ROBERT POLLOCK

ARH2051: Art History II

Mon. and Wednesday 2:30

Apprentice Journal: Joseph Beuys

Wednesday June 15, 1977

A piano, blackboard, and thermometer placed in a room composed of felt . . .

what does this mean? I hear many explanations from the self-proclaimed experts -

those who like to believe they possess some special genius and have a right to

explain the meanings of art to us poor dumb people. For me, their explanations are

contrived and exemplify a limited intelligence - their undeveloped brains can’t

understand composition without some kind of concrete meaning. However, at

times, I am guilty of limited intelligence and therefore need explanation as well. In

my need for explanation I’ve applied for an apprenticeship with one of the most

debated, discussed, praised, and persecuted modern artist – Joseph Beuys.

A week ago I received a letter of acceptance from Mr. Beuys himself. In two

days I leave for Germany to meet with him and begin a time of artistic growth –

hopefully I will not just be learning how to make coffee.

Thursday June 16, 1977

Tomorrow I leave for Germany. I want to make sure I know the proper

pronunciation of Beuys. It’s BO (o in Boyardee) slight EH-SS . . . Beuys is almost like

BOYS except with a hint of EH after the O. I’m very nervous, yet excited to meet

him. Also, I did the usual boring research like birth date - May 12th, 1921. A weird

“coincidence” of a creepy nature occurred while I was out today. I was walking

down the street and an old weird “gypsYesque” woman approached me. She told

me that Mr. Beuys will die on January 23, 1986, which means he will live to be 65 if

you believe in the future telling power of old “gypsYesque” woman – I’m not sure.

Mr. Beuys was born in Krefeld, Germany, but he grew up in Kleve. He started to

study medicine in 1940 only to be so rudely interrupted by a bunch of dam fools and

their world warring (WWII). So, he was a fighter pilot in the Luftwaffe, I’ll have to

remember to ask him about that some time.

Should I tell him about the possibility that I know the date he will die?

Hummmm . . . probably not with the whole paradox thing and what not.

Friday June 17, 1977

I landed in Düsseldorf after about 10 hrs, which meant it was 4 pm local time. I

was surprised to see Mr. Beuys had come to greet me in person. He was waiting for

me at the gate in his classic fishing vest and hat. “Willkommen!” he said. “We have

much work to do before the start of Documenta.” We hurried along and took the

subway to his studio in Düsseldorf. On the subway we talked about DOCUMENTA 6,

which is an event held every 5 years in Kassel Germany. He told me that I will be

working with many of his students from his school. “Ihre Schule (Your school)?” I

asked. He told me about leaving the Kunstakademie Düsseldorf (Düsseldorf Art

Academy ) in 1972 where he had been a professor of monumental sculpture since

1961. He said “The academy was restricting people to enter, how can they decide

who is or is not an artist? Every human being is an artist,” he passionately stated.

So, in 1974 he and a poet named Heinrich Böll founded the Free International

University for Creativity and Interdisciplinary Research (FIU).

cont . . .

- cont. Friday June 17, 1977 -

At the studio I found many other students of Beuys’s school as well as many

politically motivated “characters”. Beuys is very politically active - to say the least -

and has founded many political organizations. I am starting to get the feeling that

Beuys believes art and politics are interrelated and hope to discuss this with him

further.

Saturday June 18, 1977

Today we (the other apprentices and I) spent the day moving honey – two tons

of it. Mr. Beuys’s is “showing/installing” a piece at Documenta 6, which is an

international exhibition of contemporary art held every 5 years in Kassel Germany.

He calls the piece “Honey Pump in the Workplace” and it represents Beuys’s

affection for using honey as a medium. The piece is composed of mechanical pumps

(lubricated with over 200 pounds of margarine) that move the two tons of honey

throughout the rooms of the Museum Fridericianum via 17 meters of plastic tubing.

“Honey Pump in the Workplace” is exactly the kind of art that I wanted to

experience. I don’t really understand and I’m excited to get an explanation from Mr.

Beuys. Before we start to install the piece, Mr. Beuys gathered us and provided

insight pertaining to the piece.

cont . . .

- cont. Saturday June 18, 1977 -

For Beuys, the honey absorbs warmth and energy that will symbolize the

creative energy released by the social interactions of the participants of those at the

exposition. Beuys explains:

The Honey Pump is not only conceivable as a thing, as a machine or sculpture.

Actually humans belong to this project, which then provide the Honey Pump

with potentialities of certain human principles – but ultimately it is a

mechanism and can only be accurate in a figurative sense – to illustrate for

example circulation processes in sign like form. (Beuys pp. 53-55)

I certainly understand and appreciate Mr. Beuys’s brilliance, but I’m still nagged by

the question: what is art? If art is to be a message, should it not be visceral? I look

forward to discussing this further with Mr. Beuys.

