Joseph Kosuth

Joseph Kosuth is an American conceptual artist, who lives in New York and London, after having resided in various cities in Europe, including Ghent and Rome.

Kosuth belongs to a broadly international generation of conceptual artists that began to emerge in the mid-1960s, stripping art of personal emotion, reducing it to nearly pure information or idea and greatly playing down the art object. Along with Lawrence Weiner, On Kawara, Hanne Darboven and others, Kosuth gives special prominence to language. His art generally strives to explore the nature of art rather than producing what is traditionally called "art". Kosuth's works are frequently self-referential. He remarked in 1969:

"The 'value' of particular artists after Duchamp can be weighed according to how much they questioned the nature of art."Kosuth's works frequently reference Sigmund Freud's psycho-analysis and Ludwig Wittgenstein's philosophy of language.

His first conceptual work Leaning Glass, consisted of an object, a photograph of it and dictionary definitions of the words denoting it. In 1966 Kosuth also embarked upon a series of works entitled Art as Idea as Idea, involving texts, through which he probed the condition of art. The works in this series took the form of photostat reproductions of dictionary definitions of words such as "water", "meaning", and "idea". Accompanying these photographic images are certificates of documentation and ownership (not for display) indicating that the works can be made and remade for exhibition purposes.

One of his most famous works is One and Three Chairs. The piece features a physical chair, a photograph of that chair, and the text of a dictionary definition of the word "chair". The photograph is a representation of the actual chair situated on the floor, in the foreground of the work. The definition, posted on the same wall as the photograph, delineates in words the concept of what a chair is, in its various incarnations. In this and other, similar works, Four Colors Four Words and Glass One and Three, Kosuth forwards tautological statements, where the works literally are what they say they are. A collaboration with independent filmmaker Marion Cajori, Sept. 11, 1972 was a Minimalist portrait of sunlight in Cajori's studio.

His seminal text Art after Philosophy, written in 1968-69, had a major impact on the thinking about art at the time and has been seen since as a kind of "manifesto" of Conceptual art insofar as it provided the only theoretical framework for the practice at the time. (As a result, it has since been translated into 14 languages, and included in a score of anthologies.) It was, for the twenty-four year old Kosuth that wrote it, in fact more of a "agitprop" attack on Greenbergian formalism, what Kosuth saw as the last bastion of late, institutionalized modernism more than anything else. It also for him concluded at the time what he had learned from Wittgenstein - dosed with Walter Benjamin among others - as applied to that very transitional moment in art.

In the early 1970s, concerned with his "ethnocentricity as a white, male artist", Kosuth enrolled in the New School to study anthropology. He visited the Trobriand Islands in the South Pacific (made famous in studies by the anthropologist Bronislaw Malinowski), and the Huallaga Indians in the Peruvian Amazon.

For Kosuth, his studies in cultural anthropology were a logical outgrowth that followed from his interest in the "anthropological" dimension of the later Wittgenstein. Indeed, it was the later Wittgenstein of the Investigation - which by accident he had read first - that led to works such as One and Three Chairs (among other influences), not the Tractatus as is often assumed. His anthropological "field work" was organized by him only for the purpose of informing his practice as an artist. (As he said to friends at the time: "some artists learn how to weld, others go back to school.") By the early 1970s, he had an internationally recognized career and was in his late 20s. He found that he was, as he put it, "a Eurocentric, white, male artist", and was increasingly culturally and politically uncomfortable with all that seemed naturally acceptable to his location. His study of cultural anthropology (and it was the New School perspective of Vico, Rousseau, Marx that provided him a direction out of the Ango-American philosophical context) led him to decide to spend time within other cultures, deeply embedded in other world views. He spent time in the Peruvian Amazon with the Yagua Indians living deep into the Peruvian side of the Amazon basin. He also lived in an area of Australia some hundreds of kilometers north of Alice Springs with an Aboriginal tribe that, before they were re-located four years previously from an area farther north, had not known of the existence of white people. Later, he spent time in the Trobriand islands with the Aboriginal tribe that Malinowski had studied and wrote on. From Kosuth's point of view, "I knew I could, would, never enter into their cultural reality, but I wanted to experience the edge of my own." It was this experience and study which lead to his well-known text The Artist as Anthropologist in 1975.

Hung on walls, his signature dark gray, Kosuth's later, large photomontages trace a kind of artistic and intellectual autobiography. Each consists of a photograph of one of the artist's own older works or installations, overlaid in top and bottom corners by two passages of philosophical prose quoted from intellectuals identified only by initials (they include Jacques Derrida, Martin Buber and Julia Kristeva).

Text courtesy of Wikipedia, 2023