The Beuys 'object' or sculpture, Sean Rainbird talks about, beginning in about 49.50 min., which is called 'PICTISH' made in 1981, consists not of an 'iron' ingot but one made of lead. It is inscribed 'PICTISH' with white paint, not chalk in this case. The paving stone, the ingot is placed upon in an angle, is a vulcanic blue basalt, not granite. That Beuys used these specific materials for his sculpture relates directly to Scottish landscape and geology and the home of ancient pictish people. The sculpture became part of 'Vitrine 1982', now in a private collection in Bale, Switzerland and exhibited there at Museum für Gegenwart. For details on this art work see the German/English publication 'Joseph Beuys Das Ende des 20. Jahrhunderts / The End of the 20th Centure', published in 2007 by Schirmer/Mosel in Munich (page 307 ff.). The book includes also a fine essay by Sean Rainbird: 'At the End of the Twentieth Century: Installing after the Act / Tate London'. However, I really do appreciate the calm way and detailed depth of Sean Rainbird's lecture.
Found a 1951 original oil painting on wood from him. I don’t want to let it go, knowing how huge of an impact that this man has made, to where words cannot express and actions cannot.. he would take his time and make it happen!
Beuys, left a infinite legacy....Exhibition at Edinburgh, Scotland 1980's - Monumental . J. Beuys fascination with Greyfriars Bobbie was a reflection of his sensitivity.
Thursday 1 December 2016 at Modern Art Oxford. Sean Rainbird, Director of The National Gallery of Ireland, discussed Beuys’ time in Britain and Ireland in the years following his dismissal from the Düsseldorf Art Academy in 1972. This was the final lecture in a series exploring the work of artists from history of Modern Art Oxford.