Sunday June 19, 1977

Today I asked Mr. Beuys the one question I always ponder over when thinking

about art. If you have to explain it is it art? Should art have and instinctual/visceral

reaction, is it not just convolution when it has to be explained? And convoluted is

opposite of truth and natural beauty is it not?

First he looked at me with curiosity, as I must have seemed like an alien from

another planet talking in some language he had never heard. Then he said:

[Art] means nothing; at least it means nothing until you understand meaning.

Because art is not there to be under[stood]. Art is a thing where you have to

identify yourself because elements of the creativity, which also exists in you,

in your being that means all of the yous of the senses (sic - that means all of your

senses?). (Joseph Beuys (Part 5/7))

Art is not there to provide knowledge in direct ways. It produces deepened

perceptions of experience. . . . Art is not there to be simply understood, or we

would have no need of art. (Rekow )

Monday June 20, 1977

I’m learning many things just from being exposed to Beuys and his environment.

One important fact to mention is that I’ve learned that an artist must create his own

“mythology”. Beuys never told me this directly and I’m not sure that he purposely

created his own mythology, but it’s very present. From the way he dresses to his

creed that every person is an artist, Beuys has created an easily identifiable icon that

sticks with anyone who has been exposed to him or his œuvre. Perhaps one of his

most useful devices is the story of him being shot down and rescued by the nomadic

tribe called the tartars. Beuys claims the tribe found him in the wreck and took him

to their village while they nursed him back to health. They used felt blankets and fat

to keep him warm and it is theorized by many that this is why the use of felt and fat

are prevalent in his works. However, many disclaim Beuys story and say that he was

found by his comrades and taken to a military hospital to recover.

Tuesday June 21, 1977

Today Mr. Beuys gathered us together for an announcement. He told us that he

just found out that the Solomon R. Guggenheim Museum in New York would like to

do a retrospective of his work sometime in 1979. This is great news for Mr. Beuys

and a needed validation of his work.

Many times I think “modern art” is just a bunch of frauds - pompous people

trying to be “artistic” and show that they process some kind of mystical intelligence.

But after spending some time with Beuys I’ve changed my thoughts somewhat. Of

course there will always be frauds, but I believe Beuys is definitely not one. He

absolutely has a message and his art is very purposely executed and thought-out.

cont . . .

- cont. Tuesday June 21, 1977 -

After his announcement I talked with Beuys about what is most important to

him in regards to his art and the message(s) it portrays. He shared his belief that

artists had more responsibilities than simply creating objects of visual interests. He

re-declared “Everybody is an artist” (Joseph). This belief is the basis of a concept he

calls social sculpture – the concept that society as a whole should be regarded as

one great work of art and every person contributes to. "Art is," he said, "a genuinely

human medium for revolutionary change in the sense of completing the

transformation from a sick world to a healthy one" (Quartetto).

cont . . .

- cont. Tuesday June 21, 1977 -

Before the end of the day he discussed an idea that has been on his mind for

some time and his hopes of one day seeing it through. His idea involves the planting

of trees – 7000 of them throughout Kassel Germany. Each would also have an

accompanying basalt stele as a marker. He discussed the symbolism of the growing

trees – always changing – and the solid stone coexisting harmoniously together,

which is a basic concept of his philosophy. He also explained how the community

would have to come together to discuss the placement of the trees which would

intern create debate and conversations as to the impact of city planning and its

meaning for future generations. “That’s social sculpture,” he said.

Works Cited

Beuys, Joseph, and Volker Harlan. What Is Art?: Conversation with Joseph Beuys.

Trans. Matthew Barton and Shelley Sacks. Forest Row: Clairview Books, 2004

“Joseph Beuys.” Tate Modern. 5 May 2005. Tate Online. 10 Mar. 2010 <http://www.

tate.org.uk/modern/exhibitions/beuys/transcripts.shtm>

Joseph Beuys (Part 5/7). Nigel Finch. Arena, 1987. <http://www.youtube.com/

watch?v=zajVX_nPufU&feature=related>

“Joseph Beuys and his 7000 Oaks.” Walkerart. Walker Art Center. 10 Mar. 2010

<http:

//www.walkerart.org/archive/E/A24315825E9BEAE26130.htm>

Rekow, Emily. “Actions.” Walkerart. Walker Art Center. 10 Mar. 2010 <http://www.

walkerart.org/archive/5/9D43B5DB685147C46167.htm

Quartetto, exhibition catalog, Arnoldo Mondadori Editore, 1984, Milano, p. 106

Mr. Beuys and I discuss the assembly of “Honey Pump”.

Mr. Beuys and I at two of his lectures.

Playing Beuys’ Piano – Great Tone.