Joseph Kosuth

TypeArtist
Male
Associated person(s)
URLsDocumentation
Youtube Artist Talk at State Library Victoria
Wikipedia German Wikipedia entry
Wikipedia English Wikipedia entry
Review Dreher, Thomas: Joseph Kosuth: "Zero & Not", 1985-1986.
Institutions/museums Detailed information from Sprüth Mager's gallery


Awards
Award2003Decoration of Honor in Gold for Services to the Republic of AustriaNationalrat ÖsterreichAustria
Award2001Laura Honoris Causa, doctorate in Philosophy and LettersUniversity of BolognaBologna, Italy
1993Chevalier de l’ordre des Arts et des LettresMinistère de la Culture et de la CommunicationParis, France
Award1993Menzione d’OnoreVenice BiennaleVenice, Italy
Award1990Brandeis AwardBrandeis, USA


Exhibitions
Group exhibition2018Marcel Duchamp 100 questions 100 answersStaatsgalerie StuttgartStuttgart, Germany
Group exhibition2016René Magritte - La Trahision des imagesCentre PompidouParis, France
Solo exhibition2010'(waiting for-) texts for nothing' Samuel Beckett, in playAustralian Centre for Contemporary ArtMelbourne, Australia
Group exhibition2005Lichtkunst aus KunstlichtZKMKarlsruhe, Germany
Solo exhibition1999Gäste und Fremde: Goethes italienische Reise. Eine InstallationSchirn KunsthalleFrankfurt, Germany
Solo exhibition1993XLV Esposizione internazionale d'arte – Hungarian PavillonVenice BiennaleVenice, Italy
Solo exhibition1974Joseph Kosuth: Investigations sur l'art et problèmatique 1965-1973Musée d'art moderne de la villeParis, France
Group exhibition1973Some Recent American ArtMOMA - The Museum Of Modern ArtNew York, USA
Solo exhibition1967Joseph KosuthMuseum of Normal ArtNew York, USA
Group exhibition


Artworks in Collections
The Solomon R. Guggenheim MuseumNew York, USA
Galleria Nazionale d’Arte ModernaRome, Italy
Musée National d’Art Moderne, Centre PompidouParis, France
Musée National d’Art Moderne, Centre PompidouParis, France
The Tate GalleryLondon, England


Publications
Monograph1991Hatje CantzJoseph Kosuth: Kein AuswegJoseph Kosuth978-3893222513Berlin, Stuttgart 
Monograph1993Hatje VerlagA Grammatical Remark/Eine Grammatische BemerkungJoseph Kosuth978-3893225316Berlin, Stuttgart 
Monograph2010Musée du LouvreJoseph Kosuth. Ni apparence ni illusionJoseph Kosuth, Henri Loyrette, Marie-Laure Bernadac, John Welchman, Jacinto Lageira978-2350312774Paris 
Monograph2015Black Dog PublishingJoseph Kosuth: Re-defining the Context of Art: 1968 - 2014. The Second Investigation and Public MediaJohn Welchman, Gabriele Guercio, Joseph Kosuth978-1907317842London Fiona Biggiero
Monograph2012MacMillan Art Publishing[An Interpretation of This Title/Waiting For - (Texts for Nothing): Nitzsche, Darwin and the Paradox of Content (Vol 1)/Samuel Beckett, in Play (Vol 2)]Joseph KosuthASIN: B017HPPGB8Melbourne 


Research & teaching
Lectureship/Lecturer1966 - 1967The School of Visual ArtsNew York, USA
Lectureship/Lecturer1967 - 1985Department of Fine Art, The School of Visual ArtNew York, USA
professorship1988 - 1990Hochschule für Bildende Künste HamburgHamburg, Germany
professorship1991 - 1997Staatliche Akademie der Bildenden Künste StuttgartGermany
professorship2001 - 2006Kunstakademie MünchenGermany
professorship2007Istituto Universitario di ArchitetturaVenice, Italy


