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 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. Joseph Kosuth in: Arthur R. Rose, “Four Interviews,” Arts Magazine (February, ). Joseph Kosuth, “Introduction” in Art After Philosophy and After: Collected.
|Published (Last):||24 November 2015|
|PDF File Size:||17.95 Mb|
|ePub File Size:||13.97 Mb|
|Price:||Free* [*Free Regsitration Required]|
Perhaps one result of this degree of post-modern layering of experience has been to suggest a definition of art which is far less concrete that that which Art After Philosophy chases, and flexible enough to allow difference to become a strength. It is the aspect of art, or art-related things such as ideas, artists, practices etc. In itself this does anything but lead us into a dialogue about the nature of art. And what does his taste reflect?
One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy. It is said to be false, not because it is formally defective, but because it fails philosophu satisfy some material criterion. By continuing to use this website, you agree to their use.
Tag: Joseph Kosuth
It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general. Kosuth’s works are frequently self-referential. The piece features a physical chair, a photograph of that chair, and the text of a dictionary definition of the word “chair”.
He was unable to define art in so far as kosuty a definition would destroy his private self-referential definition of art. 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.
Thus, as Ayer has stated: Art is art-as-art and everything else is everything else. The works’ sometimes extensive labels were written by their curators, while the larger type statements emanated from various art historians, philosophers and social critics.
We have the cinema, and color television, as well as the man-made spectacle of the lights of Las Vegas or the skyscrapers of New York City.
In conclusion this essay might suggest that perhaps the shift which had occurred by then was not simply that:. The fact that it has recently become fashionable for physicists themselves to be sympathetic toward religion. But we can use a geometry to reason about physical space. LeWitt prized the idea over the object, taking our 20 th century redefinition of art one step further than the Abstract Expressionists who valued the process over the object.
Joseph Kosuth Quotes (Author of Art After Philosophy and After)
Art After Philosophy was written inat a time philosoohy America was hung in a moment of considerable political and social imbalance. Isabella Stewart Gardner Museum, Charta edizioni, Robert Smithson reacted to this by avoiding the gaze of the consumer and using nature as his gallery.
Behind every one of his decisions is an aesthetic judgment, with those judgments reflecting his taste.
Incelebrating the work of Charles DarwinKosuth created a commission in the library where Darwin was inspired to pursue his evolutionary theory. 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”. Yale University ; Cornell University: Although these artists Laurence Weiner and Victor Burgin should also be mentioned here were working towards similar ends at a similar time, it would nevertheless be wrong to perceive them as any kind of homogenous group.
Art is nothing but art. Instead of attempting to grasp or describe concepts bare, so to speak, the psychologist investigates the way in which they function as ingredients in beliefs and in judgments. Kosuth was awarded a Cassandra Foundation Grant inat the age of 23, as the choice of Marcel Duchamp one week before he died.
There are no absolutely certain empirical propositions. But to consider it as art it is necessary to ignore this same outside information, because outside information experiential qualities, to note has its own intrinsic worth.
With the unassisted Ready-made, art changed its focus from the form of the language to what was being said. Kosugh can easily sympathize with his desire to connect, say, Tiepolo with Jules Olitski.
He further argues that the “change from ‘appearance’ to ‘conception’ which begins with Duchamp’s first unassisted readymade was the beginning of ‘modern art’ and the kosutb of ‘ conceptual art ‘. The validity of artistic propositions is not dependent on any empirical, much less any aesthetic, presupposition about the nature of things.
It takes no hold if there is nothing for it to haul from, for its thinking is the haul, the attraction of likes —I. 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:.
Insofar as they are all free from contradiction, they are all true. 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.
Joseph Kosuth – Wikipedia
One consequence of this is that the standard philosophical discussions of many problems, such as those of causality and free will orof materialism or mentalism, are based on an interpretation of the pattern of events which is no longer tenable. It could be instructions concerning how to create a piece, as LeWitt was famous for, or it could be a piece that never even took on material form.
Kosuth belongs to a broadly international generation of conceptual artists that began to emerge in the mids, stripping art of personal emotion, reducing it to nearly pure information or idea and greatly playing down the art object. Thinking is radically metaphoric.