphony | 1,962 | ARTIST ROOMS Tate and National Galleries of Scotland | 1962 | CLEARED | 5 | support: 636 × 633 mm
frame: 920 × 730 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>For Siberian Symphony</i> 1962 is an oil and watercolour work on paper by the German artist Joseph Beuys that relates to his live action <i>Siberian Symphony, First Movement</i>, performed by the artist in February 1963 at the Düsseldorf Art Academy where Beuys was Professor of Monumental Sculpture. The drawing is on pale brown packing paper which has a torn right edge and a very irregular bottom edge. The oil paint used for parts of the drawing has soaked through, making the paper support appear transparent in places, as well as staining the outer edges of the paper a dark brown colour. The watercolour used for the remainder of the drawing is darker and redder in colour in comparison to the more yellow oil paint, which has left a greasy residue around its lines and forms. The brown paper had previously been folded in two places, where the two horizontal lines of the composition are located. At the top of this structure there is a silhouetted figure of what appears to be a hare, Beuys’s totem animal. In <i>Siberian Symphony </i>a dead hare was tied up and hung from a blackboard upon which the artist wrote sentences throughout the action. The other main element is the large shape near the bottom of the composition, which is the rough silhouette of a grand piano with its lid raised. The symphony action included a piano composition by the artist, which incorporated elements and harmonies of works by avant-garde composer Erik Satie (1866–1925). At the right side of the drawing is a wavering, disjointed vertical line that contains three circular blobs of paint: this signifies the electrical wires and pine twigs that connected lumps of clay in a system that linked the piano to the hare within the tableau of <i>Siberian Symphony</i>. </p>\n<p>\n<i>Siberian Symphony, First Movement </i>was one of Beuys’s earliest forays into the arena of live performance, having spent most of the previous decade working on his drawings and the development of his sculptural practice. The art historian Ulf Jensen has explained the genesis of this event:</p>\n<p class=\"cttext\">\n</p><blockquote>He opened up the state-run Kunstakademie to his friends and like-minded artists, organising the avant-garde music festival <i>FESTUM FLUXORUM FLUXUS, MUSIK UND ANTIMUSIK – DAS INSTRUMENTELLE THEATER </i>in February 1963. He himself performed his first two actions at this festival. Observers noted that his <i>Sibirische Symphonie 1. Satz </i>(<i>Siberian Symphony, First Movement</i>) was based on a different notion of the relationship between space and time than his colleagues performances.<br/>(Ulf Jensen in Ackermann and Malz 2010, p.148.)</blockquote>\n<p>This final comment points to the conceptual differences between Beuys and the artists associated with Fluxus, who disagreed with the dramatic, theatrical tone of Beuys’s action, preferring a more socially-orientated, participatory form of performance. The curator Ann Temkin has outlined the links between the artist’s drawing and performance works, writing: </p>\n<p class=\"cttext\">\n</p><blockquote>Beuys’s … actual performance activity … began in earnest in 1963 with the ‘Festum Fluxorum Fluxus’ at the Düsseldorf Academy … the drawings for <i>Siberian Symphony</i>, performed on the second night of the festival, closely relate to the narrative imagery of the 1950s. Many descriptively illustrate the performance and are painted in <i>Braunkreuz</i>, which remains an important medium for the objects Beuys used during actions as well as in his <i>Partituren </i>[scores]. As his work with Fluxus continued, however, Beuys’s drawings became more concerned with sound and words than with picturing the action.<br/>(Temkin and Rose 1993, p.52.) </blockquote>\n<p>As Temkin claims, the imagery and stylistic approach of <i>For Siberian Symphony</i> is indeed connected to Beuys’s drawing output of the previous decade. Works on paper such as <i>Actress </i>1956 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-actress-ar00637\" title=\"View the details of this artwork\"><span>AR00637</span></a>) <i>Clan </i>1958 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-clan-ar00107\" title=\"View the details of this artwork\"><span>AR00107</span></a>) and <i>Untitled </i>1958 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-untitled-ar00641\" title=\"View the details of this artwork\"><span>AR00641</span></a>) share with this drawing the same loose handling of painterly washes, the same earth-toned colour scheme, and a similar abstraction of animal and human figures. Returning to the animal in this drawing, the curator Mark Rosenthal has examined the importance of the hare in Beuys’s actions, in particular <i>Siberian Symphony</i>:</p>\n<p class=\"cttext\">\n</p><blockquote>The Actions largely converge into groupings, each concerning a particular theme or leitmotif. One of these is innocence, particularly that of animals. In <i>Sibirische Symphonie 1. Satz </i>(<i>Siberian Symphony, First Movement</i> 1963), Beuys tore the heart from an already dead hare. The hare is an eternal symbol of renewal and rebirth; it evokes a nomadic era honored by Beuys, when cultural divisions between the East and West did not exist. Although one could argue that Beuys was testing the hare’s powers of renewal, his performance must also be considered a reenactment of a monstrous act committed on a defenceless innocent.<br/>(Rosenthal 2004, p.28.) </blockquote>\n<p>Also part of ARTIST ROOMS is <i>Score for Siberian Symphony</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-score-for-siberian-symphony-ar00674\" title=\"View the details of this artwork\"><span>AR00674</span></a>), a text-only collage in two parts that is dated 1966, three years after the action’s various performances in Düsseldorf in 1963. While <i>For Siberian Symphony</i> is a quickly-executed preparatory drawing for the first movement that was executed the year before the performance, this later score looks back on the action as a whole, reducing the complex, multi-part spectacle down to a conclusive, typed outline of compressed information with no visual referents. These two works together demonstrate the range of Beuys’s drawing practice, and its flexibility with regards to working around his performance requirements in many different guises. </p>\n<p>\n<b>Further reading</b>\n<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993.<br/>Mark Rosenthal, ‘Joseph Beuys: Staging Sculpture’, in <i>Joseph Beuys: Actions, Vitrines, Environments</i>, exhibition catalogue, The Menil Collection 2004, pp.10–135.<br/>Marion Ackermann and Isabelle Malz (eds.), <i>Joseph Beuys, Parallel Processes</i>, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010. </p>\n<p>Stephanie Straine<br/>April 2011</p>\n</div>\n",
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Oil, seeds and vegetable matter on vinyl record | [
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] | <p><span>Runrig </span>1962–72 by the German artist Joseph Beuys is a collage work comprising three separate sheets of coloured paper, each of which feature a grid of paint chart samples and a large square of brown oil paint. The sheets are stacked vertically in increasing size order with the largest unit at the bottom. The sheets’ three colours, from top to bottom, are pale green, yellow and pink. All three sheets have a torn left edge. On the reverse of the collage, the upper and middle parts are signed and dated 1972 by the artist, while the bottom part is signed and dated 1962, indicating a ten-year gap between various sections of the work. This collage relates to a live ‘action’ by the artist also titled <span>Runrig</span> that took place in 1973, one year after the collage’s completion. The term ‘runrig’ refers to a type of arable land maintenance, most common in Scotland in the eighteenth and nineteenth centuries, and characterised by its ridge-and-furrow appearance. As the writer and curator Anne Seymour has written:</p> | false | 1 | 747 | paper unique 3 works oil paint board | [
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"content": "<div class=\"text\">\n<p>\n<i>Runrig </i>1962–72 by the German artist Joseph Beuys is a collage work comprising three separate sheets of coloured paper, each of which feature a grid of paint chart samples and a large square of brown oil paint. The sheets are stacked vertically in increasing size order with the largest unit at the bottom. The sheets’ three colours, from top to bottom, are pale green, yellow and pink. All three sheets have a torn left edge. On the reverse of the collage, the upper and middle parts are signed and dated 1972 by the artist, while the bottom part is signed and dated 1962, indicating a ten-year gap between various sections of the work. This collage relates to a live ‘action’ by the artist also titled <i>Runrig</i> that took place in 1973, one year after the collage’s completion. The term ‘runrig’ refers to a type of arable land maintenance, most common in Scotland in the eighteenth and nineteenth centuries, and characterised by its ridge-and-furrow appearance. As the writer and curator Anne Seymour has written:</p>\n<p class=\"cttext\">\n</p><blockquote>Beuys sometimes refers to plants symbolically, as in several Rosicrucian references, they can also be incorporated in sculpture and in drawings as real things, as substances … On other occasions Beuys has planted carrots in sand dunes and potatoes in West Berlin, and he has demonstrated his interest in the primitive plant life of bogs, in peat and in the rotation of crops as in <i>Runrig </i>1973.<br/>(Seymour 1983, pp.13–14.)</blockquote>\n<p>In the collage the paint chart colours have been neatly cut out and glued onto the paper support, with their German names stamped above or below the corresponding colour sample. In each sheet, the grid of colours increases in size, from two rows of three on the top sheet, to two rows of five on the bottom. Various colours reappear across the three units of the collage, with Beuys’s Braunkreuz oil paint covering the top two-thirds of each coloured sheet of paper. The colours include white, green, pink, lemon yellow, blue, orange, buff, antique gold and grey. The middle chart has the most roughly applied Braunkreuz, in which paintbrush strokes are visible and the pale yellow paper shows through in places. The other two are more or less uniform and opaque surfaces. Beuys’s Braunkreuz is a type of common household oil paint first used by the artist in 1958, and which he named ‘Brown cross’ after the form on which he first experimented with the paint (Seymour 1983, p.21). Its reddish-brown hue is reminiscent of rust, dried blood, and dirt, while the name evokes symbols associated with such far-ranging ideologies as Christianity, Nazism, and occultism. It features in many of Beuys’s drawings of the 1960s, from small interventions such as the triangle in <i>Play 17 </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-play-17-ar00115\" title=\"View the details of this artwork\"><span>AR00115</span></a>) to grand painterly sweeps, for example the main element in the drawing <i>Felt Action </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-felt-action-ar00700\" title=\"View the details of this artwork\"><span>AR00700</span></a>). As Anne Seymour explains of Braunkreuz: </p>\n<p class=\"cttext\">\n</p><blockquote>Sometimes a colour may be chosen deliberately so as not to have any other connotations, especially with art … It has been used in drawings … mostly sculptural in large solid areas, more as substance than colour … The inference that this is very much a sculptor’s approach to working on paper is emphasised by the grounds Beuys uses for drawings and the way he incorporates collage or mounts several sheets together into a single image.<br/>(Seymour 1983, p.21.) </blockquote>\n<p>In <i>Runrig</i> the Braunkreuz colour could also be meant to evoke the peat earth of northern Europe, given the title’s allusion to farming and land management. The sculptural qualities of the signature oil colour may also reflect Beuys’s experimentation with peat itself as a sculptural material. The curator Sean Rainbird has charted Beuys’s relationship with the Celtic world, in particular his great fondness for Scotland. Rainbird writes of Beuys’s first visit to the country in May 1970 that: ‘Loch Awe provided Beuys with found materials for <i>Loch Awe Piece </i>1970, the first sculpture he made using Scottish materials. It consists of a lump of peat, a small piece of bog pine, into which the artist cut a notch, and a length of copper tubing that Beuys bent into a “Z” shape.’ (Rainbird 2005, p.44.) The artist’s ongoing interest in Celtic landscape, culture and mythology can be seen in another work in ARTIST ROOMS, <i>Celtic Object 2 </i>1980 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-celtic-object-2-ar00628\" title=\"View the details of this artwork\"><span>AR00628</span></a>), a mixed media relief that includes a fragment of jaw bone from a hare, which Beuys often claimed was his totem animal. The curator Ann Temkin has observed that ‘Beuys’s integration of past and present, of drawing and multiple, also took form in his practice of reclaiming several early drawings to initiate larger series or to convert into multiple editions.’ (Temkin and Rose 1993, p.64.) This statement explains why the <i>Runrig </i>collage was produced over a period of ten years, and why it combined repetitive readymade elements with handmade painterly gestures, a practice which was to foreshadow the artist’s focus in the 1970s on producing multiple editions of both sculptural objects and prints. </p>\n<p>\n<b>Further reading</b>\n<br/>Anne Seymour, ‘The Drawings of Joseph Beuys’, in <i>Joseph Beuys Drawings</i>, exhibition catalogue, City Art Gallery, Leeds 1983.<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993, reproduced p.238.<br/>Sean Rainbird, <i>Joseph Beuys and the Celtic World: Scotland, Ireland and England 1970–1985</i>, London<i> </i>2005. </p>\n<p>Stephanie Straine<br/>February 2011</p>\n</div>\n",
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] | <p><span>Fluxus-Name List </span>1963 by the German artist Joseph Beuys is a vertically-orientated, long and narrow collage composed of several different types and sizes of paper, joined in an overlapping, haphazard manner. The top of the collage is a piece of graph paper, the middle is comprised of two linked plain paper rectangles, while the bottom is a scored piece of writing paper with a torn bottom edge joined to the items above by a circular stamp, affixed with glue. The collage combines various black ink drawings, printed material and a handwritten list of names in blue ink. This list is what the title of the work refers to and includes over fifty predominately Germanic and Japanese names, individuals presumably involved with the loose collective of artists from Europe, America and Asia called Fluxus that was founded by artist George Maciunas in 1960. The curator Ann Temkin has noted that ‘Germany was the centre of Fluxus, a worldwide movement in which artists, poets, and musicians used performance to return art to its sense of play. Live performance was an ideal medium for a group that stressed the ephemeral nature of art in a universe of “flux”’ (Temkin and Rose 1993, p.48). 1963, the year in which Beuys made <span>Fluxus-Name List</span>, marked the beginning of the artist’s short-lived involvement with the group.</p> | false | 1 | 747 | paper unique collage ink graphite | [
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] | Fluxus-Name List | 1,963 | ARTIST ROOMS Tate and National Galleries of Scotland | 1963 | CLEARED | 5 | support: 620 × 218 mm