2007
Picture

Research and teaching

Venice, Italy
Professor, Istituto Universitario di Architettura, Venice

2007
2001 - 2006
Picture

Research and teaching

Munich, Germany
Professor, Kunstakademie Munich

2001 - 2006
1993
Picture

Awards

Venice, Italy
Menzione d’Onore, Venice Biennale

1993
1991 - 1997
Picture

Stuttgart, Germany
Professor, Staatliche Akademie der Bildenden Künste Stuttgart

1991 - 1997
1988 - 1990
Picture

Research and teaching

Hamburg, Germany
Professor, Hochschule für Bildende Künste Hamburg

1988 - 1990
1971 - 1972
Picture

Education

New York, USA
Anthropology and Philosophy at the New School for Social Research

1971 - 1972
1967 - 1985
Picture

Research and teaching

New York, USA
Faculty, Department of Fine Art, The School of Visual Arts

1967 - 1985
1965 - 1967
Picture

Education

New York, USA
School of Visual Arts

1965 - 1967
1965
Picture

Exhibitions

"One and Three Chairs", main work of conceptual art

1965
1955 - 1962
Picture

Education

Toledo, Ohio, USA
Toledo Museum School of Arts

1955 - 1962
- 1945
Picture

Born

Toledo, Ohio, USA

- 1945
--
Picture

Places of residence

London & New York, England & USA

A foremost pioneer in Conceptual and Installation art, Joseph Kosuth is well-noted for the language-based artworks and appropriation techniques defining his oeuvre since the 1960s. Throughout his career, Kosuth’s practice has centered on the role of language and meaning within art. His study of anthropology and philosophy, particularly the ideologies of Ludwig Wittgenstein, greatly impacted the development of his artistry. Kosuth devoted his work to exploring the use of words in place of visual imagery, as well as the relationships between ideas, words and the images themselves. Investigating these connections directly, his seminal artwork, One and Three Chairs represents a chair in three distinct ways: a manufactured chair, a photograph and a copy of a dictionary entry for the word “chair.” In his series piece Art as Idea as Idea, Kosuth removes all objects and images in favor of definitions clipped from dictionary entries, to emphasize how language can purely convey meaning. He further believes that any traces of the artist’s hand should be eliminated from production so that ideas may be expressed directly, immediately and wholly. Over more than five decades, Kosuth has created a substantial body of artwork that speaks to how we experience, comprehend and respond to language. His significant role in art history influences the work of current artists and will continue to impact the artists of generations to follow.

https://www.artdependence.com/articles/the-language-of-art-an-interview-with-joseph-kosuth/ (10.10.2019)

"I do think that Conceptual art constituted a sea of change in the practice of art. The relevant question was no longer how but why. Not ’how is it made?’, but ‘why am I making it?’. With this the responsibility of the artist and the moral agency of the artist became part of the conversation. This gave a lifeline to the political nature of art being a part and parcel of what constitutes it. By inserting questioning the nature of art as being central to its making process, art’s philosophical nature could be more clearly manifested, and the artist’s need to control the meaning making process could be made more apparent. It made questions of ontology central rather than ones of craft. But one of the most important contributions has been that we did away with the model of the artist as the expressionist witch doctor, the Christ like purveyor of drips and dabs and maker of auratic valuables. This evened out the playing field about who could be an artist. Let’s face it, women did not do well playing Christ. The biographic monographic tradition was stacked against them. We only began seeing women taking their rightful place as equal makers of relevant art after Conceptual art made the quality of ideas the arbiter of value rather than the implicit one of gender under the old arrangement. I’m probably proudest of being part of that contribution" 

Joseph Kosuth

https://www.artdependence.com/articles/the-language-of-art-an-interview-with-joseph-kosuth/ (10.10.2019)

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Four Colours Four Words (Blue, Red, Yellow, Green) photo Four Colours Four Words (Blue, Red, Yellow, Green) 1966 Joseph Kosuth 
The Signature of the Word photo The Signature of the Word 2001 Joseph Kosuth