Editing Joseph Beuys (section)

==Biography==
=== Childhood and early life in the Third Reich (1921–1941) ===
Joseph Beuys was born in [[Krefeld|Krefeld, Germany]], on 12 May 1921, to Josef Jakob Beuys (1888–1958), a merchant, and Johanna Maria Margarete Beuys née Hülsermann (1889–1974). Soon after his birth, the family moved from Krefeld to [[Kleve]], an industrial town in Germany's Lower Rhine region, close to the Dutch border. Beuys attended primary school at the ''Katholische Volksschule'' and secondary school at the ''Staatliches Gymnasium Cleve'' (now the ''Freiherr-vom-Stein-Gymnasium''). While in school he developed skills in drawing and took lessons in piano and cello. Other interests included the natural sciences, as well as Nordic history and mythology. By his own account, when the [[Nazi Party]] staged [[Nazi book burnings|their book-burning]] in [[Kleve]] on 19 May 1933 in his school courtyard, he salvaged the book ''[[Systema Naturae]]'' by [[Carl Linnaeus]] "... from that large, flaming pile".<ref name="Adriani_79">[[Adriani, Götz]], Winfried Konnertz, and Karin Thomas (1979) ''Joseph Beuys: Life and Works''. Trans. Patricia Lech. Woodbury, N.Y.: Barron's Educational Series.</ref>

In 1936, Beuys was a member of the [[Hitler Youth]]; the organization at that time included a large majority of German children and adolescents, and later that year membership became compulsory. He participated in the [[Nuremberg rally]] in September 1936. He was 15 years old at the time.<ref name=r1/>

Given his early interest in natural sciences, Beuys had considered a career in medical studies, but in his last years of school he became interested in pursuing a career in sculpture, possibly influenced by pictures of [[Wilhelm Lehmbruck]]'s sculptures.<ref>Schirmer, Lothar (ed.) (2006) ''Mein Dank an Lehmbruck. Eine Rede''. Schirmer/Mosel, München, p. 44. {{ISBN|978-3-8296-0225-9}}</ref> In around 1939 he began working part-time at a circus, where his responsibilities included posturing and taking care of animals. He held the job for about a year.<ref name="Ermen_07">Ermen, Reinhard (2007) ''Joseph Beuys''. Rowohlt-Taschenbuch-Verlag. p. 11</ref> He graduated from school in the spring of 1941, having successfully earned his ''[[Abitur]]''.

=== World War II (1941–1945) ===
Although he finally opted for a career in medicine,<ref>{{cite web|title=Joseph Beuys|url=https://www.theartstory.org/artist/beuys-joseph/|access-date=28 July 2022}}</ref> in 1941, Beuys volunteered for the ''[[Luftwaffe]]'',<ref>The implications are ambiguous. Germany had been at war since September 1939, military service was mandatory, and volunteering was one way to influence deployment.</ref> and began training as an aircraft radio operator under the tutelage of [[Heinz Sielmann]] in Posen, Poland (now [[Poznań]]). They both attended lectures on biology and zoology at the [[Adam Mickiewicz University|University of Posen]], at that time a [[Universities in the Third Reich#Germanized universities|Germanized university]]. During this time he began to consider pursuing a career as an artist.<ref>{{Cite journal|last=Adams|first=David|date=2014|title=Joseph Beuys: Pioneer of a Radical Ecology|url=http://www.tandfonline.com/doi/abs/10.1080/00043249.1992.10791563|journal=Art Journal|language=en|volume=51|issue=2|pages=26–34|doi=10.1080/00043249.1992.10791563|issn=0004-3249}}</ref>

