Joseph Kosuth
| Type | Artist Male |
|---|---|
| Associated person(s) | |
| URLs | Documentation 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 | |||||
|---|---|---|---|---|---|
| Award | 2003 | Decoration of Honor in Gold for Services to the Republic of Austria | Nationalrat Österreich | Austria | |
| Award | 2001 | Laura Honoris Causa, doctorate in Philosophy and Letters | University of Bologna | Bologna, Italy | |
| 1993 | Chevalier de l’ordre des Arts et des Lettres | Ministère de la Culture et de la Communication | Paris, France | ||
| Award | 1993 | Menzione d’Onore | Venice Biennale | Venice, Italy | |
| Award | 1990 | Brandeis Award | Brandeis, USA |
| Exhibitions | |||||
|---|---|---|---|---|---|
| Group exhibition | 2018 | Marcel Duchamp 100 questions 100 answers | Staatsgalerie Stuttgart | Stuttgart, Germany | |
| Group exhibition | 2016 | René Magritte - La Trahision des images | Centre Pompidou | Paris, France | |
| Solo exhibition | 2010 | '(waiting for-) texts for nothing' Samuel Beckett, in play | Australian Centre for Contemporary Art | Melbourne, Australia | |
| Group exhibition | 2005 | Lichtkunst aus Kunstlicht | ZKM | Karlsruhe, Germany | |
| Solo exhibition | 1999 | Gäste und Fremde: Goethes italienische Reise. Eine Installation | Schirn Kunsthalle | Frankfurt, Germany | |
| Solo exhibition | 1993 | XLV Esposizione internazionale d'arte – Hungarian Pavillon | Venice Biennale | Venice, Italy | |
| Solo exhibition | 1974 | Joseph Kosuth: Investigations sur l'art et problèmatique 1965-1973 | Musée d'art moderne de la ville | Paris, France | |
| Group exhibition | 1973 | Some Recent American Art | MOMA - The Museum Of Modern Art | New York, USA | |
| Solo exhibition | 1967 | Joseph Kosuth | Museum of Normal Art | New York, USA | |
| Group exhibition |
| Artworks in Collections | |||
|---|---|---|---|
| The Solomon R. Guggenheim Museum | New York, USA | ||
| Galleria Nazionale d’Arte Moderna | Rome, Italy | ||
| Musée National d’Art Moderne, Centre Pompidou | Paris, France | ||
| Musée National d’Art Moderne, Centre Pompidou | Paris, France | ||
| The Tate Gallery | London, England |
| Publications | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Monograph | 1991 | Hatje Cantz | Joseph Kosuth: Kein Ausweg | Joseph Kosuth | 978-3893222513 | Berlin, Stuttgart | ||||||
| Monograph | 1993 | Hatje Verlag | A Grammatical Remark/Eine Grammatische Bemerkung | Joseph Kosuth | 978-3893225316 | Berlin, Stuttgart | ||||||
| Monograph | 2010 | Musée du Louvre | Joseph Kosuth. Ni apparence ni illusion | Joseph Kosuth, Henri Loyrette, Marie-Laure Bernadac, John Welchman, Jacinto Lageira | 978-2350312774 | Paris | ||||||
| Monograph | 2015 | Black Dog Publishing | Joseph Kosuth: Re-defining the Context of Art: 1968 - 2014. The Second Investigation and Public Media | John Welchman, Gabriele Guercio, Joseph Kosuth | 978-1907317842 | London | Fiona Biggiero | |||||
| Monograph | 2012 | MacMillan 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 Kosuth | ASIN: B017HPPGB8 | Melbourne |
| Research & teaching | Lectureship/Lecturer | 1966 - 1967 | The School of Visual Arts | New York, USA | Lectureship/Lecturer | 1967 - 1985 | Department of Fine Art, The School of Visual Art | New York, USA | professorship | 1988 - 1990 | Hochschule für Bildende Künste Hamburg | Hamburg, Germany | professorship | 1991 - 1997 | Staatliche Akademie der Bildenden Künste Stuttgart | Germany | professorship | 2001 - 2006 | Kunstakademie München | Germany | professorship | 2007 | Istituto Universitario di Architettura | Venice, Italy |
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Research and teaching
Venice, Italy
Professor, Istituto Universitario di Architettura, Venice
Research and teaching
Munich, Germany
Professor, Kunstakademie Munich
Awards
Venice, Italy
Menzione d’Onore, Venice Biennale
Stuttgart, Germany
Professor, Staatliche Akademie der Bildenden Künste Stuttgart
Research and teaching
Hamburg, Germany
Professor, Hochschule für Bildende Künste Hamburg
Education
New York, USA
Anthropology and Philosophy at the New School for Social Research
Research and teaching
New York, USA
Faculty, Department of Fine Art, The School of Visual Arts
Education
New York, USA
School of Visual Arts
Exhibitions
"One and Three Chairs", main work of conceptual art
Education
Toledo, Ohio, USA
Toledo Museum School of Arts
Born
Toledo, Ohio, USA
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) | 1966 | Joseph Kosuth | |
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The Signature of the Word | 2001 | Joseph Kosuth | |