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After the World War Two, the German society was only devoted to the economic reconstruction work while keeping a distance from socio-political reality, which trend was also the same with German art academies. The Dusseldorf art academy where Beuys majored in sculpture also turned their back on political pending issues and emphasized the time-honored consciousness of tradition and self-regulation quality, instead.
However, the German society during the 1960s, when Beuys worked as an academy Professor, demanded a new drive for a social change triggered by the postwar first generation college student movement indeed. Beuys shared opinions openly with the students while giving ear to their voice and its phase developed into a discussion and lecture meeting, which later was to be a great weight on Beuys's work. In addition, Beuys led the students' extremely progressive desires into his reformatory program, and displayed Fluxus's performing art to demonstrate his image as an avant garde artist and innovative educator. By taking this opportunity, he came to get the limelight from not only the art academy circles but the general public.
From the latter part of the 1960s, Beuys launched out for founding "Germany Student Party", "Organization of Direct Democracy through a national referendum", and "Free International University" in order to form a counterforce, at which students were aiming out of the Parliament.
However, these organizations were just conceptual projects which weren't equipped with organizing potential and programs enough to actually exercise a concrete their capacity. Nevertheless, Beuys left no stone unturned to make these activities known to the world by holding home and overseas exhibitions and doing performing art, as weil as having interviews with the press. As a result, he was becoming popular. Particularly, after dismissed from the professorship in 1972, Beuys, much like the words "Blessing in disguise", came to meet the turning point to become a internationally renowned artist from an academy professor.
In these contexts, we cannot ignore the fact that Beuys made a positive use of his position of an academy professor and his image as an educator for his penalty of popularity.
In other words, the art academy had been a kind of long-time-cherished elite sanctuary for men and likewise, an academy professor was a profession which the conservative German society had acknowledged as stable and hierarchial.
Consequently, Beuys's radical ideology and sensational behavior came under big criticism due to the position of an academy professor, which aspect Beuys didn't miss to take another opportunity for his career. However, along with this, what he emphasized was the image of an educator to secure students' confidence and convey truth on the lecturing podium. Above all, his lecture meeting using a blackboard and discussion meeting were sure great enough to imprint an affirmative image of an educator, leading others into having a dream for the future. Of course, not only his knowledgeable expertise but also his strong energetic features full of charisma played a great part in such activities. To sum up, Beuys managed to agilely grasp the unique social context of the postwar German society and make a positive use of his academy professorship, finally laying a foundation for "social sculpture" along with "art as an impetus to life"-"expanded concept of art."
However, the German society during the 1960s, when Beuys worked as an academy Professor, demanded a new drive for a social change triggered by the postwar first generation college student movement indeed. Beuys shared opinions openly with the students while giving ear to their voice and its phase developed into a discussion and lecture meeting, which later was to be a great weight on Beuys's work. In addition, Beuys led the students' extremely progressive desires into his reformatory program, and displayed Fluxus's performing art to demonstrate his image as an avant garde artist and innovative educator. By taking this opportunity, he came to get the limelight from not only the art academy circles but the general public.
From the latter part of the 1960s, Beuys launched out for founding "Germany Student Party", "Organization of Direct Democracy through a national referendum", and "Free International University" in order to form a counterforce, at which students were aiming out of the Parliament.
However, these organizations were just conceptual projects which weren't equipped with organizing potential and programs enough to actually exercise a concrete their capacity. Nevertheless, Beuys left no stone unturned to make these activities known to the world by holding home and overseas exhibitions and doing performing art, as weil as having interviews with the press. As a result, he was becoming popular. Particularly, after dismissed from the professorship in 1972, Beuys, much like the words "Blessing in disguise", came to meet the turning point to become a internationally renowned artist from an academy professor.
In these contexts, we cannot ignore the fact that Beuys made a positive use of his position of an academy professor and his image as an educator for his penalty of popularity.
In other words, the art academy had been a kind of long-time-cherished elite sanctuary for men and likewise, an academy professor was a profession which the conservative German society had acknowledged as stable and hierarchial.
Consequently, Beuys's radical ideology and sensational behavior came under big criticism due to the position of an academy professor, which aspect Beuys didn't miss to take another opportunity for his career. However, along with this, what he emphasized was the image of an educator to secure students' confidence and convey truth on the lecturing podium. Above all, his lecture meeting using a blackboard and discussion meeting were sure great enough to imprint an affirmative image of an educator, leading others into having a dream for the future. Of course, not only his knowledgeable expertise but also his strong energetic features full of charisma played a great part in such activities. To sum up, Beuys managed to agilely grasp the unique social context of the postwar German society and make a positive use of his academy professorship, finally laying a foundation for "social sculpture" along with "art as an impetus to life"-"expanded concept of art."
목차
Ⅰ. 들어가는 말
Ⅱ. 시대적 배경
Ⅲ. 아카데미교수로서의 보이스 활동
Ⅳ. 나오는 말
참고문헌
Abstract
참고문헌 (18)
참고문헌 신청
1. [학술지(정기간행물)] - Karin Thomas / k？ln1981 / Joseph Beuys Leben und Werk
2. [학술지(정기간행물)] - Angerbauer-Rau / 1998 / Ein Lexikon zu den Gespr？chen von Joseph Beuys
3. [학술지(정기간행물)] - Buschk?hle / 1997 / zur Kunst als Kunstp？dagogik bei Joseph Be
4. [학술지(정기간행물)] - Fritz, Nicole / 2002 / Bewohnte Mythen Joseph Beuys und der Aberglaube, Diss
5. [학술지(정기간행물)] - Christine / / Stationen seiner ？ffentlichen Resonanz in Deutschland 1905-1960
2. [학술지(정기간행물)] - Angerbauer-Rau / 1998 / Ein Lexikon zu den Gespr？chen von Joseph Beuys
3. [학술지(정기간행물)] - Buschk?hle / 1997 / zur Kunst als Kunstp？dagogik bei Joseph Be
4. [학술지(정기간행물)] - Fritz, Nicole / 2002 / Bewohnte Mythen Joseph Beuys und der Aberglaube, Diss
5. [학술지(정기간행물)] - Christine / / Stationen seiner ？ffentlichen Resonanz in Deutschland 1905-1960
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