In 1942, Beuys was stationed in the [[Crimea]] and was a member of various combat bomber units. From 1943 onward, he was deployed as rear-gunner in a [[Junkers Ju 87|Ju 87]] "Stuka" dive-bomber, initially stationed in [[Königgrätz]], later moving to the eastern [[Adriatic Sea|Adriatic region]]. Drawings and sketches from this time have been preserved, and his characteristic style is evident in this early work.<ref name="Adriani_79"/> 
On 16 March 1944, Beuys's plane crashed on the [[Crimean Offensive|Crimean Front]] close to Znamianka, then Freiberg [[Krasnohvardiiske Raion]].<ref>Pasik, Yakov (19 April 2006). [http://evkol.ucoz.com/crimea_communes.htm Еврейские поселения в Крыму (1922–1926)]. ucoz.com</ref> Drawing from this incident, Beuys fashioned the myth that he was rescued from the crash by nomadic [[Crimean Tatars|Tatar tribesmen]], who wrapped his broken body in animal fat and felt and nursed him back to health:

<blockquote>"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."<ref>[[#Tisdall|Tisdall]], pp. 16–17.</ref></blockquote>

Records state that Beuys remained conscious, was recovered by a German search commando, and that there were no Tatars in the village at the time. Beuys was brought to a military hospital where he stayed for three weeks, from 17 March to 7 April.<ref>Ermen, Reinhard (2007) ''Joseph Beuys''. Rowohlt-Taschenbuch-Verlag. p. 153.</ref> It is consistent with Beuys's work that his biography would have been subject to his own reinterpretation;<ref>For a detailed account see Nisbet, "Crash Course – Remarks on a Beuys Story" in [[#Ray|''Mapping the Legacy'']].</ref> this particular story has served as a powerful origin myth for Beuys's artistic identity, and has provided an initial interpretive key to his use of unconventional materials, amongst which felt and fat were central.<ref>For a recent analysis of the reception of this story, see Krajewski, [[#Krajewski|''Beuys. Duchamp'']]</ref>

Despite prior injuries, he was deployed to the [[Western Front (World War II)|Western Front]] in August 1944, assigned to a poorly-equipped and trained [[7th Parachute Division (Germany)|paratrooper unit]].<ref name="Adriani_79" /> He received a gold [[Wound Badge]] for having been wounded in action over five times. On the day after the [[Victory in Europe Day|German unconditional surrender]] (8 May 1945), Beuys was taken prisoner in [[Cuxhaven]] and brought to a British [[internment camp]] from which he was released three months later, on 5 August. He returned to his parents who had moved to a suburb of [[Kleve]].

=== Studies and beginnings (1945–1960) ===
{{more citations needed section|date=May 2017}}
After returning to [[Kleve]], Beuys met local sculptor Walter Brüx and painter Hanns Lamers, who encouraged him to take up art as a full-time career. He joined the Kleve Artists Association, which had been established by Brüx and Lamers. On 1 April 1946, Beuys enrolled in the monumental sculpture program at the [[Kunstakademie Düsseldorf|Düsseldorf Academy of Fine Arts]]. Initially he was assigned to the class of [[Joseph Enseling]], who had a more traditional, representational focus,<ref name="Adriani_79"/> but he managed to change his mentor after three semesters, joining the small class of [[Ewald Mataré]] in 1947, who had rejoined the academy the previous year, after having been banned by the Nazis in 1939. The [[anthroposophical]] philosophy of [[Rudolf Steiner]] became an increasingly important basis for Beuys's philosophy. In his view it is "...an approach that refers to reality in a direct and practical way, and that by comparison, all forms of epistemological discourse remain without direct relevance to current trends and movements."<ref name="Adriani_79" /><!-- de 33 --> Reaffirming his interest in science, Beuys re-established contact with [[Heinz Sielmann]], and assisted with a number of nature- and wildlife documentaries in the region between 1947 and 1949.

In 1947 Beuys, along with other artists (including [[Hann Trier]]), founded the group 'Donnerstag-Gesellschaft' (''Thursday Group'').<ref name="SSJ25">Stiftung Museum Schloss Moyland, Sammlung van der Grinten, Joseph Beuys Archiv des Landes Nordrhein-Westfalen (eds.) (2001) [https://www.tate.org.uk/art/artworks/beuys-joseph-beuys-ewald-matare-and-eight-cologne-artists-museum-schloss-moyland-ar00932 ''Joseph Beuys, Ewald Mataré and Eight Cologne Artists'']. B.o.s.s Druck und Medien, Bedburg-Hau. p.25.</ref> The group organised discussions, exhibitions, events and concerts between 1947 and 1950 in Alfter Castle.

