Richard Demarco goes on to explain again how the relationship developed. The exhibition of works by Beuys is an important milestone both for Tate Modern and for European culture. The German painter Gerhard Richter has recalled, with others, the impact of Beuys. Given all that the exhibition at Tate Modern does to remind us of those times, it is necessary to remind ourselves that it was Richard Demarco who, in 1970, first invited Beuys to Britain, supported by the critic and historian Caroline Tisdall. It is fortunate too, that they are both alive today, since arguably their engagement with Beuys would instead have been seeking to maintain primacy and to maintain historical truth. All were subsequently involved, but Demarco and Tisdall actually got him here. The separate (and excellent) book/catalogue produced by Sean Rainbird (now the Tate curator for the exhibition) entitled Joseph Beuys and the Celtic World, truly takes us to the heart of the matter. Demarco's article, Joseph Beuys at Tate Modern follows. And read on.
Joseph Beuys' 'The Pack' (1969), as exhibited at Tate Modern, must be recognised today as one of the great masterpieces of the 20th century. Twenty-four sledges, resembling a pack of dogs, 'tumble from the back of a VW van. Each sledge carries a survival kit made up of a roll of felt for warmth and protection, a lump of animal fat for energy and sustenance, and a torch for navigation and orientation.' This is also an autobiographical work, alluding to Beuys's own wartime experiences. Looking at the other works, such as 'Fond VII/2' (1967 and 1984), 'Tram Stop' (1976), 'Blackboards'(1972 and 1978), 'Hearth I' (1968 and 1974) and 'Hearth II' (1978-1979), 'The End of the Twentieth Century' (1983-1985), (scattered blocks of basalt) and the vitrines containing small objects of significance to Beuys, one realises how extremely difficult it is to display his works in his absence. Tate Modern have made a valiant effort here and yet it must be admitted that the overall effect is somewhat 'freeze-dried'. 'The Pack' remains unforgettable however, still charged with all the meaning Beuys conveyed to it. It's just that he isn't here, finally, to orchestrate it all together.
10 Dialogues: Richard Demarco, Scotland And The European Avant Garde
10 Dialogues presents the innovative work of Richard Demarco from the late 1960s to the present day, in bringing European artists to Scotland and his promotion of Scottish artists in Europe
Gerhard Richter Portraits
This is a substantial selection of work, a broadly chronological arrangement from throughout his career, sublimated by Stanton Williams’ sensitive exhibition design into a total experience
Gerhard Richter: Panorama
The enigma of Gerhard Richter is not here resolved by Tate Modern’s new exhibition. Yet the exhibition is, as is now usual at Tate Modern, very well curated
Mediators and Messengers: Contemporary Art in the Landscape
The entire agenda for painting about landscape has shifted in the 21st century. Concepts and readings of the land have a weighty and protracted precedence but in the 1970s, far-reaching revisions were explored by artists. These have generated a powerful volume of new work by painters, and installation and land artists.
Douglas Gordon: Superhumanatural
The film and video artist Douglas Gordon had his first one-man exhibition in Britain at the Lisson Gallery in 1994, sponsored by its perceptive director Nicholas Logsdail, to which he returned again in 2001. The following year, he was to exhibit 'Entre'Act 3' at the Stedelijk Van Abbe Museum in Eindhoven. 'Fuzzy Logic' followed at the Pompidou Centre in Paris, and from about this time his work really took off internationally.