Joseph Kosuth an American conceptual artist, lives in New York and London, after having . His seminal text ‘Art after Philosophy’, written in , had a major impact on the thinking about art at the time and has been seen since as a kind. 3. Art after Philosophy’. Joseph Kosuth. The fact that it has recently become fashionable for physicists themselves to be sympa~ theeic towards religion marks. Joseph Kosuth’s writings, like his installations, assert that art begins where mere physicality ends. The articles, statements, and interviews collected here.

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The current location of Modernist criticism began to seem far from the disinterested objective standpoint it had professed, as Kosuth claims of the critic Clement Greenberg:.

Reinhardt describes, and Kosuth follows him in describing, a philosophical ideal wherein a given entity can be both subject and object of itself. Thus, judgments on josph it looks like correspond to taste, and we can see that throughout history different examples of architecture are praised at different times depending on the ioseph of particular epochs.

Thus, as Ayer has stated: Formalist criticism is no more than an analysis of the physical attributes of particular objects that happen to exist in a morphological context. The nearly exclusive focus on the said by twentieth-century analytical linguistic philosophers is the shared contention that the unsaid is unsaid because it is unsayable.

Matias Monteiro rated it really liked it Feb 01, Rather than pin down his vocabulary here then, Kosuth instead frames it by incorporating a series of quotations from a range of critical jseph into the matter of his essay, and it is this framing which becomes important as we consider his terminology. In this and other, similar works, Four Colors Four Kosutn and Glass One and ThreeKosuth forwards tautological statements, where the works literally are what they say they are.

Books by Joseph Kosuth. One of his most famous works is One and Three Chairs. Dover Publicationsp.

Art After Philosophy and After: Collected Writings, 1966-1990

Ayer 26 Here then I propose rests the viability of art. It would be a mere ejaculation, in no way characterizing that to which it was supposed to refer. As Kosuth claims [Art After Philosophy, p The main qualifications to the lesser position of painting is that advances in art are certainly not always philosopny ones.


The one thing to say about art is that it is one thing. And this questioning of the nature of art is a very important concept in understanding the function of art. Retrieved from ” https: Certainly the monumental popularity of colour television and the increasing importance of the media in general was delivering spectacle on a daily basis, but it was also delivering images of horror in a way which was very accessible.

Like the Situationistsafteer rejected formalism as an phiposophy in aestheticswith its function to be aesthetic. If Pollock is important it is because he painted on loose canvas horizontally to the floor. However, the fact that Art After Philosophy does not reduce the term to an isolated state effectively means that the word retains its ability to exist as an idea of art as well as within a specific object or example.

Behind every one joswph his decisions is an aesthetic judgment, with those judgments reflecting his taste. Only recently did I realize [sic] after meeting Terry Atkinson that he and Michael Baldwin share similar, though certainly not identical, views to my own.

And neither does it comment on whether or not the objects analyzed jseph even works kousth art, in that formalist critics always bypass the conceptual element in works of art.

His activity has consistently explored the production and role of language and meaning within art. It is therefore a purely logical system, and its propositions are purely analytic propositions. The whole world is there to be seen, and jkseph whole world can watch man walk on the moon from their living rooms.

The idea becomes a machine that makes the art.

Art After Philosophy and After: Collected Writings, by Joseph Kosuth

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We see now that the axioms of a geometry are simply definitions, and that the theorems of a geometry are simply the logical consequences of these definitions. Formalism, he said, limits the possibilities for art with minimal creative effort put forth by the formalist. Anthony rated it it was ok Jun 13, For an artist to question the nature and function of fine art and fine art practice as Kosuth does in quote a is to enter into a philosophical engagement where the accuracy and specificity of language is paramount.

That the world as perceived by twentieth-century science is a vastly different one than the one of its preceding century, need not be proved here. To translate this into text, as Kosuth did in with Art After Philosophy, and which I will attempt to do here in jseph to the question posed, first of all requires a clear demarcation of ground and a working definition of the terms that will be used. We have the cinema and color television, as well as the man-made spectacle of the lights of Las Vegas or the sky-scrapers of New York City.


The whole world is there to be seen, and phi,osophy whole world can watch man walk on the moon from their living rooms.

Which means that it changed the nature of art from a question of morphology to a question of function. If an artist accepts painting or sculpture he is accepting the tradition that goes with it.

Description Joseph Kosuth’s writings, like his installations, assert that art begins where mere physicality ends. To repeat and expand upon quote b: Kosuth defines art as ideally being entirely separate from the world, but this proposition seems to flout the contemporary understanding which describes the nature of our perceptions of what that world might be, as fluctuating, as temporally and culturally specific.

I arrived at these conclusions alone, and indeed, it is from this thinking that my art from if not before evolved.

The articles, statements, and interviews collected here, produced over a period of 24 years, range over philosophy of language, anthropology, Marxism, and linguistics to discover the common principles that inform representation while negotiating the complex debates about a Joseph Kosuth’s writings, like his installations, assert that art begins where mere physicality ends.

Further, since concept is overlooked by the formalist, “Formalist criticism is no more than an analysis of the physical attributes of particular objects which happen to exist in a morphological context”. Insofar as they are all free from contradiction, they are all true.

This caused a near revolt of the faculty, as he had been a disruptive presence in the opinion of many of the instructors, several who had unhappily faced his questioning of basic presumptions.

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