Man is really not freeing many aspects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture.
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interview with Willoughby Sharp, 1969; 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. 87Joseph Beuys
My objects are to be seen as stimulants for the transformation of the idea of sculpture.. ..or of art in general. They should provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone. THINKING FROMS – how we mold our thoughts or SPOKEN FORMS – how we shape our thoughts into words or SOCIAL SCULPTURE – how we mold and shape the world in which we live: SCULPTURE AS AN EVOLUTIONARY PROCESS; EVERYONE AN ARTIST. (1979)
Joseph Beuys
You can’t make a sculpture, in my opinion, without involving your body. You move and you feel and you breathe and you touch. The spectator is the same. His body is involved too. If it’s a sculpture he has to first of all sense gravity. He’s got two feet. Then he must walk and move and use his eyes and this is a great involvement. Then if a form goes in like that – what are those holes for? One is physically involved and this is sculpture. It’s not architecture. It’s rhythm and dance and everything. It’s do with swimming and movement and air and sea and all our well-being… …Sculpture is involved in the body living in the spirit or the spirit living in the body, whichever way you like to put it.
Barbara Hepworth
I don't want to make plop art — sculpture that just gets plopped down in places. I wouldn't want to litter every corner of the world with my sculpture.
Rachel Whiteread
Since the Gothic, European sculpture had become overgrown with moss, weeds – all sorts of surface excrescences which completely concealed shape. It has been Brancusi’s special mission to get rid of this overgrowth, and make us once more shape-conscious. To do this he has had to concentrate on very simple direct shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.. ..it may now be no longer necessary to close down and restrict sculpture to the single (static) form unit. We can now begin to open out. To relate and combine together several forms of varied sizes, sections, and directions into one organic whole.
Henry Moore
I would like to declare why I feel that it’s now necessary to establish a new kind of art, able to show the problems of the whole society, of every living being – and how this new discipline – which I call social sculpture – can realize the future of humankind. It could be a guarantee for the evolution of the earth as a planet, establish conditions for other planetarians too, and you can control it with your own thinking.. ..Here my idea is to declare that art is the ‘only’ possibility for evolution, the only possibility to change the situation in the world. But then you have to enlarge the idea of art to include the whole creativity. And if you do that, it follows logically that every living being is an artist – an artist in the sense that he can develop his own capacity.. .. And therefore, in short, I’m saying, all work that’s done has to have the quality of art. We can see later about developing a proof for this by thinking about these problems. Here is a general structure to show what I means by a social sculpture ‘(Beuys goes to the blackboard and points out symbols for archetypical elements, plants, animals, minerals, soul which he had drawn before the discussion started)
Joseph Beuys
Beuys, Joseph
Bevan, Aneurin
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