In 1951, [[Ewald Mataré|Mataré]] accepted Beuys into his master class{{efn|Cf. {{Interlanguage link|Meisterschüler|de}}}} where he shared a studio with [[Erwin Heerich]],<ref>Invar Hollaus, "Heerich, Erwin". In ''Allgemeines Künstler-Lexikon'', vol. 71 (2011), p.44.</ref> that he kept until 1954, a year after graduation. Nobel laureate [[Günter Grass]] recollects Beuys's influence in Mataré's class as shaping "a Christian anthroposophic atmosphere".<ref>[[Günter Grass]], (2006) [[Peeling the Onion]] (autobiography).</ref> He read [[James Joyce|Joyce]], impressed by the "Irish-mythological elements" in his works,<ref name="Adriani_79" /><!-- de 38 --> the [[German romantics]] [[Novalis]] and [[Friedrich Schiller]], and studied [[Galileo Galilei|Galileo]] and [[Leonardo da Vinci|Leonardo]], whom he admired as examples of artists and scientists who are conscious of their position in society and who work accordingly.<ref name="Adriani_79" /> <!-- de 40 --> Early shows include participation in the Kleve Artists Association annual exhibition in Kleve's [[Barend Cornelis Koekkoek#Haus Koekkoek, Kleve|Villa Koekkoek]], where Beuys showed aquarelles and sketches, a solo show at the home of {{Interlanguage link|Hans van der Grinten|de|lt=Hans}} and {{ill|Franz Joseph van der Grinten|de}} in [[Kranenburg, North Rhine-Westphalia|Kranenburg]] as well as a show in the [[Von der Heydt Museum]] in [[Wuppertal]].<!-- continue with van der Grinten -->

Beuys finished his education in 1953, graduating at age 32 as master student from Mataré's class. He had a modest income from a number of craft-oriented commissions: a gravestone and several pieces of furniture. <!-- continue rewrite here: '56 Ausschwitz memorial, '57 depressions ... --> Throughout the 1950s, Beuys struggled both financially and from the trauma of his wartime experiences. His output consisted of drawings and sculptural work. Beuys explored a range of unconventional materials and developed his artistic agenda, exploring metaphorical and symbolic connections between natural phenomena and philosophical systems. Often difficult to interpret in themselves, his drawings constitute a speculative, contingent and hermetic exploration of the material world, myth and philosophy. In 1974, 327 drawings, the majority of which were made during the late 1940s and 1950s, were collected into a group entitled The Secret Block for a Secret Person in Ireland (a reference to Joyce), and exhibited in Oxford, Edinburgh, Dublin, and Belfast.

In 1956, artistic self-doubt and material impoverishment led to a physical and psychological crisis, and Beuys entered a period of serious depression. He recovered at the house of his most important early patrons, the van der Grinten brothers, in Kranenburg. In 1958, Beuys participated in an international competition for an [[Auschwitz-Birkenau]] memorial. His proposal did not win and his design was never realised. In 1958, Beuys began a cycle of drawings related to Joyce's ''[[Ulysses (novel)|Ulysses]]''. Completed in around 1961, the six exercise books of drawings would constitute, Beuys declared, an extension of Joyce's seminal novel. In 1959, Beuys married Eva Wurmbach. They had two children, Wenzel (born 1961) and Jessyka (born 1964).

=== Academia and public (1960–1975) ===
In 1961, Beuys was appointed professor of monumental sculpture at the Kunstakademie Düsseldorf. His students were artists [[Anatol Herzfeld]], [[Katharina Sieverding]], [[Jörg Immendorff]], [[Blinky Palermo]], [[Peter Angermann]], [[Walter Dahn]], {{ill|Johannes Stüttgen|de||fr}}, Sigmar Polke and Friederike Weske. His youngest student was Elias Maria Reti who began to study art in his class at the age of 15.<ref>{{Cite web|url=https://www.eliasmariareti.de/Biografie|title=Elias Maria Reti – Künstler – Biografie|website=www.eliasmariareti.de|language=de|access-date=18 December 2018|archive-url=https://web.archive.org/web/20181218193410/http://www.eliasmariareti.de/Biografie|archive-date=18 December 2018|url-status=dead}}</ref>