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Fluxus-Name List </i>1963 by the German artist Joseph Beuys is a vertically-orientated, long and narrow collage composed of several different types and sizes of paper, joined in an overlapping, haphazard manner. The top of the collage is a piece of graph paper, the middle is comprised of two linked plain paper rectangles, while the bottom is a scored piece of writing paper with a torn bottom edge joined to the items above by a circular stamp, affixed with glue. The collage combines various black ink drawings, printed material and a handwritten list of names in blue ink. This list is what the title of the work refers to and includes over fifty predominately Germanic and Japanese names, individuals presumably involved with the loose collective of artists from Europe, America and Asia called Fluxus that was founded by artist George Maciunas in 1960. The curator Ann Temkin has noted that ‘Germany was the centre of Fluxus, a worldwide movement in which artists, poets, and musicians used performance to return art to its sense of play. Live performance was an ideal medium for a group that stressed the ephemeral nature of art in a universe of “flux”’ (Temkin and Rose 1993, p.48). 1963, the year in which Beuys made <i>Fluxus-Name List</i>, marked the beginning of the artist’s short-lived involvement with the group. </p>\n<p>The collage’s elongated rectangular format contrasts with the predominately circular motifs drawn or incorporated by the artist. The largest element is a perfectly geometric circle with a thick black border that dominates the graph paper at the top. Its interior is filled with small, hand-painted ink circles, irregular in size and shape. Beneath this is an oval item, which could be a film canister, together with what look like wires or electrical components. Across the middle two rectangles the black ink becomes a rough mass of messy, gestural brushstrokes, from which appears the cylindrical form of a piston or battery on the right. The circular stamp is placed over this nebulous mass so that the black ink underneath seems like a violent explosion coming from its centre. The number ‘22’ has been drawn on its side directly below the stamp, its presence reminiscent of a cubist collage, and forms part of the black ink markings that cover over some of the names on the Fluxus list below. Other participants of Fluxus have been keen to stress Beuys’s marginality within the group, and indeed the way in which he slashed ink and scrawled his signature across the list of names signals his deeply authorial way of working, which would eventually lead him away from group methods of production.</p>\n<p>The stamped item at the centre of the composition includes a Copenhagen address and telephone number, and the name Arthur Køpcke. This surname also features in the top right corner of the collaborators list, and asterisked; nearby Beuys superimposed his own signature. Køpcke is also repeated at the very bottom of the left column of names. Arthur Køpcke ran a gallery in Copenhagen from 1958 to 1963. He supported many avant-garde art movements by granting them a wider audience in Denmark, and in November 1962 his gallery hosted the <i>Fluxus Fluxorum</i>, a six-evening festival that featured Maciunas and other Fluxus artists. Beuys was invited by Køpcke the following year to do a performance in Copenhagen. The repeated inscription of the gallerist’s name in <i>Fluxus-Name List</i> testifies to his importance within the international social networks of Fluxus, to which this collage pays homage. </p>\n<p>According to the art historian Ulf Jensen, in Düsseldorf Beuys ‘opened up the state-run Kunstakademie [art academy] to his friends and like-minded artists, organising the avant-garde music festival <i>FESTUM FLUXORUM FLUXUS, MUSIK UND ANTIMUSIK – DAS INSTRUMENTELLE THEATER </i>in February 1963. He himself performed his first two actions at this festival’ (Ulf Jensen in Ackermann and Malz 2010, p.148), one of which was <i>Siberian Symphony </i>(see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-for-siberian-symphony-ar00655\" title=\"View the details of this artwork\"><span>AR00655</span></a> and Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-score-for-siberian-symphony-ar00674\" title=\"View the details of this artwork\"><span>AR00674</span></a>). This demonstrates the pivotal role Fluxus played in the initiation of Beuys’s new performative direction. Nonetheless, as the curator and writer Joan Rothfuss recounts: ‘The Danish artist Eric Andersen said that he and the other Fluxus artists considered Beuys’ work at this time to be “very symbolic, expressionistic, and traditional … In 1964 he was very marginal in Fluxus and very few of us had anything to do with him.”’ Andersen goes on to describe what seems to have been Beuys’s final break with the group, at a Fluxus concert in Copenhagen in September 1964: ‘Beuys and Vostell were kicked out of the festival because we totally disagreed with their position.’ (Eric Andersen quoted in Rothfuss 2001, p.42.) </p>\n<p>Despite this fractious break, this period was a fertile one for Beuys’s art, both for his publicly presented ‘actions’ and the related yet private practice of working on paper. Rothfuss emphasises, however, that ‘it’s important to note that Fluxus rejected Beuys as a Fluxus artist, not as an artist per se … For his part, Beuys continued to use the term Fluxus to describe his activities, pinning it to actions, exhibitions, and even, in 1967, renaming his German Student Party “Fluxus Zone West”’ (Rothfuss 2001, p.43).</p>\n<p>\n<b>Further reading</b>\n<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993.<br/>Joan Rothfuss, ‘Joseph Beuys: Echoes in America’, in Gene Ray (ed.), <i>Joseph Beuys: Mapping the Legacy</i>, New York and Sarasota, Florida 2001, pp.37–53.<br/>Marion Ackermann and Isabelle Malz (eds.), <i>Joseph Beuys, Parallel Processes</i>, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010. </p>\n<p>Stephanie Straine<br/>January 2011</p>\n</div>\n",
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"content": "<p>The materials Beuys chose to use in his work were selected for very particular reasons. The metal the artist used most often was copper, which, as a very good conductor of heat and electricity, was sometimes combined with felt. Other metals he used were iron, zinc, steel, gold and silver, with each carrying distinct associations. This work uses silver paper. Silver is an excellent conductor and is also associated with medicine and healing, which would have interested the artist. It has been used throughout history to treat wounds and burns, and is renowned for its antibacterial properties.</p>\n",
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] | <p><span>Untitled</span> 1963–4 is a multi-part work by the German artist Joseph Beuys composed of four individual newspaper sections arranged in three picture frames. From left to right as installed, the first frame contains two newspapers folded in half one above the other; the middle frame contains one newspaper folded into a quarter page; while the third frame on the right displays a final newspaper in a flat, unfolded state. The disparate parts are united by the brown oil paint that has been applied on top of every surface, outlining various shapes and motifs and masking off portions of the newspaper text and images. This brown substance is Beuys’s Braunkreuz – a type of common, household oil paint first used by the artist in 1958, and which he named ‘Brown cross’ after the form on which he first experimented with the paint (Seymour 1983, p.21.). Its reddish-brown hue is reminiscent of rust, dried blood, and dirt, while the name evokes symbols associated with such far-ranging ideologies as Christianity, Nazism, and occultism. It features in many of Beuys’s drawings of the 1960s, from small interventions such as the triangle in <span>Play 17 </span>1963 (Tate AR00115) to grand painterly sweeps, for example the main element in the drawing <span>Felt Action </span>1963 (Tate AR00700). As the writer and curator Anne Seymour explains of Braunkreuz:</p> | false | 1 | 747 | paper unique 4 works printed oil paint | [
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support (lower left): 296 × 408 mm
support (centre): 304 × 225 mm
support (right): 575 × 402 mm
frame (left): 764 × 565 × 35 mm
frame (centre): 767 × 562 × 36 mm
frame (right): 765 × 565 × 35 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1963–4 is a multi-part work by the German artist Joseph Beuys composed of four individual newspaper sections arranged in three picture frames. From left to right as installed, the first frame contains two newspapers folded in half one above the other; the middle frame contains one newspaper folded into a quarter page; while the third frame on the right displays a final newspaper in a flat, unfolded state. The disparate parts are united by the brown oil paint that has been applied on top of every surface, outlining various shapes and motifs and masking off portions of the newspaper text and images. This brown substance is Beuys’s Braunkreuz – a type of common, household oil paint first used by the artist in 1958, and which he named ‘Brown cross’ after the form on which he first experimented with the paint (Seymour 1983, p.21.). Its reddish-brown hue is reminiscent of rust, dried blood, and dirt, while the name evokes symbols associated with such far-ranging ideologies as Christianity, Nazism, and occultism. It features in many of Beuys’s drawings of the 1960s, from small interventions such as the triangle in <i>Play 17 </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-play-17-ar00115\" title=\"View the details of this artwork\"><span>AR00115</span></a>) to grand painterly sweeps, for example the main element in the drawing <i>Felt Action </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-felt-action-ar00700\" title=\"View the details of this artwork\"><span>AR00700</span></a>). As the writer and curator Anne Seymour explains of Braunkreuz: </p>\n<p class=\"cttext\">\n</p><blockquote>Sometimes a colour may be chosen deliberately so as not to have any other connotations, especially with art … It has been used in drawings … mostly sculptural in large solid areas, more as substance than colour … The inference that this is very much a sculptor’s approach to working on paper is emphasised by the grounds Beuys uses for drawings and the way he incorporates collage or mounts several sheets together into a single image.<br/>(Seymour 1983, p.21.) </blockquote>\n<p>Seymour’s description of a sculptural mode of drawing is especially appropriate for <i>Untitled</i>, where two-dimensional paper surfaces are enhanced by the folded weight and mass of the many unseen pages of newspaper behind the painted sheets that are presented to the viewer. Beuys’s interest in science, energy and politics is reflected in his careful selection of newspaper sections with resonant headlines, articles and photographs. In the left-hand frame, the top paper’s article refers to Brussels and the European Atomic Energy Community (Euratom), while its Braunkreuz<i> </i>overpainted image resembles a primitive generator or battery, the brown form thereby linking thematically to the written content it partially obscures. The newspaper below it carries the headline ‘Conversation with Adenauer and Erhard’, which refers to Konrad Adenauer, the first Chancellor of the Federal Republic of Germany, and Ludwig Erhard, who succeeded him in 1963, the year that this work was made. The painted form on this sheet appears to be an electrical transmitter or conductor with rods. </p>\n<p>The central newspaper, folded to a quarter-page, is covered with a cross of Braunkreuz that quarters the page again and cancels out a portion of text and part of a black and white photograph. This obscured image is not readily discernible but could perhaps be an atom cloud, linking back to the first sheet’s Euratom content. The final, right-hand frame with its unfolded, full-page newspaper is covered almost entirely with Braunkreuz paint, leaving only the top visible to confirm its identity as the ‘Nature and Science’ section of the <i>Frankfurter Allegmeine Zeitung</i> and dated Tuesday 16 June 1964. In this section of the newspaper the headlines refer to metals and their transformation or conversion and deep-sea submersibles. There is also a cropped picture of machinery which could be one of these underwater probes. </p>\n<p>The curator Ann Temkin sees a clear historical precedent for the Braunkreuz newspaper works such as this one, claiming that:</p>\n<p class=\"cttext\">\n</p><blockquote>Beuys was extending the Cubist collage tradition, which had been explored by Germans such as Kurt Schwitters and John Heartfield, whereby the ‘found’ photograph or text functions as a key component of the image in content as well as form. In Beuys’s case the photographs or texts often refer to scientific or ecological concerns, using clippings taken from sections of the <i>Frankfurter Allgemeine Zeitung</i>.<br/>(Temkin and Rose 1993, p.41.)</blockquote>\n<p>Collage is central to many of Beuys’s drawings (see for example <i>Brightly-Lit Stag Chair</i> 1957–71, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-brightly-lit-stag-chair-ar00697\" title=\"View the details of this artwork\"><span>AR00697</span></a>), while his sculpture of the early 1960s such as the large-scale, multi-part <i>Staghunt </i>1961 featured newspaper bundles tied with Braunkreuz-painted string crosses. The artist referred to these components as ‘batteries’, echoing the painted forms and newspaper headlines of <i>Untitled</i> 1963–4. Another Braunkreuz collage in ARTIST ROOMS is <i>Battery </i>1959 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-battery-ar00110\" title=\"View the details of this artwork\"><span>AR00110</span></a>). </p>\n<p>\n<b>Further reading</b>\n<br/>Caroline Tisdall, <i>Joseph Beuys</i>, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1979.<br/>Anne Seymour, ‘The Drawings of Joseph Beuys’, in <i>Joseph Beuys Drawings</i>, exhibition catalogue, City Art Galleries, Leeds 1983, pp.7–26.<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993, pp.38–41.</p>\n<p>Stephanie Straine<br/>February 2011</p>\n</div>\n",
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"content": "<p>Beuys used newspapers in several of his works of the 1960s, and they are often seen folded up or bundled together. He regarded newspapers as a reservoir of information, commenting; \"If all that remained of our century was a pile of newspapers, you would still have an incredibly rich cross section of human activities and specialisations on record, a battery of ideas\". In this work, the artist has made additions to newspaper using Braunkreuz paint, in one instance nearly covering the whole page. The brown cross seen in many of his drawings appears at the centre of the piece.</p>\n",
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00661 | {
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] | <p><span>Felt Sculptures</span> 1964<span> </span>is a study on paper by the German artist Joseph Beuys that relates to an important group of sculptures, <span>Felt Objects </span>1964–67, begun in the same year. The artist used preparatory pencil marks and dark grey oil paint to roughly sketch a series of shapes on a small, scored piece of cream coloured paper, previously folded into eighths. A line of four triangles of different sizes dominate the composition in the centre of the paper, which also includes a large angular shape with one irregular curved edge that borders the very top of the sheet, and a long streak of paint in the bottom half of the page. The curator Ann Temkin, writing of the artist’s 1966 performance action <span>Manresa </span>(see <span>Score for MANRESA </span>1966, Tate AR00124), noted that:</p> | false | 1 | 747 | paper unique graphite oil paint | [
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] | Felt Sculptures | 1,964 | ARTIST ROOMS Tate and National Galleries of Scotland | 1964 | CLEARED | 5 | support: 391 × 270 mm
frame: 674 × 541 × 39 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Felt Sculptures</i> 1964<i> </i>is a study on paper by the German artist Joseph Beuys that relates to an important group of sculptures, <i>Felt Objects </i>1964–67, begun in the same year. The artist used preparatory pencil marks and dark grey oil paint to roughly sketch a series of shapes on a small, scored piece of cream coloured paper, previously folded into eighths. A line of four triangles of different sizes dominate the composition in the centre of the paper, which also includes a large angular shape with one irregular curved edge that borders the very top of the sheet, and a long streak of paint in the bottom half of the page. The curator Ann Temkin, writing of the artist’s 1966 performance action <i>Manresa </i>(see <i>Score for MANRESA </i>1966, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-score-for-manresa-ar00124\" title=\"View the details of this artwork\"><span>AR00124</span></a>), noted that:</p>\n<p class=\"cttext\">\n</p><blockquote>The importance of angles extends throughout Beuys’s sculptures and actions; particularly in the context of <i>Manresa</i>, they bring to mind Kandinsky’s exposition of the triangle in his book of 1911, <i>Concerning the Spiritual in Art</i>. Another artist powerfully influenced by the ideas of Rudolf Steiner, Kandinsky used the triangle to represent ‘the spirit of life’. He described this triangle as one that moves steadily upward, following the path of the visionary artist.<br/>(Temkin 1993, p.55.)</blockquote>\n<p>The triangle also appears repeatedly in Beuys’s sculptural work of the time, for example the triangular wedges of various materials that were installed in the corners of rooms, such as <i>Fat Corner</i> 1960 and <i>Felt Corner </i>1963 (reproduced in Tisdall 1979, p.75), which combined the rigours of geometry with the incessant physicality of the artist’s signature materials. The two smallest triangles in the <i>Felt Sculptures </i>drawing<i> </i>have a line connecting their apexes – this could signify a metal rod (a conductor of electricity), which the artist often used in his sculptural assemblages to offset the insulating qualities of felt and fat. </p>\n<p>Felt played a central role in the imposing narrative and mythology of the artist’s life and work, stemming from one, possibly apocryphal, event of 1943: Beuys’s German fighter plane crash landing in the Crimea, and his subsequent rescue by the nomadic Tartar people of the region. The plane crash was detailed most fully in the catalogue for his 1979 retrospective at the Solomon R. Guggenheim Museum in New York. Beuys recounted: ‘I remember voices saying “Voda” (Water), then the felt of their tents, and the dense pungent smell of cheese, fat and milk. They covered my body in fat to help it regenerate warmth, and wrapped it in felt as an insulator to keep the warmth in.’ (Quoted in Tisdall 1979, pp.16–17.) Whether an embellished account or not, this origin story for felt places the material in direct and insistent contact with the body. The protective properties of felt can be seen more explicitly in a vitrine work from the following year, <i>Model for a Felt Environment </i>1964 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-model-for-a-felt-environment-ar00619\" title=\"View the details of this artwork\"><span>AR00619</span></a>), which displays coiled strips of grey felt in preparation for some unknown, potentially calamitous, event.</p>\n<p>Discussing the <i>Felt Objects </i>1964–67, which were brought together from various actions to form a single installation at the Guggenheim retrospective of 1979, the artist explained: </p>\n<p class=\"cttext\">\n</p><blockquote>These are the tools from different actions which have passed through several conditions. The aim of such an arrangement is to concentrate the meaning of felt in one space. While the various elements illustrate different principles, they share common meanings and intentions, both physical and symbolic: felt as an insulator, as a protective covering against other influences, or conversely as a material that permits infiltration from outside influences. Then there is the warmth character, the greyness which serves to emphasize the colours that exist in the world by a psychological after-image effect, and the silence as every sound is absorbed and muffled.<br/>(Quoted in Tisdall 1979, p.120.)</blockquote>\n<p>As the art historian Gene Ray claims:</p>\n<p class=\"cttext\">\n</p><blockquote>Felt has an even more specific historical referent that has nothing to do with the plane crash. It is a gruesome and unpleasant fact, but one that is not acknowledged in the published Beuys reception, that after 1942 the hair of Holocaust victims was shorn and collected at the killing centres and shipped to German-owned factories, where it was processed into felt … Whatever Beuys’ personal experience of this pressed material may have been, and whatever its sculptural properties may be, felt has a place in the history of the Holocaust that cannot be erased or avoided.<br/>(Ray 2001, pp.63–4.)</blockquote>\n<p>Ray’s comment points to an important undercurrent of Beuys’s work with felt, which inflects his apparently wholly abstract works such as this one, with a pressing socio-historical dimension that cannot be overlooked. </p>\n<p>\n<b>Further reading</b>\n<br/>Caroline Tisdall, <i>Joseph Beuys</i>, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1979.<br/>Ann Temkin, ‘Joseph Beuys: Life Drawing’, in Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993, pp.27–71.<br/>Gene Ray, ‘Joseph Beuys and the After-Auschwitz Sublime’, in Gene Ray (ed.), <i>Joseph Beuys: Mapping the Legacy</i>, New York and Sarasota, Florida 2001,<b> </b>pp.55–74.</p>\n<p>Stephanie Straine<br/>May 2011</p>\n</div>\n",
