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Joseph Kosuth (born January 31, 1945, Toledo, Ohio, U.S.) is an American artist and theoretician, a founder and leading figure of the conceptual art movement. He is known for his interest in the relationship between words and objects, between language and meaning in art.
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- Summary of Joseph Kosuth
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- Biography of Joseph Kosuth
Joseph Kosuth was one of the originators of Conceptual art in the mid-1960s, which became a major movement that thrived into the 1970s and remains influential. He pioneered the use of words in place of visual imagery of any kind and explored the relationship between ideas and the images and words used to convey them. His series of One and Three ins...
Kosuth believed that images and any traces of artistic skill and craft should be eliminated from art so that ideas could be conveyed as directly, immediately, and purely as possible. There should b...Kosuth has often explored the relationships between words and their meanings and how words relate to the objects and things they name or describe. He has been fascinated with the equivalences betwe...Many of Kosuth's installations and displays of words have incorporated excerpts from literature, philosophy, psychology, and history that have that have intrigued him. Consequently, he has used the...Since he usually relies on the writing of others in his presentations of words and texts, Kosuth's work represents how Conceptual art, like much of postmodernism, involves a lot of appropriation, i...Early Life and Study
Joseph Kosuth was born in Toledo, Ohio, in 1945. He studied at the Toledo Museum School of Design starting at the very early age of ten and continued there until 1962, during which time he studied with the Belgian painter Line Bloom Draper. He enrolled at the Cleveland Institute of Art in 1963 and studied drawing and painting there for a year. After traveling abroad for a year, he moved to New York City in 1965 and enrolled at the School of Visual Arts, where he studied painting until 1967. B...
Early Career
In 1965, at just 20 years old, Kosuth started to create a number of works that would effectively help start the Conceptual art movement and most fully realize his thinking about art as pure idea and meaning. These included his One and Three series of installations and his First Investigations, which were subtitled Art as Idea as Idea. The title for the series was inspired by Ad Reinhardt's comment in 1958 that "art is art as art and everything else is everything else." Kosuth's reductive pres...
Later Career
Kosuth has continued to write and edit for numerous alternative publications throughout his career, espousing a stringent philosophy of the separation of art and aesthetics, often citing Duchamp's readymadesas the basis for his thinking. In recent years Kosuth has received a number of commissions for large-scale public installations at the Isabella Stewart Gardner Museum in Boston, the Louvre in Paris, and the Norman Foster-renovated Bundestag building in Berlin. He was on the faculty of the...
- American
- January 31, 1945
- Toledo, Ohio
Joseph Kosuth (/ k ə ˈ s uː t,-ˈ s uː θ /; born January 31, 1945) is a Hungarian-American conceptual artist, who lives in New York and Venice, [1] after having resided in various cities in Europe, including London, Ghent and Rome. [2] [3] A giant copy of the Rosetta stone, by Joseph Kosuth in Figeac, France, the birthplace of Jean ...
Joseph Kosuth (; born January 31, 1945) is a Hungarian-American conceptual artist, who lives in New York and Venice, after having resided in various cities in Europe, including London, Ghent and Rome.
Why photography and text, and not a painting or a sculpture? Kosuth’s avoidance of the traditional media was also a critique of the ways that art institutions had historically accepted and promoted only certain types of artworks.
One and Three Chairs, is a conceptual work by Joseph Kosuth, from 1965. An example of conceptual art, the piece consists of a chair, a photograph of the chair, and an enlarged dictionary definition of the word "chair". The photograph depicts the chair as it is actually installed in the room, and thus the work changes each time it is installed ...
These open-ended questions are exactly what Kosuth wanted us to think about when he said that “art is making meaning.” By assembling these three alternative representations, Kosuth turns a simple wooden chair into an object of debate and even consternation, a platform for exploring new meanings.
