Art After Philosophy (1969) Joseph Kosuth The fact that it has recently become fashionable for physicists themselves to be sympathetic toward religion... In his 1969 essay “Art After Philosophy”, artist and theoretician Joseph Kosuth argued that traditional art-historical discourse had reached its end. In its place.

Synopsis 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 installations (1965), in which he assembled an object, a photograph of that object, and an enlarged photographic copy of the dictionary definition of it, explored these relationships directly. Download Manual Escova Rotating Air Brush Conair on this page. His enlarged photostats of dictionary definitions in his series Art as Idea as Idea (1966-68) eliminated objects and images completely in order to focus on meaning conveyed purely with language.

Since the 1970s, he has made numerous site-specific installations that continue to explore how we experience, comprehend, and respond to language. This work is the first and most famous example of Kosuth's series of One and Three installations, in which he assembled an object, a photograph of that object, and an enlarged dictionary definition of the object. It questions what actually constitutes a chair in our thinking: is it the solid object we see and use or is it the word 'chair' that we use to identify it and communicate it to others? Furthermore, it confronts us with how we use words to explain and define visible, tangible, ordinary things, how words represent, describe, or signify things, and how this often becomes more complex when the thing is simple, fundamental, or intangible. Thus, it explores how language plays an integral role in conveying meaning and identity. It makes us more aware of why and how words become the verbal and written equivalents for commonplace tangible, solid things and objects. Vbulletin Manager Plugin Wordpress. Kosuth continued this exact formula in subsequent works, employing a shovel, hammer, lamp, and even a photograph itself (including a photograph of the photograph and definition of 'photograph').

This is one of the first Conceptual works of art that was intended to eliminate any sense of authorship or individual expression and creativity. Biography 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.

By this time, he was already questioning the usefulness of imagery in conveying meanings and ideas and was exploring the uses of language. 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 presentation of words has been compared to Reinhardt's reductive, geometric abstract painting.

Kosuth has said that Reinhardt's paintings and theories were important to him, that his paintings were a 'totalizing force' that were not 'empty' geometry but 'full' of meaning and feeling, and that Reinhardt's ideas on the moral and social importance of art also influenced him. The two artists knew one another and corresponded. Reinhardt submitted a copy of Julia R. De Forest's Short History of Art to Kosuth's 1967 exhibition 'Fifteen People Submit Their Favorite Book.' In 1967, he established the New York City exhibition space he called 'The Museum of Normal Art.'