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"content": "<p>The triangular shapes in this drawing recall the wedges of fat and felt the artist was using in his sculptures during the same period. The drawing may be a sketch for a particular sculpture or a way of experimenting with ideas for the composition of a piece. The upright triangular elements are balanced by the curved section at the top of the page. Two of the triangles have a line between them – this may represent a metal rod as Beuys used metal (particularly copper) in his sculptures because its conductivity counteracted the insulating powers of felt or fat.</p>\n",
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Oil paint, gold paint, ink and graphite on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00662 | {
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] | <p><span>Untitled </span>1964 is a single sheet of assorted sketches, diagrams for sculptures and handwritten notes on off-white paper by the German artist Joseph Beuys. It is likely to be a page torn from the artist’s sketchbook given how provisional and experimental the overlapping and competing elements appear. Creases in the paper indicate that the sheet had previously been folded in quarters. The artist worked on the paper using a variety of media: there are three different colours of paint (a reddish-brown oil paint named Braunkreuz, or ‘brown-cross’ by the artist, and dark blue-grey and gold paints), as well as black ink and pencil. The only immediately discernible motif within the drawing is a pair of hastily-sketched gold hares in the top-right corner of the page surrounded by sweeps of the grey paint. The rest appears far more abstract and harder to decode, along with the almost undecipherable handwriting of the artist, which loops and swirls in tiny script down the centre and along the bottom of the page. The work is signed and dated on the verso, and the artist has also signed his name near the bottom right corner.</p> | false | 1 | 747 | paper unique oil paint gold ink graphite | [
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] | Untitled | 1,964 | ARTIST ROOMS Tate and National Galleries of Scotland | 1964 | CLEARED | 5 | support: 295 × 208 mm
frame: 674 × 541 × 29 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Untitled </i>1964 is a single sheet of assorted sketches, diagrams for sculptures and handwritten notes on off-white paper by the German artist Joseph Beuys. It is likely to be a page torn from the artist’s sketchbook given how provisional and experimental the overlapping and competing elements appear. Creases in the paper indicate that the sheet had previously been folded in quarters. The artist worked on the paper using a variety of media: there are three different colours of paint (a reddish-brown oil paint named Braunkreuz, or ‘brown-cross’ by the artist, and dark blue-grey and gold paints), as well as black ink and pencil. The only immediately discernible motif within the drawing is a pair of hastily-sketched gold hares in the top-right corner of the page surrounded by sweeps of the grey paint. The rest appears far more abstract and harder to decode, along with the almost undecipherable handwriting of the artist, which loops and swirls in tiny script down the centre and along the bottom of the page. The work is signed and dated on the verso, and the artist has also signed his name near the bottom right corner.</p>\n<p>The page is dominated by various triangular shapes, most prominently in the lower section where there are pencil drawings that seem to be diagrams for propping sticks or twigs in corners. Corners were prevalent in Beuys’s work of the 1960s, as can be seen in works such as <i>Fat Corner </i>1960 and <i>Felt Corner</i> 1963 (reproduced in Tisdall 1979, pp.74–5). The curved hook motif, repeated three times here in Braunkreuz<i> </i>paint, is reminiscent of the construction of wooden poles Beuys made for his <i>Siberian Symphony </i>action of 1963, the year before this drawing was produced. This motif also recalls the <i>Eurasienstab </i>(Eurasian staff), ‘a massive copper rod bent back on itself at one end that was used in the 1967 action of the same name – as the central form whose separation must be overcome’ (Malz and Ackermann 2010, pp.130–1). </p>\n<p>The dark grey paint, which appears both as background colour along the top edge of the paper and as triangular elements in its lower half, is meant to evoke felt, one of the artist’s signature materials. This grey paint is featured in many of Beuys’s drawings from the 1950s and 1960s, such as <i>Cross </i>1961 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-cross-ar00649\" title=\"View the details of this artwork\"><span>AR00649</span></a>) and <i>Tunnel (Cathode Rays) Felt Room Action </i>1964 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-tunnel-cathode-rays-felt-room-action-ar00118\" title=\"View the details of this artwork\"><span>AR00118</span></a>). It contrasts and compliments the Braunkreuz, giving a similar matte opacity that typifies the heavy, painterly approach Beuys took to many of his works on paper. The artist on many occasions discussed his relationship to what he termed his core practice of drawing. He once stated that:</p>\n<p class=\"cttext\">\n</p><blockquote>Drawing is really nothing other than planning: one embodies, represents, gives experiential form to something or a spatial relationship, or just relationships of size. And I think one should remember that we have all drawn a huge, huge amount in our lives. And if we haven’t done it on our own initiative then we have been made to do it, for instance drawing geometrical shapes at school. One should approach this in a much less inhibited way, never saying: that’s someone who can draw, but I can’t. There’s no such thing. Everyone can draw.<br/>(Quoted in Harlan 2004, p.24.) </blockquote>\n<p>This all-embracing philosophy of drawing as a kind of common thread that connects all types of people echoes Beuys’s oft-quoted statement that ‘everyone can be an artist’. It chimes with his political views and holistic and idealistic attempts to unite art and life within his practice. </p>\n<p>The combination of the colour gold with hares is seen not only in Beuys’s drawing practice but also in his move during the mid 1960s to a focus on performance works he termed ‘actions’. Particularly relevant to this drawing is the 1965 action, <i>How to Explain Pictures to a Dead Hare</i>, which took place at Galerie Schmela in Düsseldorf in the context of Beuys’s first art-world showing of his work. As the writer Caroline Tisdall described: ‘Beuys spent three hours explaining his art to a dead hare. The gallery was closed to the public, and the performance (though recorded on television) was visible only from the doorway and street window. Beuys’ head was covered with honey and gold leaf, and tied to his right foot was an iron sole, companion to a felt sole on his left foot.’ (Tisdall 1979, p.101.) This conjunction of gold leaf and dead hare in a performance from the year after this drawing was produced resulted in one of the artist’s most iconic works. The ritualised proceedings relied heavily on these two elements to achieve its mythical, otherworldly aura, and perhaps <i>Untitled </i>1964 can be seen as an early, anticipatory experiment in the potency of such symbols. Beuys himself stated that the hare ‘has a strong affinity to women, to birth and to menstruation, and generally to chemical transformation of blood’ (quoted in Tisdall 1979, p.101). Such themes link the hare back to Braunkreuz, a medium which has been associated with blood, dirt, and the occult. Beuys has said that he attempted to convey through the motif of the hare ‘the expression of transformation through material, of birth and death’ (quoted in Tisdall 1979, p.88). </p>\n<p>\n<b>Further reading</b>\n<br/>Caroline Tisdall, <i>Joseph Beuys</i>, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1979.<br/>Volker Harlan (ed.), <i>What is Art? Conversations with Joseph Beuys</i>, trans. by Matthew Barton and Shelley Sacks, Forest Row, East Sussex 2004.<br/>Marion Ackermann and Isabelle Malz (eds.), <i>Joseph Beuys, Parallel Processes</i>, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010. </p>\n<p>Stephanie Straine<br/>February 2011</p>\n</div>\n",
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"content": "<p>Sitting among the scientific and mathematical notations and facing each other as if in conversation, we see the shapes of two hares, painted in gold. For Beuys, gold was associated with alchemy and myth. The hare is an animal which also carries mythological associations. It is sacred to the Germanic spring goddess Ase and has been connected with the resurrection by Christians since medieval times. Beuys associated the animal with birth, the earth and with women. He was so fascinated with the hare that he once owned a Bentley which had a hare as an ornament on the bonnet.</p>\n",
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"animals: mammals",
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"rabbit",
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] | null | false | 67 9329 166 1982 5184 | false | artwork |
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Graphite on cardboard | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00663 | {
"id": 5,
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,964 | [
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] | false | 1 | 747 | paper unique graphite cardboard | [] | Actress | 1,964 | ARTIST ROOMS Tate and National Galleries of Scotland | 1964 | CLEARED | 5 | support: 568 × 208 mm
frame: 936 × 638 × 40 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>The subject of this drawing, the actress, recalls Beuys's drawings of the 1950s where women appeared frequently in the guise of actresses or sometimes witches. At that time, the women were shown as intangible, almost mythical figures. Here, however, the figure has been drawn in more detail, with the face individualised to a greater extent than previously seen. Her bracelets and the tool in her hand suggest a tribal association but also stress the active side of the female principle. Yet Beuys still keeps her within the confines of a narrow triangle, showing her without context and unable to interact with the rest of the world.</p>\n",
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] | null | false | 1662 118 4685 88 519 98 167 | false | artwork |
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Oil paint, gouache and graphite on paper | [
{
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{
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{
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] | 1,964 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | under Tension | 2,009 | unter Spannung | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00664 | {
"id": 5,
"meta": {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,964 | [
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] | false | 1 | 747 | paper unique oil paint gouache graphite | [] | under Tension | 1,964 | ARTIST ROOMS Tate and National Galleries of Scotland | 1964 | CLEARED | 5 | support: 296 × 209 mm
frame: 680 × 524 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
{
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"content": "<p>The title of this painting translates as 'Under Tension' or 'electrically live'. It depicts a machine or piece of scientific apparatus, with the conical and cylindrical shapes holding a long strip of metal under tension in a curved shape. Balanced on top of this, there looks to be another piece of metal with a lump of material at each end. Made in 1964, the drawing may relate to an 'action' performed by Beuys or might be a sketch for an unrealised 'action'. The artist included working machinery in his sculptures and 'actions'.</p>\n",
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] | null | false | 189 19508 6243 222 86 | false | artwork |
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Mixed media | [
{
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"role_display": "artist",
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00665 | {
"id": 7,
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] | false | 1 | 747 | relief mixed media | [] | Motor 4 | 1,964 | ARTIST ROOMS Tate and National Galleries of Scotland | 1964–80 | CLEARED | 7 | support: 344 × 184 mm
frame: 680 × 525 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
{
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"content": "<p>This collage returns to the theme of energy which Beuys explored many times. He has used a variety of everyday materials for this work, including acid and aluminium foil. Although these are traditionally unusual to include in an artwork, they are among many humble materials the artist favoured. In particular, the acid causes and represents decay, and Beuys would have used it to make this chemical process become part of the work. The three drawings on the pieces of paper which have been attached to the cardboard are presumably of components which are part of the 'motor' of the work's title.</p>\n",
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"publication_date": "2009-04-16T00:00:00",
"slug_name": "online-caption",
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}
] | [
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] | null | false | 9329 17910 86 | false | artwork |
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Household paint, shellac and sand on board | [
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{
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] | 1,964 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Natural History | 2,009 | Naturgeschichte | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00666 | {
"id": 7,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,964 | [
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"level": 3,
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] | false | 1 | 747 | relief household paint shellac sand board | [
{
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"dateText": "13 October 2017 – 21 January 2018",
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{
"dateText": "13 October 2017 – 21 January 2018",
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"id": 11192,
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],
"id": 9216,
"startDate": "2017-10-13",
"title": "ARTIST ROOMS 2017: Joseph Beuys",
"type": "Loan-out"
}
] | Natural History | 1,964 | ARTIST ROOMS Tate and National Galleries of Scotland | 1964–82 | CLEARED | 7 | support: 333 × 366 mm
frame: 680 × 525 × 87 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
{
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"content": "<p>The title given to this object relates it to Max Ernst's 'Histoire Naturelle' (Natural History) portfolio, published in 1926. Ernst used the technique of frottage to create fantastical drawings based on rubbings taken from woodgrain. Beuys has gone directly to the source of Ernst's images by presenting a piece of wood which is beautifully textured and neatly cut into a square. This work shows that Ernst's interest in the potential of the natural world was shared by Beuys. The two German artists also share a 'rebirth' myth, as Ernst claimed to have 'died' at the start of the First World War and been resuscitated in 1918.</p>\n",
"display_name": "Online caption",
"publication_date": "2009-04-16T00:00:00",
"slug_name": "online-caption",
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Oil paint on paper | [
{
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"role_display": "artist",
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{
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{
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{
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{
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] | 1,965 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Sostanza Plastica | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00667 | {
"id": 5,
"meta": {
"type": "art.Classification"
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,965 | [
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] | false | 1 | 747 | paper unique oil paint | [] | Sostanza Plastica | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | 1965 | CLEARED | 5 | support: 608 × 527 mm
frame: 800 × 708 × 44 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
{