Beuys entered wider public consciousness in 1964, when he participated in a festival at the Technical College Aachen which coincided with the 20th anniversary of an assassination attempt on Adolf Hitler. Beuys created a performance or action ({{lang|de|Aktion}}) which was interrupted by a group of students, one of whom attacked Beuys, punching him in the face. A photograph of the artist, nose bloodied and arm raised, was circulated in the media. It was for this 1964 festival that Beuys produced an idiosyncratic [[Curriculum vitae|CV]], which he titled ''Lebenslauf/Werklauf'' (Life Course/Work Course). The document was a self-consciously fictionalised account of the artist's life, in which historical events mingle with metaphorical and mythical speech (he refers to his birth as the 'Exhibition of a wound;' he claims his Ulysses Extension to have been carried out 'at James Joyce's request' – impossible, given that the writer was long dead by 1961). This document marks a blurring of fact and fiction that was to be characteristic of Beuys's self-created persona.

Beuys manifested his social philosophical ideas in abolishing entry requirements to his Düsseldorf class. Throughout the late 1960s, this renegade policy caused great institutional friction, coming to a head in October 1972 when Beuys was dismissed from his post. That year, he found 142 applicants who had not been accepted whom he wished to enroll under his teaching. Beuys and 16 students subsequently occupied the offices of the academy to force a hearing regarding their admission. They were admitted by the school, but the relationship between Beuys and the school was irreconcilable.<ref name="ReferenceA">Durini, Lucrezia De Domizio. ''The Felt Hat: Joseph Beuys A Life Told''. Milano, Charta, 1997</ref> He again occupied the university offices with a group of students; the police were called and he was escorted laughing from the building. This was depicted in a photograph which was used to create a 1973 silkscreen print with the title ''Democracy Is Funny''.<ref>{{cite web | title=Democracy is Funny [Demokratie ist lustig]| website=The multiples of Joseph Beuys | date=1973|publisher=Pinakothek der Moderne|location=Munich|url=http://pinakothek-beuys-multiples.de/product/democracy-is-funny/}}</ref> Shortly after, he was dismissed from his post. The dismissal, which Beuys refused to accept, produced a wave of protests from students, artists and critics. Although now without an institutional position, Beuys continued an intense schedule of public lectures and discussions, and became increasingly active in German politics. Despite this dismissal, the walkway on the academy's side of the Rhine is named for Beuys. Later in life, Beuys became a visiting professor at various institutions (1980–1985).
[[File:BeuysAchberg78.jpg|thumb|Joseph Beuys on his lecture "Jeder Mensch ist ein Künstler – Auf dem Weg zur Freiheitsgestalt des sozialen Organismus" photographed by {{Interlanguage link|Rainer Rappmann|de}} in Achberg, Germany, 1978]]

===Teaching philosophy===
"The most important discussion is epistemological in character," stated Beuys, demonstrating his desire for continuous intellectual exchange. Beuys attempted to apply philosophical concepts to his pedagogical practice. Beuys's action, ''[[How to Explain Pictures to a Dead Hare]]'', exemplifies a performance that is especially relevant to the pedagogical field because it addresses "the difficulty of explaining things".<ref name=Ulmer/> The artist spent three hours explaining his art to a dead hare with his head covered with honey and gold leaf, and Ulmer argues not only that the honey on the head but the hare itself are models of thinking, of man embodying his ideas in forms. Contemporary movements such as performance art may be considered 'laboratories' for a new pedagogy since "research and experiment have replaced form as the guiding force".<ref name=Ulmer>Ulmer, G. (2007). ''Performance: Joseph Beuys in Joseph Beuys The Reader''. Cambridge, MA: The MIT Press. pp. 233–236. {{ISBN|978-0-262-63351-2}}</ref>

