German artist Beuys believed that art was integral to everyday life. According to Beuys his own art was shaped by an experience early in his life. As a Luftwaffe pilot during the war, he claimed that he was shot down over the Crimea and was saved by nomadic Tartars. Barely alive, he was wrapped in felt and fat which preserved his body heat and taken to safety on sledges pulled by dogs. However, this ‘incident’ was fictional, more a myth of origin and re-birth. Beuys was indeed shot down, but he was picked up by German forces. There were no longer any nomadic Tartars in the Crimea when he was there, but so fascinated was Beuys in their shamanic ways of healing, that he created this story about his own re-birth. This ‘incident’, and these particular elements, informed much of his art, which has a redemptive, mystical and ritualistic character. Central to his work were his 'Actions', which involved teaching, audience discussion and performance. The recurrent themes were social and political. Associated with the ecological movement - he was a founder member of the Green Party - he also had a strong influence on German politics.
Art in which the idea takes precedence over its manifestation in visual form. It emerged in the 1960s and was often concerned with the nature of art and the use of language.
A collective of international artists formed in 1960 by the artist George Maciunas. Their name means ‘flowing’ in Latin, and they aimed to break down barriers between art and life by staging avant-garde musical performances and anti-art events which closely involved the public.
A technique in which paper or canvas is placed over a grainy surface and rubbed with a crayon or charcoal. This was often used by Surrealist artists to create chance effects. From the French word ‘frotter’, meaning ‘to rub’.
Works in which the actions of the artist constitute the art. It is generally based around a specific event which some artists document with film or photography. Artists have experimented with performance techniques throughout the twentieth century but the term is usually applied to works from the 1960s onwards.
Introduced by the Italian art critic and curator Germano Celant in 1967, ‘arte povera’ literally translates as ‘poor art’. As a movement was concerned with eliminating the idea of art as an exclusive activity. Demonstrating openness to new materials, the artists associated with the movement rejected traditional materials such as oil paint or bronze. Instead they employed ‘valueless’ found objects and materials such as stones and soil.