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"content": "<p>The title of this work means 'Plastic Substance' in Italian. Although German by birth, Beuys's use of words from different languages (often English) in his work shows the artist's pan-european perspective, and his love of language. The familiar medium of Braunkreuz oil paint is central to this painting. Taken nearly to the edges of the page, the uneven edges and patchy areas of the paint recall the medium's origins as a cheap domestic paint used for houses in rural areas.</p>\n",
"display_name": "Online caption",
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"slug_name": "online-caption",
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}
] | [
"abstraction",
"geometric",
"non-representational"
] | null | false | 226 185 | false | artwork |
|||||||||||||||
Graphite on paper | [
{
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"prepend_role_to_name": false,
"role_display": "artist",
"url": "https://www.tate.org.uk/art/artists/joseph-beuys-747"
}
] | 4,033 | [
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] | 1,965 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | INTELLIGENTIA | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00668 | {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,965 | [
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frame: 674 × 542 × 28 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>This drawing is a study of several different creatures. On the left are the long legs of a bird, paired with strange rectangular wings which have a mechanistic look. The shape at the top is a schematic drawing of a bird's body with a horizontal line to represent outstretched wings. Extending below the body is a long shape which looks like the segmented body of a bee. To the bottom right is a pair of swans. Beuys's interest in the swan can be traced back to his childhood, when he was told medieval legends involving swans and could see the sculpture of a golden swan on the roof of a castle from his bedroom window.</p>\n",
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Paper on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00669 | {
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] | false | 1 | 747 | paper unique | [] | Untitled | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | 1965 | CLEARED | 5 | support: 417 × 296 mm
frame: 674 × 541 × 28 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>The vivid colour of this work suggests blood. Although Beuys sometimes painted with hare's blood, he used red in general to represent life and vitality. Colour was used sparingly by Beuys, as he often favoured the matt brown of Braunkreuz oil paint for his drawings and paintings. As a result, when he does use colour, it is extremely striking and significant. While this neat rectangle of colour may look like a piece of abstract art, this was not one of the artist's primary intentions, as Beuys's wider artistic goal was for the integration of art and reality.</p>\n",
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] | [
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Oil paint and graphite on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00670 | {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,965 | [
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frame: 674 × 541 × 28 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>In the dark grey oil paint of this work a small face can be seen, with the legs a short distance away shown extended towards the right edge of the page. Beuys has returned to the persona of the actress here, the role in which women are often depicted in his drawings. The woman is engulfed in oil paint, which represents the grey felt the artist used in his sculptures and 'actions'. Although it is a material which can insulate and absorb, felt also has a feminine aspect through its ability to mould to shapes and to provide protection.</p>\n",
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] | null | false | 1662 118 221 189 19508 167 | false | artwork |
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Graphite and fat on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00671 | {
"id": 5,
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,965 | [
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] | <p><span>Untitled </span>1965 by the German artist Joseph Beuys is a small drawing on a single sheet of writing paper, the right edge of which has been dipped into melted fat so that a vertical stain covers approximately a third of the paper surface. Five columns of crossed-out numbers written in pencil occupy the unstained side of the sheet, which is pale cream in colour, while two similar columns of crossed-out numbers are covered by the vivid yellow hue of the fat-stained section. This drawing is signed and dated 1965 on its reverse by the artist. The fat is likely to darken further with age, thereby increasing the tonal contrast within the drawing. Fat is one of the key recurring materials used by the artist in his performances, drawings, sculptures and installations, such as <span>Fat Chair </span>1964–85 (Tate AR00088) and <span>Fat Battery </span>1963 (Tate T03919). The artist’s use of fat stems from a possibly apocryphal wartime encounter with the nomadic Tartar people, who wrapped Beuys in fat and felt to keep him insulated after his German warplane crashed in the Crimean peninsula in 1943. The artist was interested in the transformative and nourishing potency of fat, and made use of the substance in both its liquid and solid states. Beuys used fat as a drawing material in many other works on paper, such as <span>2 Sheep’s Heads </span>1961–75 (Tate AR00647).</p> | false | 1 | 747 | paper unique graphite fat | [] | Untitled | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | 1965 | CLEARED | 5 | support: 209 × 297 mm
frame: 680 × 525 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Untitled </i>1965 by the German artist Joseph Beuys is a small drawing on a single sheet of writing paper, the right edge of which has been dipped into melted fat so that a vertical stain covers approximately a third of the paper surface. Five columns of crossed-out numbers written in pencil occupy the unstained side of the sheet, which is pale cream in colour, while two similar columns of crossed-out numbers are covered by the vivid yellow hue of the fat-stained section. This drawing is signed and dated 1965 on its reverse by the artist. The fat is likely to darken further with age, thereby increasing the tonal contrast within the drawing. Fat is one of the key recurring materials used by the artist in his performances, drawings, sculptures and installations, such as <i>Fat Chair </i>1964–85 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-fat-chair-ar00088\" title=\"View the details of this artwork\"><span>AR00088</span></a>) and <i>Fat Battery </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-fat-battery-t03919\" title=\"View the details of this artwork\"><span>T03919</span></a>). The artist’s use of fat stems from a possibly apocryphal wartime encounter with the nomadic Tartar people, who wrapped Beuys in fat and felt to keep him insulated after his German warplane crashed in the Crimean peninsula in 1943. The artist was interested in the transformative and nourishing potency of fat, and made use of the substance in both its liquid and solid states. Beuys used fat as a drawing material in many other works on paper, such as <i>2 Sheep’s Heads </i>1961–75 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-2-sheeps-heads-ar00647\" title=\"View the details of this artwork\"><span>AR00647</span></a>). </p>\n<p>When asked about his approach to drawing in a 1984 interview, Beuys explained:</p>\n<p class=\"cttext\">\n</p><blockquote>There are a lot of things which I call drawings, nevertheless they are mostly – what is the term? It’s not a line, it is a surface, it’s a full surface, or at least big complexes of this stuff. I call all those things drawings because I do not have such a specialized understanding of a drawing, that a drawing mostly exists of line or scribbling or making shadowy effects with the pencil.<br/>(Quoted in Rose 1993, p.22.)</blockquote>\n<p>This description illuminates the artist’s expansive and experimental approach to undertaking work on paper: it is not the rendering of skilful graphic techniques that interests him, but rather the overall accumulation of data and surface qualities. All of the numbers in this drawing have been scored out, to suggest a process of counting down or cancellation, even though it is unclear what these numbers refer to. The numbers get bigger in size as they increase in value. On the fat-coated section of the paper the numbers start with 4 and finish with 74. The list is then started again in the top left corner of the sheet, starting with number 75, then 78, then 84, to finish with 322 just below the mid-point of the paper. Across the list the gaps between the numbers are irregular. The curator Ann Temkin has considered Beuys’s habit of list-making, as seen in the methodical counting down of this work and in many other drawings: </p>\n<p class=\"cttext\">\n</p><blockquote>The activity of list-making can be traced to Beuys’s early studies in natural science and would continue throughout his life. Beuys began to make work lists in quantity at the time of his interest in Fluxus, when he painted over such lists with images or several brown crosses … Lists, as tools for organizing one’s world, tap into the thought patterns fundamental to daily existence … In their reordering of typical classifications, Beuys’s early lists already anticipate his work of the 1960s, which would address the heart of Western assumptions about order and disorder, sameness and otherness. The obsession with indexing and list-making shared by all the Fluxus artists reflects similar motivations.<br/>(Temkin and Rose 1993, pp.42, 50.) </blockquote>\n<p>\n<i>Fluxus-Name List</i> 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-fluxus-name-list-ar00658\" title=\"View the details of this artwork\"><span>AR00658</span></a>) is another list drawing in ARTIST ROOMS that dates from a slightly earlier period during the height of Beuys’s involvement with Fluxus. In conversation with his private secretary Heiner Bastian and the curator Jeannot Simmen in 1979, Beuys offered perhaps the most cogent articulation of his drawing practice, saying: ‘My drawings make a kind of reservoir for me, that I can get important impulses from. In other words, they’re a kind of basic source material that I can draw from again and again.’ (Quoted in Bastian and Simmen 1979, p.94.)</p>\n<p>\n<b>Further reading</b>\n<br/>Heiner Bastian and Jeannot Simmen, <i>Joseph Beuys – Zeichnungen, Tekeningen, Drawings</i>, exhibition catalogue, Nationalgalerie, Berlin 1979, reproduced pl.89.<br/>Bernice Rose, ‘Thinking is Form: The Drawings of Joseph Beuys’, <i>MoMA</i>,<i> </i>no.13, Winter 1993, pp.16–23.<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993.</p>\n<p>Stephanie Straine<br/>June 2011</p>\n</div>\n",
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"content": "<p>Thick wedges of fat are a distinctive material used in Beuys's sculptures, but he also made use of fat in his works on paper. The yellowed edge of the paper here shows where it has been dipped in liquid fat, smearing some of the pencil. Fat is a material with numerous associations for the artist, and one which is not traditionally associated with art. The fact it can be used in both its solid and liquid states represents its ability for chemical and physical change. The significance of the carefully crossed out list of numbers is unknown, but suggests a methodical process or countdown.</p>\n",
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}
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Graphite and oil paint on cardboard | [
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{
"id": 999999968,
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{
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] | 1,966 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Whale trap | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00672 | {
"id": 5,
"meta": {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,966 | [
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"id": 7964,
"startDate": "2015-06-05",
"title": "ARTIST ROOMS 2015: Joseph Beuys",
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] | Whale trap | 1,966 | ARTIST ROOMS Tate and National Galleries of Scotland | 1966 | CLEARED | 5 | support: 240 × 372 mm
frame: 670 × 540 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>Beuys's depictions of sea creatures reflect his interest in tribal magic and beliefs. The whale is associated with religion in several cultures, as well as being referred to in the Bible, most notably in the story of Jonah and the whale. Here, three whales circle around a shape which presumably represents a trap. The artist often used sound in his performed 'actions' and this painting also has an aspect of movement and sound. The whales are shown producing water from their blow holes, and have their mouths open as if communicating with whale song.</p>\n",
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Cardboard and string | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00673 | {
"id": 7,
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] | Object for MANRESA | 1,966 | ARTIST ROOMS Tate and National Galleries of Scotland | 1966 | CLEARED | 7 | support: 447 × 311 mm
frame: 680 × 525 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>In 1966, Beuys and his friend Per Kirkeby made an 'imaginary' journey with their wives to the village of Manresa in the Pyrenees. Kirkeby subsequently wrote about the journey and Beuys performed the 'action' 'Manresa' later that year. The village is significant for its connection with Ignatius Loyola who spent several months there in meditation, prior to writing his volume of prayers 'Spiritual Exercises'. The book is based around the idea that 'Intuition is a higher form of reason' – a belief the artist shared. The village is a place of pilgrimage for Catholics and is generally associated with spiritual enlightenment. Beuys used this circular object in his 'Manresa' 'action'.</p>\n",
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Typescript on paper on 2 cardboards | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00674 | {
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] | Score for Siberian Symphony | 1,966 | ARTIST ROOMS Tate and National Galleries of Scotland | 1966 | CLEARED | 5 | support (left): 309 × 209 mm
support (right): 297 × 212 mm
frame: 680 × 525 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>The title of this work translates as 'Score for Siberian Symphony'. This refers to the artist's first performance or 'action' in February 1963, called 'Siberian Symphony'. The central part of the performance was a piano composition by Beuys, as the word 'score' indicates. This was blended into a piece of music by the early twentieth-century, avant-garde composer Erik Satie. The music was supported by props, including lumps of clay connected by wire and a blackboard with a dead hare hung on it. The simple style of this collage is reminiscent of the artist's early list-style drawings, which use words for visual effect and structure.</p>\n",
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Fat, copper oxide and graphite on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00675 | {
"id": 5,
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,966 | [
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frame: 680 × 525 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [
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] | <p><span>Score </span>1967 is a large collage work by the German artist Joseph Beuys consisting of three irregular shapes joined together in an apparently haphazard fashion, the largest of which is a piece of cardboard with rough, torn edges to which are attached two smaller pieces of paper. Paint splatter covers the entire surface of the cardboard which also has some masking tape along the top edge. Using reddish-brown oil paint the artist painted an abstract composition of diagonal rectangular shapes on the cardboard, around which can be discerned some individual German words handwritten in pencil, including ‘Fett’ (fat), ‘Eisen’ (iron) and ‘Filz’ (felt), substances that are central to Beuys’s material practice. Both the pieces of paper have torn upper and right edges, and are glued to the cardboard along one of their straight edges. They are completely covered in<span> </span>the same red-brown paint used on the cardboard, but also contain hand-made holes gouged from the approximate middle of their shapes that look almost like keyholes. It seems as if Beuys re-used or recycled an old bit of cardboard that was in his studio, perhaps previously used to test paint colours while the paper appears equally worn and discarded. Assembled together as a collage these materials are transformed into an abstract composition, unified by the addition of the thick brown oil paint.</p> | false | 1 | 747 | paper unique oil paint graphite cardboard adhered to plywood | [
