Joseph Kosuth

  • , Quoted Clocks #1 (A.R.), 2022
    Clock and vinyl
    Reads: One night I dreamed I was locked in my Father’s watch.
    John Ciardi
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #3 (A.R.), 2022
    Clock and vinyl
    Reads: Each morning the day lies like a fresh shirt on our bed.
    Walter Benjamin
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #2 (A.R.), 2022
    Clock and vinyl
    Reads: We need not destroy the past. It is gone.
    John Cage
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #4 (A.R.), 2022
    Reads: Time and space are modes by which we think, and not conditions in which we live.
    Albert Einstein
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #5 (A.R.), 2022
    Clock and vinyl
    Reads: We look at the present through a rear-view mirror.
    Marshall McLuhan
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #6 (A.R.), 2022
    Clock and vinyl
    Reads: The misfortune of today is no more real than the happiness of the past.
    Jorge Luis Borges
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #7 (A.R.), 2022
    Clock and vinyl
    Reads: Toute séparation est un lien.
    Simone Weil
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #8 (A.R.), 2022
    Clock and vinyl
    Reads: On ne peut sortir du quotidien.
    Henri Lefebvre
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #9 (A.R.), 2022
    Clock and vinyl
    Reads: La visibilité est un piège.
    Michel Foucault
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #11 (A.R.), 2022
    Clock and vinyl
    Reads: The beginning is always today.
    Mary Wollstonecraft
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #12 (A.R.), 2022
    Clock and vinyl
    Reads: Sleep demands of us a guilty immunity.
    Djuna Barnes
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #13 (A.R.), 2022
    Clock and vinyl
    Reads: First a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air.
    Virginia Woolf
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #14 (A.R.), 2022
    Clock and vinyl
    Reads: Make it a mistake.
    Gertrude Stein
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #10 (A.R.), 2022
    Clock and vinyl
    Reads: Qu’on finissait par s’habituer à tout.
    Albert Camus
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #16 (A.R.), 2022
    Clock and vinyl
    Reads: Is it later yet?
    Jennifer E. Smith
    40 x 4.5 cm
    16 x 2 in
  • , Quoted Clocks #15 (A.R.), 2022
    Clock and vinyl
    Reads: No pen, no ink, no table, no room, no time, no quiet, no inclination.
    James Joyce
    40 x 4.5 cm
    16 x 2 in
  • , 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


Museum Exhibitions


Selected press