bmwbiker
March 2nd, 2010, 12:13 PM
http://upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Beuys-Feldman-Gallery.jpg/220px-Beuys-Feldman-Gallery.jpg
Joseph Beuys (German pronunciation: [ˈjoːzɛf ˈbɔʏs]; May 12, 1921, Krefeld – January 23, 1986, Düsseldorf) was a German performance artist, sculptor, installation artist, graphic artist, art theorist and pedagogue of art.
His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate, even acrimonious public debate, but he is now regarded as one of the most influential artists of the 20th century
As of 1936, Beuys' membership in the Hitler Youth is documented; the organization comprised a large majority of German children and adolescents at that time and later that year membership became compulsory. He participated in the Nuremberg rally in September 1936, when he was 15 years old.
In 1941, Beuys volunteered for the Luftwaffe.[5] He began his military training as an aircraft radio operator in 1941, under the tutelage of Heinz Sielmann in Poznań (then "Posen") and they both attended lectures in Biology and Zoology at the University of Posen, at that time a Germanized University. It is also during this time that he began to seriously consider a career as an artist[citation needed].
In 1942 Beuys was stationed in the Crimea and was a member of various combat bomber units. From 1943 on he was deployed as rear-gunner in the iconic Ju 87 "Stuka" dive-bomber, initially stationed in Königgrätz, later in the eastern Adriatic region. Drawings and sketches from that time have been preserved and already show his characteristic style.[1] On 16 March 1944 Beuys’s plane was shot down on the Crimean Front and crashed close to Znamianka, (then "Freiberg"). Beuys’s subsequent recount (1979) of the event became one of the most controversial aspects of his artistic persona. He claimed having been rescued from the crash by nomadic Tatar tribesmen, who had wrapped his broken body in animal fat and felt and nursed him back to health:
“Had it not been for the Tartars I would not be alive today. They were the nomads of the Crimea, in what was then no man’s land between the Russian and German fronts, and favoured neither side. I had already struck up a good relationship with them, and often wandered off to sit with them. ‘Du nix njemcky’ they would say, ‘du Tartar,’ and try to persuade me to join their clan. Their nomadic ways attracted me of course, although by that time their movements had been restricted. Yet it was they who discovered me in the snow after the crash, when the German search parties had given up. I was still unconscious then and only came round completely after twelve days or so, and by then I was back in a German field hospital. So the memories I have of that time are images that penetrated my consciousness. The last thing I remember was that it was too late to jump, too late for the parachutes to open. That must have been a couple of seconds before hitting the ground. Luckily I was not strapped in – I always preferred free movement to safety belts… My friend was strapped in and he was atomized on impact – there was almost nothing to be found of him afterwards. But I must have shot through the windscreen as it flew back at the same speed as the plane hit the ground and that saved me, though I had bad skull and jaw injuries. Then the tail flipped over and I was completely buried in the snow. That’s how the Tartars found me days later. 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 warmth in.” [6]
While apparent eyewitnesses acknowledge that the pilot died shortly after the crash, they note that Beuys was conscious, recovered by a German search commando, and there were no Tatars in the village at that time.[7] Beuys was brought to a military hospital where he stayed for three weeks from March 17 to April 7.[8] It is not inconsistent with Beuys' work that his biography would have been subject to his own reinterpretation;[9] this particular story has served as a powerful myth of origins for Beuys’s artistic identity, as well as providing an initial interpretive key to his use of unconventional materials, amongst which felt and fat were central.
Despite prior injuries, he was deployed to the Western Front in August 1944, into a poorly equipped and trained paratrooper unit.[1] He received the German Wound Badge in gold for being wounded in action more than five times. On the day after the German unconditional surrender on May 8, 1945, Beuys was taken prisoner in Cuxhaven and brought to a British internment camp from which he was released August 5 of that year. He returned to his parents who had moved to a suburb of Kleve.
After war he gone to university...intresting thing about him is that he loved old German gods ....
Joseph Beuys (German pronunciation: [ˈjoːzɛf ˈbɔʏs]; May 12, 1921, Krefeld – January 23, 1986, Düsseldorf) was a German performance artist, sculptor, installation artist, graphic artist, art theorist and pedagogue of art.
His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate, even acrimonious public debate, but he is now regarded as one of the most influential artists of the 20th century
As of 1936, Beuys' membership in the Hitler Youth is documented; the organization comprised a large majority of German children and adolescents at that time and later that year membership became compulsory. He participated in the Nuremberg rally in September 1936, when he was 15 years old.
In 1941, Beuys volunteered for the Luftwaffe.[5] He began his military training as an aircraft radio operator in 1941, under the tutelage of Heinz Sielmann in Poznań (then "Posen") and they both attended lectures in Biology and Zoology at the University of Posen, at that time a Germanized University. It is also during this time that he began to seriously consider a career as an artist[citation needed].
In 1942 Beuys was stationed in the Crimea and was a member of various combat bomber units. From 1943 on he was deployed as rear-gunner in the iconic Ju 87 "Stuka" dive-bomber, initially stationed in Königgrätz, later in the eastern Adriatic region. Drawings and sketches from that time have been preserved and already show his characteristic style.[1] On 16 March 1944 Beuys’s plane was shot down on the Crimean Front and crashed close to Znamianka, (then "Freiberg"). Beuys’s subsequent recount (1979) of the event became one of the most controversial aspects of his artistic persona. He claimed having been rescued from the crash by nomadic Tatar tribesmen, who had wrapped his broken body in animal fat and felt and nursed him back to health:
“Had it not been for the Tartars I would not be alive today. They were the nomads of the Crimea, in what was then no man’s land between the Russian and German fronts, and favoured neither side. I had already struck up a good relationship with them, and often wandered off to sit with them. ‘Du nix njemcky’ they would say, ‘du Tartar,’ and try to persuade me to join their clan. Their nomadic ways attracted me of course, although by that time their movements had been restricted. Yet it was they who discovered me in the snow after the crash, when the German search parties had given up. I was still unconscious then and only came round completely after twelve days or so, and by then I was back in a German field hospital. So the memories I have of that time are images that penetrated my consciousness. The last thing I remember was that it was too late to jump, too late for the parachutes to open. That must have been a couple of seconds before hitting the ground. Luckily I was not strapped in – I always preferred free movement to safety belts… My friend was strapped in and he was atomized on impact – there was almost nothing to be found of him afterwards. But I must have shot through the windscreen as it flew back at the same speed as the plane hit the ground and that saved me, though I had bad skull and jaw injuries. Then the tail flipped over and I was completely buried in the snow. That’s how the Tartars found me days later. 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 warmth in.” [6]
While apparent eyewitnesses acknowledge that the pilot died shortly after the crash, they note that Beuys was conscious, recovered by a German search commando, and there were no Tatars in the village at that time.[7] Beuys was brought to a military hospital where he stayed for three weeks from March 17 to April 7.[8] It is not inconsistent with Beuys' work that his biography would have been subject to his own reinterpretation;[9] this particular story has served as a powerful myth of origins for Beuys’s artistic identity, as well as providing an initial interpretive key to his use of unconventional materials, amongst which felt and fat were central.
Despite prior injuries, he was deployed to the Western Front in August 1944, into a poorly equipped and trained paratrooper unit.[1] He received the German Wound Badge in gold for being wounded in action more than five times. On the day after the German unconditional surrender on May 8, 1945, Beuys was taken prisoner in Cuxhaven and brought to a British internment camp from which he was released August 5 of that year. He returned to his parents who had moved to a suburb of Kleve.
After war he gone to university...intresting thing about him is that he loved old German gods ....