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"content": "<div class=\"text\">\n<p>\n<i>Score </i>1967 is a large collage work by the German artist Joseph Beuys consisting of three irregular shapes joined together in an apparently haphazard fashion, the largest of which is a piece of cardboard with rough, torn edges to which are attached two smaller pieces of paper. Paint splatter covers the entire surface of the cardboard which also has some masking tape along the top edge. Using reddish-brown oil paint the artist painted an abstract composition of diagonal rectangular shapes on the cardboard, around which can be discerned some individual German words handwritten in pencil, including ‘Fett’ (fat), ‘Eisen’ (iron) and ‘Filz’ (felt), substances that are central to Beuys’s material practice. Both the pieces of paper have torn upper and right edges, and are glued to the cardboard along one of their straight edges. They are completely covered in<i> </i>the same red-brown paint used on the cardboard, but also contain hand-made holes gouged from the approximate middle of their shapes that look almost like keyholes. It seems as if Beuys re-used or recycled an old bit of cardboard that was in his studio, perhaps previously used to test paint colours while the paper appears equally worn and discarded. Assembled together as a collage these materials are transformed into an abstract composition, unified by the addition of the thick brown oil paint.</p>\n<p>While the title of this work may suggest a relation to a musical composition, the artist in fact used the term <i>Partitur </i>(the German word for musical score) to name a great number of drawings not comprehensible as ‘scores’ in a musical, or even performative sense. The term instead encompasses a wide range of different outputs on paper that may or may not relate individually to one of the artist’s performance works or ‘actions’ which dominated Beuys’s artistic practice in the mid-1960s as a result of his involvement with the Fluxus group in Düsseldorf.</p>\n<p>The idea of recycling previously used materials chimes with the artist’s wider interest in renewal and rebirth in his art. The brown paint substance that dominates this work is Beuys’s Braunkreuz, a type of common, household oil paint first used by the artist in 1958, and which he named ‘Brown cross’ after the form on which he first experimented with the paint (Seymour 1983, p.21). Its reddish-brown hue is reminiscent of rust, dried blood, and dirt, while the name evokes symbols associated with such far-ranging ideologies as Christianity, Nazism, and occultism. It features in many of Beuys’s drawings of the 1960s, from small interventions such as the triangle in <i>Play 17 </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-play-17-ar00115\" title=\"View the details of this artwork\"><span>AR00115</span></a>) to grand painterly sweeps, for example the main element in the drawing <i>Felt Action </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-felt-action-ar00700\" title=\"View the details of this artwork\"><span>AR00700</span></a>). As the writer and curator Anne Seymour explains of Braunkreuz: </p>\n<p class=\"cttext\">\n</p><blockquote>Sometimes a colour may be chosen deliberately so as not to have any other connotations, especially with art … It has been used in drawings … mostly sculptural in large solid areas, more as substance than colour … The inference that this is very much a sculptor’s approach to working on paper is emphasised by the grounds Beuys uses for drawings and the way he incorporates collage or mounts several sheets together into a single image.<br/>(Seymour 1983, p.21.)</blockquote>\n<p>Drawing was considered by Beuys as a rapidly-paced and multifarious medium; a way to meditate on and experiment with various source materials and ideas that could potentially evolve in different media. The curator Ann Temkin has written:</p>\n<p class=\"cttext\">\n</p><blockquote>The concept of drawing as a score had a solid precedent in Beuys’s own understanding of drawing. The score provides a suitable metaphor for Beuys’s drawing enterprise as a whole. It echoes his consistent reference to the drawings as a source of ideas from which to work and as a form of blueprint for his artistic projects. The score exemplifies Beuys’s preference for process over product, and the concept of art as an event that takes place in time rather than one that exists in stasis.<br/>(Temkin and Rose 1993, p.50.)</blockquote>\n<p>This work, like many of Beuys’s scores, and in contrast to the scores used in Fluxus participatory events, cannot be easily decoded or understood by anyone other than the artist. It is a private memorandum of an experimental thought process, recorded in collage form. The writer and curator Jeannot Simmen has considered the diverse range of surfaces Beuys used for drawing, which included: </p>\n<p class=\"cttext\">\n</p><blockquote>envelopes, book covers, pages from newspapers or notebooks or ledgers, wallpaper, corrugated cardboard, silver foil, wax-paper, normal paper. His formats might seem accidental: the paper or board might be torn, punched or folded, cut into separate pieces or glued together. The chance involved in his selection of grounds and working materials is not incidental to Beuys, though, because it is an integral part of his creative process; for him medium and ground form an indivisible unity.<br/>(Simmen 1979, p.86.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Anne Seymour, ‘The Drawings of Joseph Beuys’, in <i>Joseph Beuys Drawings</i>, exhibition catalogue, City Art Galleries, Leeds 1983, pp.7–26.<br/>Jeannot Simmen, ‘Shadows of Reality’, in Heiner Bastian and Jeannot Simmen (eds.), <i>Joseph Beuys – Zeichnungen, Tekeningen, Drawings</i>, exhibition catalogue, Nationalgalerie, Berlin 1979, pp.85–90.<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993. </p>\n<p>Stephanie Straine<br/>May 2011</p>\n</div>\n",
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] | <p><span>Untitled</span> 1972 comprises three leaves attached to one sheet of paper. The green of the leaves is complemented by patches and splatters of dark ink. Beuys labelled each of the leaves by hand in pencil with a Latin botanical name. The leaf at the top is labelled ‘Ficus Aralia Erecta’, the leaf below it on the right is labelled ‘Citrus Aurantium’ and the third leaf, lower left, is labelled ‘Ficus carica’. He signed the sheet at the bottom ‘Beuys 1972’.</p> | false | 1 | 747 | paper unique leaves ink graphite | [
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frame: 794 × 612 × 39 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1972 comprises three leaves attached to one sheet of paper. The green of the leaves is complemented by patches and splatters of dark ink. Beuys labelled each of the leaves by hand in pencil with a Latin botanical name. The leaf at the top is labelled ‘Ficus Aralia Erecta’, the leaf below it on the right is labelled ‘Citrus Aurantium’ and the third leaf, lower left, is labelled ‘Ficus carica’. He signed the sheet at the bottom ‘Beuys 1972’.</p>\n<p>\n<i>Ficus Aralia Erecta </i>is not a genuine botanical name; <i>Ficus</i> suggests a type of fig, but the leaf is actually a <i>Fatsia Japonica</i> or Japanese Aralia. <i>Citrus Aurantium</i> denotes a tree family that covers a range of edible fruits with differently shaped leaves; this specimen may be a species of bitter orange or bergamot. <i>Ficus carica</i> is the common edible fig. (Botanical details confirmed by Dr Markus Ruhsam at the Royal Botanical Garden, Edinburgh, <a href=\"http://www.rbge.org.uk\">http://www.rbge.org.uk</a>).</p>\n<p>Leaf collages are numerous in Beuys’s work. <i>Acer Platanoides</i> 1945 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-acer-platanoides-ar00630\" title=\"View the details of this artwork\"><span>AR00630</span></a>), the earliest work by Beuys in the ARTIST ROOMS collection, comprises a single leaf from a Norway Maple tree. The collection also contains the leaf collage<i> Untitled</i> 1955 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-untitled-ar00696\" title=\"View the details of this artwork\"><span>AR00696</span></a>). However, unlike the Norway Maple and the Copper Beech of those two works, the leaves in the present work, <i>Untitled</i> 1972, are not native to northern Europe. It is possible that Beuys collected these leaves on trips to Italy, which he visited in 1971 and at least twice in 1972. Beuys continued to make leaf collages throughout his life; as late as 1985 he produced a series of ten pressed plant and pencil drawings called <i>Cotyledon Umbilicus Veneris</i> (<i>Cotyledon umbilical of Venus</i>), a work that ‘reflects his own cycle of work and life’ (Temkin and Rose 1993, pp.254–5, plate 172).</p>\n<p>The leaf mounted on paper resembles a scientific specimen in a museum. As a scientist-turned-artist Beuys was keenly interested in ecology and was to become a co-founder of the German Green Party. While earlier works used leaves from his native Germany, the use of leaves from a Mediterranean climate in <i>Untitled</i> 1972 reflects Beuys’s wider travels and interest in Italy, one of his ‘greatest loves’, which he visited no fewer than thirty-five times from 1971 (Stachelhaus 2002, p.205).</p>\n<p>In 1972, the year Beuys made the present work, he was involved in a dispute with the North Rhine Westphalia Ministry of Education that ultimately led to his dismissal as professor of the Düsseldorf Academy of Art after eleven years in that post. A specific connotation of the fig leaf is its use in classical painting and sculpture to cover the genitalia. In this work one might associate the fig leaf (or leaves, as Beuys thought) with the repression of new ideas that Beuys felt the ministry of education was exercising. Furthermore, the German word ‘feige’ means not only ‘fig’ but also ‘cowardly’ or ‘spineless’, possibly a coded reference to the ministry.</p>\n<p>\n<b>Further reading</b>\n<br/>Heiner Bastian (ed.), <i>Joseph Beuys: Dibujos = Drawings</i>, exhibition catalogue, Sala des Exposiciones, Madrid 1985.<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking Is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and Museum of Modern Art, Philadelphia and New York 1993.<br/>Heiner Stachelhaus, <i>Joseph Beuys</i>, Munich 2002. </p>\n<p>Andrew W. Symons<br/>University of Edinburgh<br/>January 2016</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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] | <p><span>Score for Action with Transmitter (Felt) Receiver in the Mountains</span> is a pencil drawing on a small sheet of white paper that was probably torn from a sketchbook given its torn left edge. The drawing combines abstract linear forms, handwritten words and depictions of mountains together with seven lines of Morse code in the middle of the drawing, roughly in the middle of the sheet. There are some areas of shading, some delicate pencil work detailing the mountains and what appear to be geological strata and various linear tremors (perhaps denoting lightning) across the drawing’s surface. ‘Sender’ (‘transmitter’ in German) appears in the middle of the page, while ‘empfänger’ (‘receiver’ in German) is written further above this. There is a further word written at a ninety degree angle along the left-hand margin, but the artist’s scrawled handwriting makes deciphering it near-impossible. The drawing is signed, titled and dated on its reverse. As the art historian Ulf Jensen relates, the appearance of the transmitter/receiver in Beuys’s art had clear biographical roots:</p> | false | 1 | 747 | paper unique graphite | [
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] | Score for Action with Transmitter (Felt) Receiver in the Mountains | 1,973 | ARTIST ROOMS Tate and National Galleries of Scotland | 1973 | CLEARED | 5 | support: 241 × 172 mm
frame: 670 × 540 × 27 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Score for Action with Transmitter (Felt) Receiver in the Mountains</i> is a pencil drawing on a small sheet of white paper that was probably torn from a sketchbook given its torn left edge. The drawing combines abstract linear forms, handwritten words and depictions of mountains together with seven lines of Morse code in the middle of the drawing, roughly in the middle of the sheet. There are some areas of shading, some delicate pencil work detailing the mountains and what appear to be geological strata and various linear tremors (perhaps denoting lightning) across the drawing’s surface. ‘Sender’ (‘transmitter’ in German) appears in the middle of the page, while ‘empfänger’ (‘receiver’ in German) is written further above this. There is a further word written at a ninety degree angle along the left-hand margin, but the artist’s scrawled handwriting makes deciphering it near-impossible. The drawing is signed, titled and dated on its reverse. As the art historian Ulf Jensen relates, the appearance of the transmitter/receiver in Beuys’s art had clear biographical roots:</p>\n<p class=\"cttext\">\n</p><blockquote>Beuys received his first training as a radio operator in 1941 after volunteering for the <i>Luftwaffe</i> … The radio operator controlled a single device which functioned as both transmitter and receiver. Beuys repeatedly included technical sketches of such procedures in his work … Beuys repeatedly returned to the theme of the interdependence of transmitters and receivers. In his diagrams, he represented this relationship with the sign ‘S ––––––––(reverse E)’, in which the letters stand for the German <i>Sender </i>(transmitter) and <i>Empfänger </i>(receiver) … The open side of the reversed ‘E’ receives the pulse emitted by the ‘S’ and reflects it back. The information model thus contains two poles which must both be active in order to facilitate an exchange.<br/>(Ulf Jensen in Ackermann and Malz 2010, p.80.)</blockquote>\n<p>Although transmitter and receiver are written out longhand in this drawing, the diagram to which Jensen refers can be seen in many other works, including <i>German Student Party </i>1967 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-german-students-party-ar00677\" title=\"View the details of this artwork\"><span>AR00677</span></a>), a five-part draft manifesto for Beuys’s first political party. Its presence in what is essentially a political document demonstrates the porosity of science, art and politics in Beuys’s conception of his practice as an artist. Jensen further clarifies that: ‘Beuys regarded communications technology as an opportunity to disseminate thought-provoking impulses across continental boundaries. He sought to involve the achievements of science and technology in the active evolutionary process.’ (Ulf Jensen in Ackermann and Malz 2010, p.80.) The specific subject of this drawing had preoccupied Beuys long before 1973: there exists a pencil drawing from 1958 with the title <i>Transmitter and Receiver in the Mountains </i>(Collection Froehlich, Stuttgart, reproduced in Ackermann and Malz 2010, pl.69). The difference between the earlier drawing and <i>Score for Action with Transmitter (Felt) Receiver in the Mountains</i> is this later work’s designation as a ‘score for action’. In Beuys’s corpus of drawings, there are many such works, including <i>Score for Siberian Symphony </i>1966 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-score-for-siberian-symphony-ar00674\" title=\"View the details of this artwork\"><span>AR00674</span></a>) and <i>Score </i>1967 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-score-ar00678\" title=\"View the details of this artwork\"><span>AR00678</span></a>). Beuys’s scores tend to record conceptual rather than musical notations. A score does not necessarily relate to one particular performance; as with <i>Score</i> 1967 it can document a period of preparation or experimentation but is always fragmentary, charting a thought process through drawing rather than providing the end result. </p>\n<p>The two poles of transmitter and receiver are divided in the drawing’s title by the word ‘felt’ inserted in brackets. For Beuys, felt was a signature material that also had links to his personal history (see <i>Felt Action </i>1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-felt-action-ar00700\" title=\"View the details of this artwork\"><span>AR00700</span></a>). Felt is a conductor and preserver of warmth, and consequently a producer of energy. Finding a link between felt and Beuys’s various electrical equipments, the curator Mark Rosenthal explains: ‘As opposed to the cold state of death, Beuys created situations in which warmth and therapeutic healing could occur. These contexts take various guises, including the battery, transformer, and other kinds of machines, all of which produce energy and change. These works evince the rule of chance, not rational intellect.’ (Rosenthal 2004, p.75.) In an interview conducted in 1984, Beuys speculated that: ‘One could say that sound, which disappears after it is cast out, is a kind of drawing … An auditory drawing reaches a receiver, and maybe the receiver starts to draw. This kind of transfer … is one of the essentials. It sounds a little bit abstract, this reason why I try to draw, to start this experience in the field of art.’ (Quoted in Rose 1993, p.18.) An attempt to chart such physically intangible auditory outputs could likely be the motivation behind <i>Score for Action with Transmitter (Felt) Receiver in the Mountains</i>. </p>\n<p>\n<b>Further reading</b>\n<br/>Bernice Rose, ‘Thinking is Form: The Drawings of Joseph Beuys’, <i>MoMA</i>, no.13, Winter 1993, pp.16–23.<br/>Mark Rosenthal, ‘Joseph Beuys: Staging Sculpture’, in <i>Joseph Beuys: Actions, Vitrines, Environments</i>, exhibition catalogue, The Menil Collection, Houston 2004, pp.10–135.<br/>Marion Ackermann and Isabelle Malz (eds.), <i>Joseph Beuys, Parallel Processes</i>, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010.</p>\n<p>Stephanie Straine<br/>February 2011</p>\n</div>\n",
