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of the
Promethean teacher teaching humans to survive. Whereas settlers viewed coyotes as an aggressive predator to be exterminated, to Beuys, the coyote symbolized America's spirit. Beuys felt that America needed to reckon with the coyote to lift its trauma. It was Beuys's first trip to the United
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then was played by an unseen gallery attendant. Beuys copied the coyote, roaming when it roamed, resting when it rested. At the end of the performance, Beuys, still wrapped in felt, returned home to
Germany in the same manner whence he came.
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At the time of this performance, Beuys was already well known as a provocative German visual artist who used materials—felt and animal fat—based on his mythologized personal history: As a downed
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too found the photographs poetic, only to be changed by a video of the performance in which she saw the sadness of the coyote. Artifacts from the performance were later exhibited in "
126:(delivered daily). Beuys attempted to connect with the animal by repeating symbolic gestures such as throwing leather gloves, gesticulating with a cane, and cloaking himself like a
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494:. Zurich, Switzerland : JRP Ringier ; New York, NY : Distributors, USA, Canada, Asia, and Australia, D.A.P./Distributed Art Publishers.
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States. He had refused prior invitations based on
American involvement in the Vietnam War, but agreed to travel given the country's exit from the war.
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with the cane sticking out. The coyote was generally docile but occasionally hostile, tugging at the artist's felt cloak. Beuys occasionally played a
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Caroline
Tisdall, Beuys's collaborator and travel companion, documented the performance in black and white photographs and on video.
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symbol for Beuys through which he and his "social sculptures" (such as this performance) sought to heal societal psychic wounds.
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landed in a New York City airport whereupon assistants wrapped him in felt and brought him to the René Block
Gallery in
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Photographs from the performance were shown at the
Edinburgh Festival, where they greatly affected the future artist
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nursed Beuys back to health by insulating him in those materials. The felt in which Beuys wrapped himself during
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193:. His selection of the coyote, a Native American symbol of transformation and trickery, invoked its Native
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681:"The Boss: On the Unresolved Question of Authority in Joseph Beuys' Oeuvre and Public Image"
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was always kept on and a water dish kept full for the coyote. Beuys, who arrived wrapped in
427:. Vol. 49, no. 1. Arts Communications Group, L.P. – via Internet Archive.
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107:. There Beuys spent three consecutive days, for eight hours a day, living with a live
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Brian
Boucher, "Art Bites: Why Joseph Beuys Spent Three Days Locked Up With a Coyote"
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Between Dog & Wolf: Essays on Art and
Politics in the Twilight of the Millennium
225:, is that American societal trauma can only be healed through direct communication.
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soda advertising slogan, "You like it. It likes you." The piece is also known as
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Everywhere and all at once : an anthology of writings on
Performa 07
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A bed of straw was placed in a corner of the bare René Block
Gallery. A
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is named after this performance, appearing on their third studio album
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Performa 07 (2007 : New York, N. Y. ) (October 20, 2009).
317:"When Joseph Beuys Locked Himself in a Room with a Live Coyote"
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During this time, Beuys saw the United States as divided over
239:, stood in contrast with the divisions Beuys saw in America.
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blankets, was supplied with extra felt blankets and the
562:"The 1975 – A Brief Inquiry Into Online Relationships"
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395:Mapping the terrain : new genre public art
83:, was a 1974 performance by conceptual artist
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532:The felt hat : Joseph Beuys, a life told
460:The felt hat : Joseph Beuys, a life told
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514:: CS1 maint: numeric names: authors list (
66:Performance, documentary photographs, video
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600:"Art: Joseph Beuys at the Feldman Gallery"
231:wrote that the piece's title, evoking the
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27:
440:"branding, Entrepreneur – Marketing Judo"
273:A Brief Inquiry into Online Relationships
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633:Staeck, Klaus; Steidl, Gerhard (2022).
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757:How to Explain Pictures to a Dead Hare
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574:from the original on December 1, 2020
419:Dreiss, Joseph (September 20, 1974).
329:from the original on January 24, 2018
23:I Like America & America Likes Me
7:
896:May 1974 events in the United States
529:Durini, Lucrezia De Domizio (1992).
457:Durini, Lucrezia De Domizio (1992).
179:its racial divisions and subjugation
765:I Like America and America Likes Me
691:from the original on April 16, 2021
203:I Like America and America Likes Me
164:I Like America and America Likes Me
74:I Like America and America Likes Me
31:I Like America and America Likes Me
598:Russell, John (October 31, 1986).
560:Harris, Harry (December 3, 2018).
392:Lacy, Suzanne (October 20, 1995).
348:Russell, John (October 28, 1979).
256:" ("News from the Coyote") at the
175:its involvement in the Vietnam War
14:
620:from the original on June 7, 2016
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797:The End of the Twentieth Century
221:The performance's lesson, wrote
16:1974 performance by Joseph Beuys
679:Verwoert, Jan (December 2008).
660:. Autonomedia. pp. 34–51.
315:Mann, Jon (November 3, 2017).
1:
823:Free International University
504:– via Internet Archive.
408:– via Internet Archive.
652:Strauss, David Levi (2010).
398:. Seattle, Wash: Bay Press.
838:Joseph Beuys Sculpture Park
373:"The man who fell to earth"
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833:Joseph Beuys Media Archive
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201:The performance's title,
35:
350:"The Shasan Aras Artist"
773:StraĂźenbahnhaltestelle
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166:was a therapeutic and
901:Works by Joseph Beuys
217:Reception and legacy
95:In 1974, the German
674:on October 5, 2009.
205:, also recalls the
124:Wall Street Journal
605:The New York Times
355:The New York Times
21:For the song, see
891:1970s photographs
851:
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667:978-1-57027-219-6
644:978-3-95829-913-9
438:Williams, Roy H.
253:Neues vom Coyoten
97:conceptual artist
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843:Social sculpture
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635:Beuys in America
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160:Tartar tribesman
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258:Ronald Feldman
246:. The curator
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742:Joseph Beuys
704:Joseph Beuys
695:September 5,
693:. Retrieved
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672:the original
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624:September 5,
622:. Retrieved
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576:. Retrieved
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331:. Retrieved
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85:Joseph Beuys
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49:Joseph Beuys
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886:1974 in art
870:Visual arts
792:(1982-1987)
706:pp. 177–179
244:Jimmy Boyle
233:melting pot
187:mechanistic
91:Description
880:Categories
578:August 29,
567:The Skinny
280:References
116:flashlight
789:7000 Oaks
614:0362-4331
510:cite book
260:Gallery.
150:Symbolism
105:ambulance
781:Fettecke
689:Archived
618:Archived
572:Archived
327:Archived
268:the 1975
168:shamanic
140:turbines
132:triangle
128:shepherd
808:Related
856:Portal
828:Fluxus
819:(2017)
800:(1983)
784:(1982)
776:(1976)
768:(1974)
760:(1965)
685:E-flux
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264:A song
211:Coyote
189:, and
134:and a
109:coyote
103:in an
80:Coyote
63:Medium
45:Artist
816:Beuys
749:Works
687:(1).
322:Artsy
229:Artsy
223:Artsy
697:2021
662:ISBN
639:ISBN
626:2021
610:ISSN
580:2024
537:ISBN
516:link
496:ISBN
465:ISBN
400:ISBN
335:2017
207:7-Up
177:and
158:, a
120:felt
101:SoHo
58:1974
55:Year
266:by
138:of
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
