The Dual Dimensions of Joseph Beuys’s Artistic Revolution: A Study on the Correlation Between Bodily Symbols and Social Events

Abstract

By integrating semiotic and sociological perspectives, the study achieves an organic unity in symbol decoding, context positioning, and the analysis of the correlation mechanism. The aim of this study is to reveal the connection between bodily symbols and social events in Beuys’s art, elucidating how this relationship supports his artistic revolution, and interpreting his concepts of “social sculpture” and “everyone is an artist.” The research focuses on addressing the specific meaning of bodily symbols in Beuys’s artistic practice and how their correlation with social events reflects his core artistic claims. The method employed is case study analysis, combining semiotic and sociological theories to conduct in-depth analysis of representative works. The research focuses on three works: How to Explain Pictures to a Dead Hare, I Like America and America Likes Me, and 7000 Oaks, analyzing the correlation between bodily symbols and social events. The conclusion of the study indicates that Beuys’s bodily symbols and social events are deeply intertwined, and his artistic revolution is realized through their correlation, forming a paradigm where “art is social practice.”