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Electric Sphinx</i> 1977<i> </i>is a pencil drawing on a small, narrow sheet of off-white paper, with a perforated margin along its left edge. The drawing depicts the head, shoulders and torso of a half-human, half-animal creature, with the body of a woman and the ears and nose of a cat. In Greek mythology, a sphinx typically has a reclining feline body, the wings of a bird, and the face and breast of a woman, and is considered a malevolent, dangerous creature. Beuys’s drawing can be seen as a variation on this archetype, its physiological make-up adjusted slightly. The drawing is signed and titled on the reverse of the paper: ‘Joseph Beuys (electric sphinx) Motor-Bitch’, this final odd phrase emphasising the hybridity of woman and machine and confirming the malicious nature of the depicted creature. </p>\n<p>While large portions of the drawing are left as single or concentric linear forms, the face is layered with very rough and forceful graphite marks that almost completely obscure the facial features. The effect is a violent one, obliterating the woman’s face and thereby revoking her identity. Beuys’s problematic depiction of women can be seen in many of his other drawings in ARTIST ROOMS, particularly those from the late 1950s such as <i>Weird Sister </i>1953–62 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-weird-sister-ar00100\" title=\"View the details of this artwork\"><span>AR00100</span></a>), <i>Wooden Virgin </i>1958 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-wooden-virgin-ar00639\" title=\"View the details of this artwork\"><span>AR00639</span></a>), <i>Witches Spitting Fire</i> 1959 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-witches-spitting-fire-ar00109\" title=\"View the details of this artwork\"><span>AR00109</span></a>) and <i>Pregnant Woman with Swan </i>1959 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-pregnant-woman-with-swan-ar00114\" title=\"View the details of this artwork\"><span>AR00114</span></a>). In all these works women are transformed into ciphers for the occult, religion or myth, or are identified with animals and plant life. <i>Electric Sphinx</i> appears to return to these themes two decades later, but with the addition of Beuys’s now matured interest in fundamental scientific principles: in this case, electricity and magnetism. In the top left corner of the paper Beuys has drawn one magnet and one cross (a symbol of electrical charge). <i>Electric Sphinx </i>connects the magnetic power of the mythic female sphinx with the generation of a magnetic field by an electrical current. In this context the shapes behind the sphinx could be interpreted as a magnetic field and the cylindrical tubing encircling the body as components in an electric circuit.</p>\n<p>The late 1970s was a time of rapid transformation in the artist’s practice, as the curator Bernice Rose has noted: ‘the focus of his drawing changed radically, as did the space in which it took place, as Beuys concentrated on drawing on blackboards as a form of action. His intent remained the same, but, in a larger sense, the space of his drawings did not change at all; it had simply extended its scope, expanding on a cosmic scale.’ (Temkin and Rose 1993, p.108.) His engagement with participatory democracy and various forms of political grass roots action in the 1970s resulted in many lecture-demonstrations which used blackboards as a drawing surface to convey his theories, diagrams and concepts of art. <i>Four Blackboards </i>1972 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-four-blackboards-t03594\" title=\"View the details of this artwork\"><span>T03594</span></a>) is the residue of one such performance at Tate Gallery (now Tate Britain) in February of that year. </p>\n<p>\n<i>Electric Sphinx</i> was made in the same year as two large-scale sculptural commissions: <i>Tallow</i>, for the city of Münster’s outdoor sculpture exhibition; and <i>Honey pump</i>, for <i>Documenta 6</i> in Kassel, West Germany. 1977 also witnessed the one hundred days of Beuys’s Free International University, comprised of community workshops, events and discussions, running the length of <i>Documenta 6</i> (see Tisdall 1979, pp.248–63). As a pencil on paper work with mythic and fantastical subject matter, <i>Electric Sphinx </i>seems to sit uneasily with Beuys’s turn towards large, site-specific sculpture and more ephemeral political and pedagogical actions. However, as the artist explained in 1979: ‘My drawings make a kind of reservoir for me, that I can get important impulses from. In other words, they’re a kind of basic source material that I can draw from again and again.’ (Quoted in Bastian and Simmen 1979, p.94.) This statement suggests the cyclical nature of the artist’s practice, in which ideas from previous years were reincorporated and explored again in new drawings that provided a private form of experimentation to counterbalance Beuys’s extremely public persona during the 1970s.</p>\n<p>\n<b>Further reading</b>\n<br/>Caroline Tisdall, <i>Joseph Beuys</i>, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1979.<br/>‘If Nothing Says Anything, I Don’t Draw: A Conversation between Joseph Beuys, Heiner Bastian, Jeannot Simmen, Düsseldorf, August 8, 1979’, in Heiner Bastian and Jeannot Simmen, <i>Joseph Beuys – Zeichnungen, Tekeningen, Drawings</i>, exhibition catalogue, Nationalgalerie, Berlin 1979, pp.91–102.<br/>Ann Temkin and Bernice Rose, <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and The Museum of Modern Art, New York 1993. </p>\n<p>Stephanie Straine<br/>February 2011</p>\n</div>\n",
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"content": "<p>This work is based around the shape of the triangle. The triangle or triad is used in Christianity, but also in theosophy and the writings of the philosopher Rudolf Steiner, who believed that the development of humanity could be tracked by the movement of state, economy and intellectual life. Beuys was greatly interested in Steiner's theories on society and he also used the shape as a symbol for his own theory of sculpture, to suggest unity and harmony but also movement. Newspapers are used as a basis for many of the artist's works, and here are artfully revealed and concealed.</p>\n",
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Collage, oil and graphite on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00688 | {
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frame: 922 × 731 × 45 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>Beuys's political involvement had a great influence on his art from the 1960s onwards. The title of this work translates as 'struggle' or 'fight' and is based around an image painted in Braunkreuz oil paint, which looks like two opposing masses in combat. Around this, the artist has written words in capital letters including 'state' 'denationalisation', 'job', with other notes made on the pieces of paper which are attached to the central section, like the tentacles of a jellyfish. Beuys was one of the founding members of the Green Party in 1980, and stood as the official candidate for the party in Düsseldorf in the same year.</p>\n",
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Collage, crayon and ink on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00689 | {
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frame: 680 × 525 × 33 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>This collage is typical of many of Beuys's works on paper. Pieced together from diverse scraps of paper, are small sketches, notes and calculations. The drawings and symbols were part of the personal language the artist used in his drawings. At the top of the collage is a plan or diagram, which may relate to the symbols of the elements aluminium and silicon (Al and Si) which appear on several pieces of paper. The sum of money 90,000 DM (Deutschmarks) also appears. Although his work from the 1960s onwards was primarily associated with sculpture and ‘actions’, drawing remained an important part of Beuys's working process, enabling him to capture his thoughts and feelings quickly and easily.</p>\n",
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Ink, graphite and stamp on printed paper | [
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frame: 1331 × 894 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>Ink stamps were used by Beuys in his drawings from the 1960s onwards. The kind most often seen is circular in design, featuring several symbols and the word 'Hauptstrom', which translates as 'Mainstream'. This diamond-shaped stamp is found in several works from the 1980s, and its repeated printing over a selection of scraps of paper here has been used to create a dazzling effect. Beuys began using ink stamps as a parody of official stamps used by bureaucracy. His 'Hauptstrom' stamps were often added after a work was made, changing its meaning and date. With the stamp used here, the diamond shape is central to the overall pattern created.</p>\n",
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Painted metal on card | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00691 | {
"id": 5,
"meta": {
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] | Red on Centre | 1,984 | ARTIST ROOMS Tate and National Galleries of Scotland | 1984 | CLEARED | 5 | support: 316 × 217 mm
frame: 680 × 525 × 39 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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] | <p><span>Untitled</span> 1955 is a collage by the German artist Joseph Beuys. It comprises a single leaf, coloured red-brown, with the back of the leaf (the veins) showing. It is mounted next to a slightly larger regular oval shape coated in off-white lime-wash paint. The leaf is from the Copper Beech tree (or Purple Beech; <span>Fagus Sylvatica</span> ‘Purpurea’), which is commonplace throughout Europe, particularly in the north, including the forests of North Rhine Westphalia, where Beuys lived at the time he made this work. The beech is an ancient species, known in the modern variant in Germany since 1488. Placing the leaf next to the shape coated in lime-wash contrasts the organic with the mineral, the soft leaf with the hard lime-wash, and the natural shape of the leaf with the man-made geometric shape of the card.</p> | false | 1 | 747 | installation leaf lime cardboard | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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] | <p><span>Brightly-Lit Stag Chair </span>is a large-scale collage on paper by the German artist Joseph Beuys. The collage is comprised of two pieces of stained, cream-coloured paper joined together. Onto the main, lower section was painted the outline of the titular ‘stag chair’, while the much smaller, roughly square sheet of paper is positioned at the top, containing the outline of what appears to be a light bulb, providing the ‘brightly-lit’ conditions for the stag chair. The work is signed and inscribed on the reverse of the paper ‘stark beleuchteter Hirschstuhl Joseph Beuys’, which is the title in German together with the artist’s signature. Despite the crumpled and haphazard appearance of the collage – with its rough edges and irregular pieces of masking tape glued along the bottom edge (which suggests the support had been recycled from some previous use) – there are faint pencil marks that indicate careful measurement and planning of the composition. The painterly medium used in both sections of the collage is a dark grey oil paint. The two sections reverse the figure-ground relationship: the light bulb shape is the bare colour of the paper against the coloured background, while the stag chair is painted dark grey against the plain paper background. The semi-abstract, biomorphic silhouette of the ‘stag chair’ is not easily relatable to the animal itself, with perhaps only the curve of the chair’s legs suggesting a pair of antlers.</p> | false | 1 | 747 | paper unique 2 works oil paint graphite masking tape | [
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] | Brightly-Lit Stag Chair | 1,957 | ARTIST ROOMS Tate and National Galleries of Scotland | 1957–71 | CLEARED | 5 | support: 1390 × 963 mm
frame: 1528 × 1077 × 39 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Brightly-Lit Stag Chair </i>is a large-scale collage on paper by the German artist Joseph Beuys. The collage is comprised of two pieces of stained, cream-coloured paper joined together. Onto the main, lower section was painted the outline of the titular ‘stag chair’, while the much smaller, roughly square sheet of paper is positioned at the top, containing the outline of what appears to be a light bulb, providing the ‘brightly-lit’ conditions for the stag chair. The work is signed and inscribed on the reverse of the paper ‘stark beleuchteter Hirschstuhl Joseph Beuys’, which is the title in German together with the artist’s signature. Despite the crumpled and haphazard appearance of the collage – with its rough edges and irregular pieces of masking tape glued along the bottom edge (which suggests the support had been recycled from some previous use) – there are faint pencil marks that indicate careful measurement and planning of the composition. The painterly medium used in both sections of the collage is a dark grey oil paint. The two sections reverse the figure-ground relationship: the light bulb shape is the bare colour of the paper against the coloured background, while the stag chair is painted dark grey against the plain paper background. The semi-abstract, biomorphic silhouette of the ‘stag chair’ is not easily relatable to the animal itself, with perhaps only the curve of the chair’s legs suggesting a pair of antlers.</p>\n<p>Beuys claimed in 1984, towards the end of his life: </p>\n<p class=\"cttext\">\n</p><blockquote>The only thing which interests me in a way is to work with big drawings, very big drawings … Until now I have found the size of my drawings is precisely the most effective thing. To be completely normal, sometimes even a cheap piece of paper is drawn on, an actual piece of paper, and I try it, and I know it is down. It is a kind of notation. A big thing immediately has a decorative impact, and that is exactly what I try to avoid. Nevertheless, I sometimes think that I will start again with a more systematic kind of drawing when I find a solution for the problem, to make bigger sizes.<br/>(Quoted in Rose 1993, p.22.) </blockquote>\n<p>This comment illuminates the artist’s complex thought process regarding his works on paper, which are rarely simply preparatory sketches for a finished work in another medium, but rather are continually in development and in negotiation with his work in other media. The stag is a recurring motif in the artist’s iconography, heavily featured in his sculpture and large-scale installation works such as <i>Monument to the Stag</i> 1958–85 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-monument-to-the-stag-ar00602\" title=\"View the details of this artwork\"><span>AR00602</span></a>) and <i>Lightning with Stag in its Glare </i>1958–85 (Tate L02180), both begun around the same time as <i>Brightly-Lit Stag Chair</i>. Rather than being a figure or icon that is represented identically and recognisably in every work of art, for Beuys the stag is a mutable entity that takes different forms across the artist’s eclectic range of media and materials, and that can form a hybrid structure with other components, such as a chair in this instance. Hybridity is also achieved through the material construction of the collage, where two separate sheets are taped together, a common strategy in Beuys’s drawing practice. Both sections juxtapose near black and white tones as positive and negative areas of space, relating to Beuys’s wider interest in duality and the symbolism of light and dark in nature.</p>\n<p>In a study of the artist’s drawings, the art historian Maja Naef highlighted:</p>\n<p class=\"cttext\">\n</p><blockquote>Beuys’ interest in cyclical processes, which runs through his entire oeuvre. Such a reading helps to elucidate the multi-layered forward and backward flows that traverse his drawings. This nonsimultaneity is also manifest in the fact that Beuys reworked certain of his early drawings at a later time (for example, by stamping them, or by mounting several drawings on a backing and thus making them suitable for presentation).<br/>(Naef 2010, p.341.)</blockquote>\n<p>This helps to explain the long time period for the production of this work; it is dated 1957–71, a span of fourteen years.</p>\n<p>\n<b>Further reading</b>\n<br/>Bernice Rose, ‘Thinking is Form: The Drawings of Joseph Beuys’, <i>MoMA</i>, no.13, Winter 1993, pp.16–23.<br/>Maja Naef, ‘Beuys, Drawing’, in Marion Ackermann and Isabelle Malz (eds.), <i>Joseph Beuys, Parallel Processes</i>, exhibition catalogue, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2010, pp.336–48.</p>\n<p>Stephanie Straine<br/>February 2011</p>\n</div>\n",
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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] | <p><span> –</span> is a small work by the German artist Joseph Beuys in oil paint on two pieces of stained, cream-coloured card. The two sheets of portrait-orientated card are placed side by side: the card on the left contains the positive ‘plus’ symbol while the card on the right contains the negative ‘minus’ symbol. These titular symbols were painted in light grey-blue oil paint against roughly painted background images in a darker black-grey colour. The image on the left appears to be a silhouette of a leaping female figure, bent over with her legs outstretched. The cross symbol is positioned beneath the figure, on top of a swirling mass of dark paint. The image on the right is more detailed, but also more ambiguous. It could represent a horse drawing a carriage along at high speed, with part of the drawing recalling a horse in profile. However, the exact content is impossible to ascertain as the bottom left section of the card is completely covered by an opaque, undifferentiated mass of paint that creeps out to form linear tendrils towards the top of the image. The minus shape is placed against the middle of this dark form, and its presence in this image suggests it is meant to stand in opposition to the accompanying positive, female half as a depiction of masculinity, however vague. The approximately symmetrical positioning of the two symbols suggests that the artist intended to imply a state of equilibrium within the drawing.</p> | false | 1 | 747 | paper unique 2 works card oil paint | [