During an ''Artforum'' interview with [[Willoughby Sharp]] in 1969, Beuys added to his famous statement – "teaching is my greatest work of art" – that "the rest is the waste product, a demonstration. If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren't very important any more. I want to get to the origin of matter, to the thought behind it."<ref>Sharp, W. (1969). Interview as quoted in ''Energy Plan for the Western man – Joseph Beuys in America'', compiled by [[Carin Kuoni]]. Four Walls Eight Windows, New York, 1993, p.85. {{ISBN|1-56858-007-X}}</ref> Beuys saw his role of an artist as a teacher or shaman who could guide society in a new direction.<ref>Sotheby's catalog, 1992</ref>

At the Düsseldorf Academy of Art, Beuys did not impose his artistic style or techniques on his students; in fact, he kept much of his work and exhibitions hidden from the classroom because he wanted his students to explore their own interests, ideas, and talents.<ref name="henry-moore.org">{{cite web|url=http://www.henry-moore.org/hmi-journal/homepage/view-occasional-papers/beuysto-be-a-teacher-is-my-greatest-work-of-art/page-1|title=Henry Moore Institute|access-date=23 September 2014|archive-date=22 March 2016|archive-url=https://web.archive.org/web/20160322142430/http://www.henry-moore.org/hmi-journal/homepage/view-occasional-papers/beuysto-be-a-teacher-is-my-greatest-work-of-art/page-1|url-status=dead}}</ref> Beuys's actions were somewhat contradictory: while he was extremely strict about certain aspects of classroom management and instruction, such as punctuality and the need for students to take draftsmanship classes, he encouraged his students to freely set their own artistic goals without having to conform to set curricula.<ref name="henry-moore.org"/> Another aspect of Beuys's pedagogy was open "ring discussions" or {{lang|de|Ringgesprache}}, where Beuys and his students discussed political and philosophical issues of the day, including the role of art, democracy, and the university in society. Some of his ideas espoused in class discussion and in his art-making included free art education for all, the discovery of creativity in everyday life, and the belief that "everyone [was] an artist."<ref>Beuys, J. (1975). [https://www.tate.org.uk/art/artworks/beuys-jeder-mensch-ein-kunstler-ar00798 Jeder mensch ein kunstler]. tate.org.uk</ref> Beuys himself encouraged peripheral activity and all manner of expression to emerge during the course of these discussions.<ref name="henry-moore.org"/> While some of Beuys's students enjoyed the open discourse of the {{lang|de|Ringgesprache}}, others, including Palermo and Immendorf, disapproved of the classroom disorder and anarchic characteristics, eventually rejecting his methods and philosophies altogether.<ref name="henry-moore.org"/>

Beuys also advocated taking art outside of the boundaries of the (art) system and opening it up to multiple possibilities, bringing creativity into all areas of life. His nontraditional and anti-establishment pedagogical practice and philosophy made him the focus of much controversy, and to battle the policy of "restricted entry", under which only a few select students were allowed to attend art classes, he deliberately allowed students to over-enroll in his courses (Anastasia Shartin),<ref>{{cite web|url=http://www.walkerart.org|title=Walker Art Center – Contemporary Art Museum – Minneapolis|website=www.walkerart.org}}</ref> true to his belief those who have something to teach and those who have something to learn should come together.

===The artist as shaman===

According to Cornelia Lauf (1992),{{Full citation needed|date=December 2022}} "in order to implement his idea, as well as a host of supporting notions encompassing cultural and political concepts, Beuys crafted a charismatic artistic persona that infused his work with mystical overtones and led him to be called "shaman" and "messianic" in the popular press."

