Joseph Kosuth

  • , Four Colors Four Words, 1966
    Violet, red, yellow, blue neon mounted directly on the wall
    3 7/8 x 77 1/2 inches
    10 x 197 cm
  • , Ni apparence ni illusion, 22.10.09 - 02.06.10
    The Louvre, Paris
  • , Ni apparence ni illusion, 22.10.09 - 02.06.10
    The Louvre, Paris
  • , Du phénomène de la bibliothèque [Roland Barthes], 2006
    Silkscreened Glass, neon, philosophy book
    250 x 122,73 cm
  • , Du phénomène de la bibliothèque [Friedrich Nietzsche] version II, 2006
    Silkscreened Glass, neon, philosophy book
    104 x 200 cm
  • , Du phénomène de la bibliothèque [Paul Ricoeur], 2006
    Silkscreened Glass, neon, philosophy book
    166 x 250 cm
  • , Titled (A.A.I.A.I.) [F.E. Special]#1, 1967
    Black and white plastic photography laminated panel
    120 x 235 cm
  • , Titled (A.A.I.A.I.) The Frank form, 1968
    Black and white plastic photography laminated panel
    120 x 120
  • , Recognizable Differences, 2005
    Nikolaj Copenhagen Contemporary Art Center, Copenhagen, Denmark

Joseph Kosuth is a key figure in the redefinition of the art object that took place during the 1960s and 70s with the formulation of Conceptual art, which questions art’s traditional forms and practices, as well as the assumptions surrounding them. To do this, Kosuth was among the first to employ appropriation strategies, texts, photography, installations and the use of public media, as well as to write the earliest theoretical texts supporting it. With Kosuth, art itself is essentially a questioning process. As a result, all aspects of the activity of art has been reconsidered, from the function of objects to the role of the exhibition itself. Since the 1960s the elements in his work have all been employed from other contexts: philosophy, literature, reference books, popular culture, scientific theory and so on. He utilizes our inherited meanings to construct a new meaning of his own.


Exhibitions


Selected press