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"content": "<div class=\"text\">\n<p>\n<i>+ –</i> is a small work by the German artist Joseph Beuys in oil paint on two pieces of stained, cream-coloured card. The two sheets of portrait-orientated card are placed side by side: the card on the left contains the positive ‘plus’ symbol while the card on the right contains the negative ‘minus’ symbol. These titular symbols were painted in light grey-blue oil paint against roughly painted background images in a darker black-grey colour. The image on the left appears to be a silhouette of a leaping female figure, bent over with her legs outstretched. The cross symbol is positioned beneath the figure, on top of a swirling mass of dark paint. The image on the right is more detailed, but also more ambiguous. It could represent a horse drawing a carriage along at high speed, with part of the drawing recalling a horse in profile. However, the exact content is impossible to ascertain as the bottom left section of the card is completely covered by an opaque, undifferentiated mass of paint that creeps out to form linear tendrils towards the top of the image. The minus shape is placed against the middle of this dark form, and its presence in this image suggests it is meant to stand in opposition to the accompanying positive, female half as a depiction of masculinity, however vague. The approximately symmetrical positioning of the two symbols suggests that the artist intended to imply a state of equilibrium within the drawing. </p>\n<p>Plus and minus signs can be found on opposite ends of a battery to indicate the positive and negative poles of a dry cell electric circuit. This work, with its equal balance of positive and negative, suggests energy is present but held in check – contained, as it is in a battery. Batteries are an important and recurring concept within Beuys’s interdisciplinary practice, appearing as elements or motifs in his drawings, sculptures, installations and performance ‘actions’, for example in the collage <i>Battery </i>1959 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-battery-ar00110\" title=\"View the details of this artwork\"><span>AR00110</span></a>) and the sculpture <i>Fat Battery </i>1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-fat-battery-t03919\" title=\"View the details of this artwork\"><span>T03919</span></a>). As the writer Caroline Tisdall explained in her catalogue essay for Beuys’s major retrospective exhibition at the Solomon R. Guggenheim Museum in New York in 1979: </p>\n<p class=\"cttext\">\n</p><blockquote>When elements of science and technology appear, in large sculptures or in small objects, their presence is always intended as a reminder of the wider significance of ‘energy’. Terms like ‘insulator’, ‘battery’, ‘transmitter’, ‘receiver’, are all derived from the passage and storage of physical energy, but are drawn into spiritual and anthropological levels by Beuys so that they become symbols and metaphors of transformation and generate a new concept of energy.<br/>(Tisdall 1979, p.80, 83.)</blockquote>\n<p>\n<i>+ –</i> thus appears to be part of a larger body of work by Beuys concerned with expressing, storing and transmitting energy, with the ultimate aim of achieving a synthesis of life and work. This reached its apotheosis in 1973 with Beuys’s lecture tour of America entitled ‘Energy Plan for Western Man’ which posited language as the great transformer, able to bring about social and political change. As the curator Jeannot Simmen writes of Beuys’s drawings: ‘Seldom are they sketches for an “action” in the sense of studies; many more are like fleeting records of ideas; yet they do not represent or illustrate a thought so much as evoke an emotion, a new unknown quality approximated in diagram.’ (Simmen 1979, p.86.) This ambiguity is apparent in the combination of expressive painterly forms and clearly-coded symbols in <i>+ –</i>, which together convey not one idea but point to many interlinked concepts. As the artist himself stated in 1973, reflecting upon his vast body of works on paper spanning the preceding three decades: </p>\n<p class=\"cttext\">\n</p><blockquote>I can only say that if I had not done all these drawings, I could not have done my political work. I think I’d also be carrying around completely wrong ideas in my head if I hadn’t done this work. I still consider these drawings to be one of the most important things I’ve ever done, for these entire attempts at, or experiments in, drawing are incredibly important apparatus for me. They’re something that’s certainly not finished, not even for me. Whenever I see any of my older drawings now, I think they’re not done, not worked out, not even begun. There’s an incredible lot in them. So they’re an important element in my life.<br/>(Quoted in Adriani 1995, p.10.) </blockquote>\n<p>\n<b>Further reading</b>\n<br/>Caroline Tisdall, <i>Joseph Beuys</i>, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1979.<br/>Jeannot Simmen, ‘Shadows of Reality’ in Heiner Bastian and Jeannot Simmen (eds.), <i>Joseph Beuys – Zeichnungen, Tekeningen, Drawings</i>, exhibition catalogue, Nationalgalerie, Berlin 1979, pp.85–90.<br/>Götz Adriani<i> </i>(ed.), <i>Joseph Beuys: Drawings, Objects and Prints</i>, exhibition catalogue, Ludwig Muzeum, Budapest 1995.</p>\n<p>Stephanie Straine<br/>March 2011</p>\n</div>\n",
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They covered my body in fat to help it regenerate warmth, and wrapped it in felt as an insulator to keep the warmth in.’ (Quoted in Tisdall 1979, pp.16–17.) Whether an embellished account or not, this origin story for felt places the material in direct and insistent contact with the body. 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The curator Jane Alison has suggested that:</p>\n<p class=\"cttext\">\n</p><blockquote>\n<i>Braunkreuz </i>is an expression of both that which Beuys aspired to and that which he wanted to exorcise. The Christian cross, The Red Cross and the “Rosy Cross” of Mystic Rosicrucianism … are all referenced, whilst militaristic and Nazi symbolism is suggested too … the German context meant that for Beuys, colour was one way of addressing the personal and collective trauma, loss and shame of the war and its horrors. It was impossible for Beuys to make a simple gesture toward the immaterial without first addressing the reality of the German situation.<br/>(Alison 2005, p.17.)</blockquote>\n<p>Beuys began performing his actions through an association with the experimental anti-art movement Fluxus in 1963 – the year <i>Felt Action </i>was produced. The term ‘action’ also appears in the titles of many of Beuys’s works on paper, including <i>Tunnel (Cathode Rays) Felt Room Action </i>1964 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-tunnel-cathode-rays-felt-room-action-ar00118\" title=\"View the details of this artwork\"><span>AR00118</span></a>), further strengthening the links between his paper output and his three-dimensional works. <i>Felt Action </i>does not relate to a specific action event; rather, it reflects the artist’s conviction that energy and movement – matter in a state of flux – could transfer between mediums and create a cohesive, integrated artistic practice. </p>\n<p>\n<b>Further reading</b>\n<br/>Caroline Tisdall, <i>Joseph Beuys</i>, exhibition catalogue, Solomon R. 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"content": "<div class=\"text\">\n<p>\n<i>Cornish Slate Ellipse</i> 2009 is a sculpture made of cut pieces of slate of various sizes positioned on the floor in the form of an ellipse over seven metres in length and over three metres wide. The pieces of slate are all roughly cuboid in shape and approximately ten centimetres high when placed on their sides so that the top surface of the sculpture is even. They are placed tightly together in a haphazard though evenly spaced pattern. The slate is predominantly grey in colour though some of the stones contain visible rust-coloured iron deposits, while the strata of the slate are visible on the upward facing profile of each piece. Since the individual pieces of slate are cut at a quarry with a saw or blade they vary in length, measuring between twelve and thirty-eight centimetres.</p>\n<p>The slate was acquired from the Delabole Slate Company in Cornwall where Long had been sourcing slate for more than twenty-five years before making this work (see Tufnell 2007, p.43). Other works made using this slate include <i>Stone Line</i> 1980 (Scottish National Gallery of Modern Art, Edinburgh) and <i>South Bank Circle</i> 1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/long-south-bank-circle-t07159\" title=\"View the details of this artwork\"><span>T07159</span></a>). Each time <i>Cornish Slate Ellipse</i> is displayed it must be created anew. The first stage of this process is to set the shape by marking the parameters of the ellipse on the floor using a piece of stretched string. Thereafter the stones are placed on their sides within the oval. Particularly solid and stable stones are used to delineate the edges. The internal space is filled with stones placed irregularly and asymmetrically in twists and turns in a flowing pattern. This process means that the work is composed slightly differently each time it is exhibited. The sculpture is installed by the artist where possible, although it can also be done by art handlers following the artist’s instructions. When in storage the piece consists of 4,237 kilograms of slate, but not all the pieces have to be used to construct the piece. Having more pieces of slate than is required allows the installer to choose which stones to use and to vary their placement.</p>\n<p>Long began making floor sculptures early in his career and cites a pivotal moment in 1964 as inspiration for his floor work:</p>\n<p class=\"cttext\">\n</p><blockquote>I would say the seminal moment when I was a student in Bristol was the Gulbenkian show at the Tate in 1964. There was a piece by Isamu Noguchi that really impressed me. It was a very minimal work, just a pure convex shape on the floor. It really knocked me out. When I came back to my space at the college I made a stepping-stone sculpture to walk on, different plaster shapes on the floor, mostly flat stable ones you could step on and a few unstable ones you couldn’t. And then after that I made the plaster path with the walking man.</blockquote>\n<blockquote>(Cited in Wallis 2009, p.172.)</blockquote>\n<p>Long’s early floor sculptures are usually circular or linear in form rather than elliptical. The ellipse began to appear in the artist’s work from the late 1990s, not only in floor sculptures but also in mud paintings on walls, on floors and on circular stones.</p>\n<p>\n<i>Cornish Slate Ellipse</i> combines order and disorder, the former expressed by the strict parameters of the clean-edged ellipse, the latter by the natural imperfections of the rough cut pieces of slate and by their random arrangement. As Long says: ‘You could say that my work is also a balance between the patterns of nature and the formalism of human, abstract ideas like lines and circles. It is where my human characteristics meet the natural forces and patterns of the world, and that is really the kind of subject of my work.’ (Cited in Richard Long (ed.), <i>Richard Long:</i> <i>Walking in Circles</i>, exhibition catalogue, Hayward Gallery, London 1991, p.250.)</p>\n<p>\n<b>Further reading</b>\n<br/>Richard Long (ed.), <i>Richard Long: Walking the Line</i>, London 2002.<br/>Ben Tufnell (ed.), <i>Richard Long:</i> <i>Selected Statements & Interviews</i>, London 2007.<br/>Clarrie Wallis (ed.), <i>Richard Long: Heaven and Earth</i>, exhibition catalogue, Tate Britain, London 2009.</p>\n<p>Ruth Burgon<br/>The University of Edinburgh<br/>March 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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] | Andy Warhol Joseph Beuys, Lucio Amelio Gallery, Naples, April 1980 | 1,980 | ARTIST ROOMS Tate and National Galleries of Scotland | 1980 | CLEARED | 4 | image: 684 × 470 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>German artist Joseph Beuys was a contemporary of Warhol and although never close friends they shared a mutual admiration for each others work. On the surface these artists may appear polar opposites, but their art has often been linked by critics due to their shared understanding and mastery of the news media, and ability to transform everyday objects into high-value works of art. This unusual poster is for a joint exhibition of their work held at the Lucio Amelio Gallery, Naples in 1980. The pair stayed in Naples for the opening and this photograph, taken by Mimmo Jodice under commission from the gallery, was taken while there. Beuys sits rather uncomfortably on the edge of a fountain awkwardly holding Warhol’s hand. Warhol then bizarrely reaches behind with his other hand, into the mouth of the ferocious stone lion.</p>\n</div>\n",
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"actions: expressive",
"actions: postures and motions",
"adults",
"animals: mammals",
"architecture",
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"art and craft",
"artist, multi-media",
"arts",
"arts and entertainment",
"Beuys, Joseph",
"building - non-specific",
"cities, towns, villages (non-UK)",
"clothing and personal items",
"countries and continents",
"emotions, concepts and ideas",
"exhibition",
"exhibition: ‘Joseph Beuys by Andy Warhol: An Encounter’, Lucio Amelio Gallery, Naples, 1980",
"formal qualities",
"hat",
"history",
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"humour",
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"Naples, Galleria Lucio Amelio",
"objects",
"people",
"photographic",
"places",
"portraits",
"poster",
"reading, writing, printed matter",
"spectacles",
"statue",
"tie",
"townscapes / man-made features",
"universal concepts",
"Warhol, Andy",
"work and occupations"
] | null | false | 177 92 67 1050 51 13610 18725 118 16421 805 88 17464 18839 493 656 5443 20118 237 3119 195 21 18131 9328 20114 4896 174 203 3517 1639 30 14979 | false | artwork |
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Print on paper | [
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] | 0 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | So can party dictatorship be overcome | 2,009 | So kann die Parteiendiktatur überwunden werden! | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00708 | {
"id": 4,
"meta": {
"type": "art.Classification"
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 0 | [] | false | 1 | 747 | paper print | [
{
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}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
"type": "Loan-out"
}
] | So can the party dictatorship be overcome! | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | CLEARED | 4 | image: 583 × 410 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 2063 9329 155 166 185 1982 5339 445 | false | artwork |
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Print on paper | [
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}
] | 4,074 | [
{
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"shortTitle": "Portraits"
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] | 1,976 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Joseph Beuys Wirtschaftswoche Business Week 4376 | 2,009 | Joseph Beuys als Titelbild de Wirtschaftswoche 43/76 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00709 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,976 | [] | false | 1 | 747 | paper print | [
{
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],
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{
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"dateText": "26 October 2013 – 1 February 2014",
"endDate": "2014-02-01",
"exhibitionLegs": [
{
"dateText": "26 October 2013 – 1 February 2014",
"endDate": "2014-02-01",
"id": 8226,
"startDate": "2013-10-26",
"venueName": "Worcester City Art Gallery and Museum (Worcester, UK)",
"venueWebsiteUrl": null
}
],
"id": 6738,
"startDate": "2013-10-26",
"title": "ARTIST ROOMS 2013: Joseph Beuys",
"type": "Loan-out"
},
{
"artistRoomsTour": false,
"dateText": "18 February 2016 – 12 June 2016",
"endDate": "2016-06-12",
"exhibitionLegs": [
{
"dateText": "18 February 2016 – 12 June 2016",
"endDate": "2016-06-12",
"id": 9798,
"startDate": "2016-02-18",
"venueName": "Tate Modern (London, UK)",
"venueWebsiteUrl": "http://www.tate.org.uk/modern/"
}
],
"id": 8064,
"startDate": "2016-02-18",
"title": "Performing for the Camera",
"type": "Exhibition"
},
{
"artistRoomsTour": true,
"dateText": "13 October 2017 – 21 January 2018",
"endDate": "2018-01-21",
"exhibitionLegs": [
{
"dateText": "13 October 2017 – 21 January 2018",
"endDate": "2018-01-21",
"id": 11192,
"startDate": "2017-10-13",
"venueName": "Leeds Art Gallery (Leeds, UK)",
"venueWebsiteUrl": "http://www.leeds.gov.uk/artgallery/"
}
],
"id": 9216,
"startDate": "2017-10-13",
"title": "ARTIST ROOMS 2017: Joseph Beuys",
"type": "Loan-out"
}
] | Joseph Beuys for the cover of Wirtschaftswoche [Business Week] 43/76 | 1,976 | ARTIST ROOMS Tate and National Galleries of Scotland | 1976 | CLEARED | 4 | support: 595 × 421 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 92 51 13610 118 16421 4858 88 17464 493 5443 166 195 499 1957 9328 20114 4896 174 20116 694 30 16881 | false | artwork |
||||||||||||||
Print on paper | [
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}
] | 4,075 | [
{
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{
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{
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{
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{
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] | 0 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | working Joseph Beuys a candidate Independent German party | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00710 | {
"id": 4,
"meta": {
"type": "art.Classification"
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 0 | [] | <p><em>Gallery label, November 2022</em></p> | false | 1 | 747 | paper print | [
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{
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"dateText": "23 November 2015 – 2 November 2018",
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{
"dateText": "23 November 2015 – 2 November 2018",
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}
],
"id": 8126,
"startDate": "2015-11-23",
"title": "Joseph Beuys",
"type": "Collection based display"
}
] | working title: Joseph Beuys a candidate for the Independent German party | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | CLEARED | 4 | image: 414 × 609 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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Print on paper | [
