Joseph Beuys' work continues to influence and inspire practitioners and thinkers all over the world, in areas from organizational learning, direct democracy and new money forms to new art pedagogies and ecological art practices. Here, in dialogue with Volker Harlan - a close colleague, whose own work also revolves around understandings of substance and sacrament that are central to Beuys - the deeper motivations and insights underlying 'social sculpture', Beuys' expanded conception of art, are illuminated. His profound reflections, complemented with insightful essays by Volker Harlan, give a sense of the interconnectedness between all life forms, and the foundations of a path towards an ecologically sustainable future.

'If we want to achieve a different society where the principle of money operates equitably, if we want to abolish the power money has developed over people historically, and position money in relationship to freedom, equality and fraternity ...then we must elaborate a concept of culture and a concept of art where every person must be an artist...' - Joseph Beuys. The world of finance exerts a huge influence over our lives, being responsible for economic turmoil and seemingly interminable peaks and crashes. Whereas money was once a simple means of exchange, today it is a commodity in itself and as 'capital' exerts power over individuals, degrading work to tradable labour. Can we find a new way of understanding money today, so that we can begin to overcome its destructive aspects? In November 1984, a remarkable discussion took place at the Meeting House in Ulm, Germany. It featured the radical artist Joseph Beuys, two professors (of Financial Sciences and Political Economics) and a banker. Beuys would appear to be out of place among these heavyweight academics, professionals and authors. But rather than being intimidated by his fellow panellists, Beuys - also a social and political activist - demonstrates his groundbreaking thinking on the subject, and his ability to bring fresh perspectives. Here for the first time is a transcript of this debate, together with analysis by Ulrich Rosch, which will be of equal interest to artists, economists and spiritual seekers.

Joseph Beuys in America: Energy Plan for the Western Man By Joseph Beuys. Edited by Carin Kuoni. "A tasty collection of hitherto uncollected/unpublished writings by and about the legendary German artist." -FlashArt illustrated ISBN: 1-56858-007-X

Joseph Beuys was photographed extensively during his life, whether at work, while travelling, or at home. But only a few photographers had the privileged access and tenacity of Klaus Staeck and Gerhard Steidl. Graphic artist Staeck and printer/publisher Steidl accompanied Beuys with their cameras from 1970 until his death in 1986. Staeck and Steidl were part of Beuys entourage, worked closely with him to produce his multiples and objects, and documented intimate aspects of the life of this unmatched artist-performer. These photos reveal Beuys unique charismatic personality that influenced not only those he met, but society and art in general. Born in 1938 in Pulsnitz near Dresden, Klaus Staeck is one of Germanys most prominent graphic artists. Renowned for his political posters, Staeck has been president of the Akademie der Kunste in Berlin since 2006. Steidl has produced Staecks posters throughout his career and has published many of his books including Ohne Auftrag (2001), Pornografie (2005) and Schone Aussichten (2009). Gerhard Steidl was born in 1950 in Gottingen, Germany, where he continues to live and work. Steidl received his informal printing training from Klaus Staeck and Joseph Beuys, and in 1972, the first Steidl book Befragung der Documenta was published. Since the mid-1980s, Steidl has published literature including the work of Nobel laureates Gunter Grass and Halldor Laxness. In 1996, Steidl founded an international photography book programme.