Gostaríamos de exibir a descriçãoaqui, mas o site que você está não nos permite. Kosuth Art After Philosophy.pdf. Download 0 1. File Date Type Size User; 1 of 1 : Sep 3, 2011 3:15 pm: PDF Document (application/pdf) 1.10 MB: Meredith.Hoy: Wiki. Collection Online. Artists; Dates; Mediums; Movements. Joseph Kosuth 'Titled (Art as Idea as Idea)' [Water]. In his 1969 essay “Art After Philosophy”.
Get pdf. READ PAPER. Kosuth Art After Philosophy. Download. Kosuth Art After Philosophy. Uploaded by. Vakhtang Chikhladze. Views. Pages. 13. Download pdf. READ PAPER. Art After Philosophy by Joseph Kosuth. Art Reviews: Joseph Kosuth: He Spells Everything Out for Us. By William Wilson The Los Angeles Times September 28, 1990.
Joseph Kosuth Biography, Art, and Analysis of Works"It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general."Synopsis. Joseph Kosuth was one of the originators of Conceptual art in the mid- 1.
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 (1. His enlarged photostats of dictionary definitions in his series Art as Idea as Idea (1.
Since the 1. 97. 0s, he has made numerous site- specific installations that continue to explore how we experience, comprehend, and respond to language. Key Ideas. 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 be no obstacles to conveying ideas, and so images should be eliminated since he considered them obstacles. This notion became one of the major forces that made Conceptual art a movement in the late- 1.
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 between the visual and the linguistic.
To this extent, he was influenced by the philosopher Ludwig Wittgenstein's ideas on language. 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 presentation of language to make his audience contemplate issues of poverty, racism, loneliness, isolation, the meaning of life, and personal identity - usually without any clear, overt commentary of his own. In this, Kosuth embodies how the contemporary artist may become a philosopher and moralist. 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, in his case the sources being written and verbal as opposed to visual or art historical. His chosen texts are usually not particularly descriptive nor do they attempt to create images with words.
Most Important Art. One and Three Chairs (1. 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.
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.
Chair, photograph of same chair (to scale), enlarged printed definition of the word "chair" - Museum of Modern Art, New York. More Art Works. Biography.
Early Life and Study. Joseph Kosuth was born in Toledo, Ohio, in 1. He studied at the Toledo Museum School of Design starting at the very early age of ten and continued there until 1. Belgian painter Line Bloom Draper. He enrolled at the Cleveland Institute of Art in 1. After traveling abroad for a year, he moved to New York City in 1. School of Visual Arts, where he studied painting until 1.
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 1. 96. 5, at just 2. 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 1. 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. Forest's Short History of Art to Kosuth's 1. Fifteen People Submit Their Favorite Book." In 1. New York City exhibition space he called "The Museum of Normal Art."By the 1. Photostats - quick photographic copies of text - as souvenirs and thus "objectifying" and "fetishizing" them, Kosuth published these artworks as advertisements in magazines to further undermine their object- like value. In the late- 1. 96.
These words usually created short, simple statements that were quite straightforward and self- evident. Kosuth's early Conceptual works were quickly appreciated for their innovation, and they secured him a teaching position at the School of Visual Arts in 1. In 1. 96. 9, he published his seminal "Art after Philosophy," a three- part essay published in Studio International, in which he explained how Marcel Duchamp was crucial for altering the direction of modernist art from radical visual developments to radical ideas and meanings expressed with ordinary, non- artistic materials and asserted that visual art could be adapted for investigations of meaning in language. In 1. 96. 9 he became the American editor for the Conceptual group Art & Language, which was based in Great Britain, and continued with this group until 1.
Kosuth, were becoming well- known independently of the group led him to depart. This practice of inquiry and contemplation has led Kosuth to refer to many of his works since the mid- 1. First," "Third," and "Sixth" Investigations, in addition to their other titles, which are often more widely used and better known.
Beginning in 1. 97. Kosuth enrolled in classes at the New School for Social Research in New York, studying philosophy and anthropology. He found the writings of Ludwig Wittgenstein, particularly his philosophy of language, quite informative and applicable to his own work. This influence can be found in Kosuth's experiments with words, probing the nature of meaning, language cognition, and the relationship between language and art, all of which have been constant concerns in his oeuvre. Wittgenstein's tautological statements on reality and non- reality in words and images, as explicated in his 1. Tractatus Logico- Philosophicus, are particularly relevant to Kosuth's work. 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 readymades as 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 School of Visual Arts in New York City from 1. Since then he has been a visiting professor at various institutions, including the Staatliche Akademie der Bildende Kunste in Stuttgart, Yale University, Pratt Institute, and Oxford University. Today Kosuth splits his time between New York and Rome. Legacy. Joseph Kosuth became one of the pioneers of Conceptual art at a remarkably young age, creating his most important works and writings while still in his 2. Kosuth's work is also part of a significant change in art during the 1. This characterizes the work of many socially aware artists such as Barbara Kruger, Jenny Holzer, the Guerilla Girls, and Glenn Ligon.
Kosuth has organized events and installations involving other artists, including his Museum of Normal Art, "Fifteen People Submit Their Favorite Book" (1. Freudian theories to the Sigmund Freud Museum in Vienna.