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] | 4,076 | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00711 | {
"id": 4,
"meta": {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 0 | [] | false | 1 | 747 | paper print | [
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"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
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{
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{
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],
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"startDate": "2015-11-23",
"title": "Joseph Beuys",
"type": "Collection based display"
}
] | working title: Ja/Nein | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | CLEARED | 4 | image: 610 × 428 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 39635 3564 9329 155 166 185 4438 4896 9326 174 445 | false | artwork |
||||||||||||||||
Print on paper | [
{
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}
] | 4,077 | [
{
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{
"id": 999999782,
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{
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{
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{
"id": 999999968,
"shortTitle": "Art Fund"
},
{
"id": 999999956,
"shortTitle": "Collection"
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] | 1,973 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Situation 2 Artstudio Hamburg 1973 | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00712 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,973 | [] | false | 1 | 747 | paper print | [
{
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"dateText": "4 July 2009 – 27 September 2009",
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{
"dateText": "4 July 2009 – 27 September 2009",
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}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
"type": "Loan-out"
}
] | Situation 2. Artstudio Hamburg 1973 | 1,973 | ARTIST ROOMS Tate and National Galleries of Scotland | 1973 | CLEARED | 4 | image: 603 × 445 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 92 51 13610 18725 118 1546 16421 88 16420 1985 17464 82 3561 493 166 195 9328 4896 9326 174 | false | artwork |
|||||||||||||||
Print on paper | [
{
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"url": "https://www.tate.org.uk/art/artists/joseph-beuys-747"
}
] | 4,078 | [
{
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] | 1,975 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Bernd Jansen Portraits Düsseldorf Art Scene Photographs 19681975 | 2,009 | Bernd Jansen: Portraits of the Düsseldorfer Kunstzene, Fotografien 1968-1975 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00713 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,975 | [] | false | 1 | 747 | paper print | [
{
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{
"dateText": "4 July 2009 – 27 September 2009",
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],
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] | Bernd Jansen: Portraits from the Düsseldorf Art Scene, Photographs 1968-1975 | 1,975 | ARTIST ROOMS Tate and National Galleries of Scotland | 1975 | CLEARED | 4 | image: 555 × 338 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 51 13610 18725 118 16421 93 1069 18685 17464 3561 1079 20118 166 195 9328 20114 4896 9326 174 9024 | false | artwork |
||||||||||||||
Print on paper | [
{
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{
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{
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] | 1,982 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | BeuysBlume Gesprach über Baume | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00714 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 429 | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,982 | [] | false | 1 | 747 | paper print | [
{
"artistRoomsTour": true,
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{
"dateText": "4 July 2009 – 27 September 2009",
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"id": 5117,
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"venueWebsiteUrl": "http://www.dlwp.com/"
}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
"type": "Loan-out"
}
] | Beuys-Blume Gesprach über Baume | 1,982 | ARTIST ROOMS Tate and National Galleries of Scotland | 1982 | CLEARED | 4 | image: 500 × 384 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 177 117 18725 16421 93 16105 88 1308 1596 221 189 493 615 166 195 9328 11148 4896 9326 18876 174 11845 158 712 1827 30 | false | artwork |
||||||||||||||
Print on paper | [
{
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}
] | 4,080 | [
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{
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{
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{
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{
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] | 1,969 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | working BEUYS FLUXUS CHRISTIANSEN FLUXUS | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00715 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 423 | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,969 | [] | false | 1 | 747 | paper print | [
{
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{
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}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
"type": "Loan-out"
}
] | working title: BEUYS (FLUXUS) & CHRISTIANSEN (FLUXUS) | 1,969 | ARTIST ROOMS Tate and National Galleries of Scotland | 1969 | CLEARED | 4 | image: 437 × 561 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 64 18725 10062 80 4347 3561 166 1861 53 9328 4896 9326 174 | false | artwork |
||||||||||||||
Print on paper | [
{
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"url": "https://www.tate.org.uk/art/artists/joseph-beuys-747"
}
] | 4,081 | [
{
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{
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{
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{
"id": 999999968,
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},
{
"id": 999999956,
"shortTitle": "Collection"
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] | 1,974 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | JOSEPH BEUYS SECRET BLOCK | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00716 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,974 | [] | false | 1 | 747 | paper print | [
{
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"dateText": "4 July 2009 – 27 September 2009",
"endDate": "2009-09-27",
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{
"dateText": "4 July 2009 – 27 September 2009",
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"id": 5117,
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}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
"type": "Loan-out"
}
] | JOSEPH BEUYS - THE SECRET BLOCK | 1,974 | ARTIST ROOMS Tate and National Galleries of Scotland | 1974 | CLEARED | 4 | image: 476 × 623 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 51 13610 18725 118 16421 93 1069 2803 32995 2310 17464 1079 166 195 654 9328 4896 9326 174 | false | artwork |
|||||||||||||||
Print on paper | [
{
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"prepend_role_to_name": false,
"role_display": "artist",
"url": "https://www.tate.org.uk/art/artists/joseph-beuys-747"
}
] | 4,082 | [
{
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{
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},
{
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},
{
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{
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},
{
"id": 999999968,
"shortTitle": "Art Fund"
},
{
"id": 999999956,
"shortTitle": "Collection"
}
] | 1,968 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Joseph Beuys und Henning Christiansen Eurasienstab | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00717 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,968 | [] | false | 1 | 747 | paper print | [
{
"artistRoomsTour": true,
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"endDate": "2009-09-27",
"exhibitionLegs": [
{
"dateText": "4 July 2009 – 27 September 2009",
"endDate": "2009-09-27",
"id": 5117,
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"venueWebsiteUrl": "http://www.dlwp.com/"
}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
"type": "Loan-out"
}
] | Joseph Beuys und Henning Christiansen. Eurasienstab | 1,968 | ARTIST ROOMS Tate and National Galleries of Scotland | 1968 | CLEARED | 4 | image: 470 × 580 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 61 67 51 18725 3381 4876 17464 1547 166 9328 4896 9326 174 | false | artwork |
|||||||||||||||
Print on paper | [
{
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"role_display": "artist",
"url": "https://www.tate.org.uk/art/artists/joseph-beuys-747"
}
] | 4,083 | [
{
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{
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{
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{
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{
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{
"id": 999999968,
"shortTitle": "Art Fund"
},
{
"id": 999999956,
"shortTitle": "Collection"
}
] | 1,981 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | DAS KAPITAL 197077 | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00718 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,981 | [] | false | 1 | 747 | paper print | [
{
"artistRoomsTour": true,
"dateText": "4 July 2009 – 27 September 2009",
"endDate": "2009-09-27",
"exhibitionLegs": [
{
"dateText": "4 July 2009 – 27 September 2009",
"endDate": "2009-09-27",
"id": 5117,
"startDate": "2009-07-04",
"venueName": "De La Warr Pavilion (Bexhill on Sea, UK)",
"venueWebsiteUrl": "http://www.dlwp.com/"
}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
"type": "Loan-out"
}
] | DAS KAPITAL 1970-77 | 1,981 | ARTIST ROOMS Tate and National Galleries of Scotland | 1981 | CLEARED | 4 | image: 598 × 479 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 51 18725 81 17464 4301 166 9328 4896 9326 174 883 3999 | false | artwork |
|||||||||||||||
Print on paper | [
{
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"date": "1921–1986",
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"prepend_role_to_name": false,
"role_display": "artist",
"url": "https://www.tate.org.uk/art/artists/joseph-beuys-747"
}
] | 4,084 | [
{
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},
{
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},
{
"id": 999999961,
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{
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{
"id": 999999967,
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},
{
"id": 999999968,
"shortTitle": "Art Fund"
},
{
"id": 999999956,
"shortTitle": "Collection"
}
] | 1,980 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Beuys is Here | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00719 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,980 | [] | false | 1 | 747 | paper print | [
{
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"exhibitionLegs": [
{
"dateText": "4 July 2009 – 27 September 2009",
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}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
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},
{
"artistRoomsTour": true,
"dateText": "26 October 2013 – 1 February 2014",
"endDate": "2014-02-01",
"exhibitionLegs": [
{
"dateText": "26 October 2013 – 1 February 2014",
"endDate": "2014-02-01",
"id": 8226,
"startDate": "2013-10-26",
"venueName": "Worcester City Art Gallery and Museum (Worcester, UK)",
"venueWebsiteUrl": null
}
],
"id": 6738,
"startDate": "2013-10-26",
"title": "ARTIST ROOMS 2013: Joseph Beuys",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "13 October 2017 – 21 January 2018",
"endDate": "2018-01-21",
"exhibitionLegs": [
{
"dateText": "13 October 2017 – 21 January 2018",
"endDate": "2018-01-21",
"id": 11192,
"startDate": "2017-10-13",
"venueName": "Leeds Art Gallery (Leeds, UK)",
"venueWebsiteUrl": "http://www.leeds.gov.uk/artgallery/"
}
],
"id": 9216,
"startDate": "2017-10-13",
"title": "ARTIST ROOMS 2017: Joseph Beuys",
"type": "Loan-out"
}
] | Beuys is Here | 1,980 | ARTIST ROOMS Tate and National Galleries of Scotland | 1980 | CLEARED | 4 | image: 414 × 281 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 18698 166 499 185 4896 9326 174 1719 445 | false | artwork |
|||||||||||||||
Print on paper | [
{
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"date": "1921–1986",
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"prepend_role_to_name": false,
"role_display": "artist",
"url": "https://www.tate.org.uk/art/artists/joseph-beuys-747"
}
] | 4,085 | [
{
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},
{
"id": 999999782,
"shortTitle": "Works with images"
},
{
"id": 999999961,
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},
{
"id": 999999788,
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},
{
"id": 999999967,
"shortTitle": "National Heritage Memorial Fund"
},
{
"id": 999999968,
"shortTitle": "Art Fund"
},
{
"id": 999999956,
"shortTitle": "Collection"
}
] | 1,980 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Beuys by Warhol Paintings Prints | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00720 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,980 | [] | false | 1 | 747 | paper print | [
{
"artistRoomsTour": true,
"dateText": "4 July 2009 – 27 September 2009",
"endDate": "2009-09-27",
"exhibitionLegs": [
{
"dateText": "4 July 2009 – 27 September 2009",
"endDate": "2009-09-27",
"id": 5117,
"startDate": "2009-07-04",
"venueName": "De La Warr Pavilion (Bexhill on Sea, UK)",
"venueWebsiteUrl": "http://www.dlwp.com/"
}
],
"id": 4293,
"startDate": "2009-07-04",
"title": "ARTIST ROOMS 2009: Joseph Beuys",
"type": "Loan-out"
}
] | Beuys by Warhol. Paintings Prints | 1,980 | ARTIST ROOMS Tate and National Galleries of Scotland | 1980 | CLEARED | 4 | image: 392 × 275 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 51 13610 18725 118 16421 93 88 17464 18736 10639 493 615 166 195 9328 20114 4896 9326 174 9024 20116 18699 | false | artwork |
|||||||||||||||
Print on paper | [
{
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"prepend_role_to_name": false,
"role_display": "artist",
"url": "https://www.tate.org.uk/art/artists/joseph-beuys-747"
}
] | 4,086 | [
{
"id": 999999779,
"shortTitle": "Tate Collection"
},
{
"id": 999999782,
"shortTitle": "Works with images"
},
{
"id": 999999961,
"shortTitle": "General Collection"
},
{
"id": 999999788,
"shortTitle": "ARTIST ROOMS"
},
{
"id": 999999967,
"shortTitle": "National Heritage Memorial Fund"
},
{
"id": 999999968,
"shortTitle": "Art Fund"
},
{
"id": 999999956,
"shortTitle": "Collection"
}
] | 1,971 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Overcome Party Dictatorship Now | 2,009 | Überwindet endlich die Parteiendiktatur | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00721 | {
"id": 4,
"meta": {
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 177 11595 67 2033 1308 18505 155 1547 606 166 128 9328 4438 4896 9326 174 52 158 867 89 | false | artwork |
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} | 436 | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 0 | [] | <p>Beuys’s Action <span>I Love America and America Loves Me</span> took place in May 1974 in a New York gallery, where he spent three days locked in a room with a live coyote. As soon as he got off the plane, he was wrapped in felt and loaded into an ambulance, then driven to the gallery without touching American soil. The Action reflected Beuys’ troubled relationship with the US and its politics. This poster was produced to advertise an exhibition of photographs of the Action shot by Beuys’ collaborator Caroline Tisdall.</p><p><em>Gallery label, November 2015</em></p> | false | 1 | 747 | paper print | [
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],
"id": 8126,
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] | Coyote | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | CLEARED | 4 | image: 594 × 839 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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Print on paper | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00734 | {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 0 | [] | false | 1 | 747 | paper print | [
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Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [] | null | false | 51 18725 88 17464 799 97 166 195 1977 5332 9328 4896 9326 174 1811 | false | artwork |
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Print on paper | [
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] | 0 | <a href="https://www.tate.org.uk/art/artists/joseph-beuys-747" aria-label="More by Joseph Beuys" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Beuys</a> | Tate Gallery actions Seven exhibitions | 2,009 | [] | ARTIST ROOMS
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 | AR00735 | {
"id": 4,
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 0 | [] | <p>For <span>Seven Exhibitions</span> at the Tate Gallery, Beuys contributed a poster with photographs of previous Actions on one side, and English translations of some of his political manifestos on the other. The video shows part of Beuys’s <span>Information Action</span>, in which Beuys responds to questions from artists Gustav Metzger and Richard Hamilton.</p><p><em>Gallery label, November 2015</em></p> | false | 1 | 747 | paper print | [
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] | Tate Gallery actions Seven exhibitions | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | CLEARED | 4 | image: 732 × 508 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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