Beuys had adopted [[shamanism]] not only as a presentation mode of his art but also in his own life. Although the artist as a shaman has been a trend in modern art ([[Picasso]], [[Gauguin]]), Beuys is unusual in that respect as he integrated "his art and his life into the shaman role."<ref>{{cite book|last=Ulmer|first=Gregory|title=Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys|isbn=978-0-8018-3257-4|year=1985|publisher=Johns Hopkins University Press|page=230}}</ref> Beuys believed that humanity, with its turn on rationality, was trying to eliminate emotions and thus eliminate a major source of energy and creativity. In his first lecture tour in America he espoused that humanity was in an evolving state and that as "spiritual" beings we ought to draw on both our emotions and our thinking as they represent the total energy and creativity for every individual. Beuys described how we must seek out and energize our spirituality and link it to our thinking powers so that "our vision of the world must be extended to encompass all the invisible energies with which we have lost contact."<ref>{{cite book|last=Tisdall|first=Caroline|title=Joseph Beuys|year=2010|publisher=Thames & Hudson|page=37|isbn=978-0-500-54368-9}}</ref><ref>{{cite AV media | people=Halpern, John (Director) | date=15 April 1988 | title=[Joseph Beuys / TRANSFORMER] | medium=Television sculpture | location=New York City | publisher=I.T.A.P. Pictures | url=http://www.beuysfilm.com/}}</ref>

Beuys saw his performance art as shamanistic and psychoanalytic to both educate and heal the general public.

"It was thus a strategic stage to use the shaman's character but, subsequently, I gave scientific lectures. Also, at times, on one hand, I was a kind of modern scientific analyst, on the other hand, in the actions, I had a synthetic existence as shaman. This strategy aimed at creating in people an agitation for instigating questions rather than for conveying a complete and perfect structure. It was a kind of psychoanalysis with all the problems of energy and culture."<ref>{{cite book|last=Rosental|first=Norman|title=Joseph Beuys: The Secret Block for a Secret Person In Ireland|year=1999|publisher=Art Books Intl Ltd|author2=Bastian, Heiner}}</ref>

Beuys's art was considered both instructive and therapeutic – "His intention was to use these two forms of discourse and styles of knowledge as pedagogues." He used shamanistic and psychoanalytic techniques to "manipulate symbols" and affect his audience.<ref>{{cite book|last=Ulmer|first=Gregory|title=Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys|year=1985|publisher=Johns Hopkins University Press|pages=238–240|isbn=978-0-8018-3257-4}}</ref>
In his personal life, Beuys had adopted a felt hat, a felt suit, a cane and a vest as his standard look. The imagined story of him being rescued by Tartar herdsmen perhaps is an explanation for his adopting materials such as felt and fat.

Beuys experienced severe depression between 1955 and 1957. After recovering, he observed at the time that "his personal crisis"{{Quote without source|date=December 2022}} caused him to question everything in life, and he called the incident "a shamanistic initiation."{{Quote without source|date=December 2022}} He saw death not only in its inevitability for people, but also death in the environment, and through his art and his political activism,  he became a strong critic of environmental destruction. He said at the time, "I don't use shamanism to refer to death, but vice versa – through shamanism, I refer to the fatal character of the times we live in. But at the same time I also point out that the fatal character of the present can be overcome in the future."{{Quote without source|date=December 2022}}

=== National and international recognition (1975–1986) ===
[[File:Warhol and Beuys by Jodice.tif|thumb|right|[[Andy Warhol]] and Joseph Beuys, Naples 1980]]
The only major retrospective of Beuys work to be organised in Beuys's lifetime opened at the [[Solomon R. Guggenheim Museum|Guggenheim Museum]] in New York in 1979. The exhibition has been described as a "lightning rod for American criticism," eliciting as it did some powerful and polemical responses.<ref name=r1>Schmuckli, Claudia (2005) "Chronology and Selected Exhibition History" in [http://www.tate.org.uk/modern/exhibitions/beuys ''Joseph Beuys: Actions, Vitrines, Environments'']. Tate. p.188. {{ISBN|978-1-85437-585-8}}</ref>

=== Death ===
Beuys died of heart failure on 23 January 1986, in [[Düsseldorf]].<ref>{{cite news|url=https://www.nytimes.com/1986/01/25/obituaries/joseph-beuys-sculptor-is-dead-at-64.html|author=Russell, John |date=25 January 1986 |title=JOSEPH BEUYS, SCULPTOR, IS DEAD AT 64 |newspaper=nytimes.com | access-date=31 December 2018}}</ref>