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Filter Fat Corner.
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Filter Fat Corner.
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Description
Larger Image
Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at:
http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/826-05.jpg
Title
Filter
Fat
Corner
.
Creator
Beuys, Joseph (German sculptor, performance artist, and printmaker, 1921-1986)
Date
1962
Cultural Context
German
European
Style/Period
Conceptual
Theme
Sculpture (visual work)
Installations (visual works)
Symbolism (artistic concept)
Allusion
Physical chemistry
Chemistry
Physical properties
Physical sciences
Natural sciences
Science
Social issues
Societies
Anthroposophy
Human behavior
Social sciences
Sociology
Behavioral sciences
Utopias
Idealism
Subject
Sculpture
Allusions
Chemistry
Science
Interpersonal relations
Social science
Sociology
Utopias
Description
"The
work
consisted
of a
triangular
gauze
filter
stretched
across
a
corner
into
which
lumps
of
fat
had been
packed
.
Apart
from
alluding
to
physical
metamorphoses
brought
about
via
osmosis
,
processes
of
refinement
and
purification
were
evoked
. In a
sense
,
Beuys
continued
to
investigate
the
implications
of
Duchamp's
Large
Glass
. In his
notes
for the
Glass
,
Duchamp
had
imagined
subtle
transformations
of
energy
and
matter
occurring
as his
mechanical
entities
interacted.
"
(Caption
,
p.89)
; "
[Beuys]
was
fascinated
by
natural
history
,
mythology
,
alchemy
,
Paracelsus
, and
particularly
the
thought
of
Rudolf
Steiner
, the
founder
of
'Anthroposophy'
,
who
had
previously
influenced
Kandinsky's
spiritualized
abstraction
.
[…]
Steiner's
1923
lectures
'About
Bees'
provided
Beuys
with an
idiosyncratic
aesthetic
starting-point
.
Steiner
had
seen
the
bee
colony
as a
model
for
human
development
. Its
ability
to
generate
the
molten
fatty
material
of
wax
and
thence
to
produce
the
crystallized
system
of
honeycombs
became
a
trigger
for
Beuys's
process-oriented
sculptural
theory
which
involved
an
interplay
between
fluid
and
fixed
principles
,
governed
by
permutations
of
heat
. This in
turn
would
reflect
for him the
transformative
potential
of
human
beings
and
inform
his
later
utopian
concept
of
'social
sculpture'
in
which
public
dialogue
itself
became
the
means
of
dissolving
cold
,
entrenched
forms
. His
'lectures'
,
involving
convoluted
diagrams
scrawled
on
blackboards
, would
eventually
constitute
the
core
of his
practice
.
[…]
In
physical
terms
, his
thought
is
well
illustrated
by
Filter
Fat
Corner
of
1963
. In what
is
essentially
an
installation
, the
ambient
room
temperature
is
enlisted
as the
means
of
potentially
liquefying
a
mass
wedged
into an
inescapable
geometric
structure
. The
symbolism
may
seem
literal
but
Beuys's
inventiveness
as a
sculptor
should not be
underestimated.
"
(Excerpt
,
pp.88-89)
Location Depicted
Germany
Dusseldorf (Germany)
Material
Fat
Gauze
Mixed media
Work Type
Sculpture
Installations (visual works)
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.89, fig.43)
Rights
© DACS 2000. Photograph taken in the artist's studio in Düsseldorf by Eva Beuys-Wurmbach (not preserved).
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
826-05.jpg
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