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Joseph Beuys (German, 1921-1986), Fat Chair, 1964 Felt Suit, 1970.

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Presentation on theme: "Joseph Beuys (German, 1921-1986), Fat Chair, 1964 Felt Suit, 1970."— Presentation transcript:

1 Joseph Beuys (German, 1921-1986), Fat Chair, 1964 Felt Suit, 1970

2 Joseph Beuys: How to Explain Paintings to a Dead Hare, Performance on Nov. 26, 1965.

3 Joseph Beuys, The Pack (2 views), 1969. Volkswagen bus with twenty-four wooden sleds, each with felt, flashlight, fat and stamped with brown oil paint

4 Beuys, Honey Pump at the Workplace for Documenta, 1977, electric motors pumped honey through a gigantic assemblage of pipes in the stairwell of the Museum, symbolizing the circulation of life and flowing energy.

5 Joseph Beuys, I love America and America Loves Me, performance,1972

6 (left) Beuys lecturing in New York, 1974 Joseph Beuys, Action Piece, 26-6 February 1972; presented as part of seven exhibitions held at the Tate Gallery 24 February - 23 March 1972 "Man is only truly alive when he realizes he is a creative, artistic being."

7 Louise Bourgeois (French American b. 1911), Photoportrait by Robert Mapplethorpe; (right) Fillette, 1968, latex, 24in. H

8 Bourgeois with sculpture on roof of NY apartment building, c.1944 (center) Femme Maison (Woman House) 1947, ink on paper (right) The Listening One 1947-9. bronze (cast in the late 1980s)

9 Alberto Giacometti (Swiss Surrealist, 1901-1966), Suspended Ball, 1930-31, Surrealist sculpture, plaster and metal; (left below) Jean Arp (Alsace-born French, 1886-1966), Head with 3 Annoying Objects, 1930; (right) Bourgeois, The Destruction of the Father, 1974, Plaster, Latex, wood & fabric, 93/142/97”

10 (left) Bourgeois. Soft Landscape, 1967, plastic (right) Bourgeois, Janus Fleuri, 1968, bronze,10 in H (left below) Giacometti, Spoon Woman (Femme cuillère), 1926, Bronze, 56 in. H

11 Bourgeois, Spider, steel and mixed media, 1996

12 Bourgeois, Maman, 35 ft H, Tate London, 1999


14 Eva Hesse (Germany 1936 – US 1970, 34 years), Metronomic Irregularity, 1966

15 Eva Hesse (left) Accession II 1967 galvanized steel, rubber tubing, c. 30”square Hesse with Accession II in 1968

16 Hesse, 1970. Fiberglass over polyethylene over aluminum wire. 7 units each 78 in. x 40 in. Berkeley: University Art Museum

17 Hesse in New York apartment holding Ingeminate, 1966; Hesse Ingeminate 1965, surgical hose, papier-mâché, cord and sprayed enamel over balloons (detail)

18 Hesse, notebook page, 1965-66; Hang Up, acrylic on wood, cloth, steel, 1966

19 Hesse Sans II 1968 fiberglass polyester resin 5units each 38inH Donald Judd, Untitled, 1964

20 Hesse, Repetition Nineteen III, fiberglass and polyester resin, 1968

21 Hesse, Contingent, 8 units, fiberglass and latex over cheesecloth, 1968

22 Hesse, Rope Piece, 1979

23 Compare Eva Hesse, 1969, with Marcel Duchamp, Sixteen Miles of String, 1942 (part of his installation for the First Papers of Surrealism, Guggenheim’s Art of this Century gallery, NY)

24 Lygia Clark, 1958, Rio de Janeiro

25 (left) Lygia Clark, Relief Painting with Yellow Square, oil, 1957, 30 in. H Brazilian Neoconcretism compare: Kasimir Malevich, Suprematism, White on White, 1918

26 Lygia Clark, Sundial, 1960, 3 views, Neoconcretism compare with (LR) Max Bill, 1947-8 Tripartite Unity, Concretism

27 Lygia Clark, Machine Animal (Bicho), 1962, aluminum, 55x65, Sao Paulo

28 Lygia Clark, Rubber Grub, 1964 (1986), rubber, 56 in.H Museo de Arte Moderna do Rio de Janeiro

29 Lygia Clark, Mandala, from the series, Collective Body, 1959, Elastic bands linking people at their writsts or ankles

30 Lygia Clark, Air & Stone (Multiple) 1966, inflated plastic bag and stone

31 (left) Lygia Clark, Mask with Mirrors, 1967; (below) Dialogue, 1968 The mask holds small movable mirrors in front of the eyes, juxtaposing and fracturing reflections of the self and the surrounding world. (right) Clark, Sensorial Gloves, 1968. Part of Nostalgia of the Body series. Gloves are made of various materials, sizes and textures. Participants use the many combinations of gloves and balls of different sizes, textures and weights, and then hold the balls again with bare hands. Purpose is to rediscover touch.

32 Lygia Clark, Individual Therapy with Relational Objects, Rio de Janeiro, 1975

33 Lygia Clark and Helio Oiticica, Dialogue for Hands, 1966 elastic Möbius band Elastic Möbius band “Helio and I are like a glove. He is the outside of the glove, very much linked to the exterior world. I am the inside. And the two of us exist from the moment there is a hand which puts on the glove” Clark

34 (left) Hélio Oiticica (Brazil, 1937-1980), White Crossing Red – Metaschema 1968, oil, 21 in. H; compare Piet Mondrian, Tableau, 1921, Neoplasticism

35 Hélio Oiticica, Spatial Relief, 1959, synthetic polymer paint on wood, 38x48x8” compare (right) Alexander Rodchenko 1891-1956, Spatial Relief, 1920, Russian Constructivism

36 Helio Oiticica, Glass BolidePortuguese word for fireball or flaming meteor 4 Earth, 1964, Glass, earth, and painted gauze

37 Helio Oiticica, Box Bolide, 1964, painted wood and glass, 20 in H, Rio de Janeiro

38 Hélio Oiticica, Tropicalia, 1967, installation exhibited in the New Brazilian Objectivity exhibition at the Museu de Arte Moderna in Rio de Janeiro

39 Helio Oiticica, Nildo, of the Mangueira samba group, wearing Parangolés, 1964

40 Helio Oiticica, Mosquito of Mangueira wearing Cape 6 (Paragole 10), 1965, and dancing with Glass Bolide 5 (Homage to Mondrian), 1964

41 This entire experience into which art flows, the issue of liberty itself, of the expansion of the individual's consciousness, of the return to myth, the rediscovery of rhythm, dance, the body, the senses, which finally are what we have as weapons of direct, perceptual, participatory knowledge... is revolutionary in the total sense of behavior. (Oiticica)

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