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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 9 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 17 collaborations edit in 1992 kosuth designed the album cover for fragments of a rainy season by john cale two years later kosuth collaborated with ilya kabakov to produce the corridor of two banalities shown at the centre for contemporary art in warsaw this installation included 120 tables in a row to present text somewhat symptomatic of the cultures of which they both came from 18 commissions edit since 1990 kosuth has also begun working on various permanent public commissions 19 in the early 1990s he designed a government sponsored monument to the egyptologist jean francois champollion who deciphered the rosetta stone in figeac in japan he took on the curatorship of a show celebrating the tokyo opening of barneys new york and in frankfurt germany and in columbus ohio he conceived neon monuments to the german cultural historian walter benjamin 9 in 1994 for the city of tachikawa kosuth designed words of a spell for noëma a 136 foot long mural composed of quotes from michiko ishimure and james joyce 20 after projects at public buildings such as the deutsche bundesbank 1997 the parliament house stockholm 1998 and the parliament of the brussels capital region 1999 kosuth was commissioned to propose a work for the newly renovated bundestag in 2001 he designed a floor installation with texts by ricarda huch and thomas mann for the paul löbe haus de 2 in 2003 he created three installations in the isabella stewart gardner museum in boston employing text archival material and objects from the museum s collection to comment on the politics and philosophy behind museum collections 1 in 2009 kosuth s exhibition entitled ni apparence ni illusion neither appearance nor illusion an installation work throughout the 12th century walls of the louvre palace opened at the musée du louvre in paris and became a permanent work in october 2012 in 2011 celebrating the work of charles darwin kosuth created a commission in the library where darwin was inspired to pursue his evolutionary theory his work on the façade of the council of state of the netherlands will be inaugurated in october 2011 and he is currently working on a permanent work for the four towers of the façade of the bibliothèque nationale de france in paris expected to be completed in 2012 21 lecturer edit kosuth has taught widely as a guest lecturer and as a member of faculties at the school of visual arts new york city 1967 85 hochschule für bildende künste hamburg 1988 90 state academy of fine arts stuttgart 1991 97 and the academy of fine arts munich 2001 06 currently professor at istituto universitario di architettura venice kosuth has functioned as visiting professor and guest lecturer at various universities and institutions for nearly forty years some of which include yale university cornell university new york university duke university ucla cal arts cooper union pratt institute the museum of modern art new york art institute of chicago royal academy copenhagen ashmolean museum oxford university university of rome berlin kunstakademie royal college of art london glasgow school of art hayward gallery london sorbonne paris and the sigmund freud museum vienna 22 his students have included among others michel majerus writings edit kosuth became the american editor of the art language journal in 1969 13 he later was coeditor of the fox magazine in 1975 76 and art editor of marxist perspectives in 1977 78 1 in addition he has written several books on the nature of art and artists including artist as anthropologist in his essay art after philosophy 1969 12 he argued that art is the continuation of philosophy which he saw at an end he was unable to define art in so far as such a definition would destroy his private self referential definition of art like the situationists he rejected formalism as an exercise in aesthetics with its function to be aesthetic formalism he said limits the possibilities for art with minimal creative effort put forth by the formalist 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 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 beginning of conceptual art 12 kosuth explains that works of conceptual art are analytic propositions they are linguistic in character because they express definitions of art this makes them tautological art after philosophy and after collected writings 1966 1990 reveals between the lines a definition of art of which joseph kosuth meant to assure us art is an analytical proposition of context thought and what we do that is intentionally designated by the artist by making the implicit nature of culture of what happens to us explicit internalizing its explicitness making it again implicit and so on for the purpose of understanding that is continually interacting and socio historically located these words like actual works of art are little more than historical curiosities but the concept becomes a machine that makes the art beneficial modest rustic contiguous and humble exhibitions edit in 1969 kosuth held his first solo exhibition at leo castelli gallery new york 23 that same year he organized an exhibition of his work fifteen locations which took place simultaneously at fifteen museums and galleries worldwide he also participated in the seminal exhibition of conceptual art at the seth siegelaub gallery new york 1 in 1973 the kunstmuseum luzern presented a major retrospective of his art that traveled in europe in 1981 the staatsgalerie stuttgart and the kunsthalle bielefeld organized another major kosuth retrospective he was invited to exhibit at documentas v vi vii and ix 1972 1978 1982 1992 and the biennale di venezia in 1976 1993 and 1999 he continued to exhibit in venice during the biennale from 2011 onwards with the european cultural centre his most recent exhibition with this organisation was in 2017 where he exhibited in palazzo bembo 24 25 curator edit for fifteen people present their favorite book a show mounted at lannis gallery new york in 1967 kosuth assembled fellow artists robert morris ad reinhardt sol lewitt robert mangold dan graham robert smithson carl andre robert ryman among others that same year with fellow artist christine kozlov he founded the museum of normal art new york while they were both students at the school of visual arts after giving a work in 1989 to the sigmund freud museum vienna kosuth heavily influenced by freud he invited other artists to do likewise today the museum owns 13 works by 13 freud influenced conceptualists 26 also in 1989 kosuth curated the show ludwig wittgenstein das spiel des unsagbaren to commemorate the 100th birthday of the philosopher in which he showed numerous works by fellow artists 2 the exhibition was shown at the wiener secession vienna and the palais des beaux arts brussels in response to the debate surrounding conservative attacks on the national endowment for the arts in 1990 9 kosuth organized an exhibition entitled a play of the unmentionable focusing on issues of censorship and using works from the permanent collection of the brooklyn museum of art 27 he culled objects from nearly every department of the museum including religious paintings many depictions of nudes social satire and some erotica among the selected works there were sculptures by auguste rodin of lesbians embracing and furniture from the bauhaus the avant garde german design school closed down by the nazis 9 these were then juxtaposed with pithy and frequently moving observations from a number of writers in a way that emphasizes how perceptions of art are constantly changing the works sometimes extensive labels were written by their curators while the larger type statements emanated from various art historians philosophers and social critics 28 recognition edit kosuth was awarded a cassandra foundation grant in 1968 at the age of 23 as the choice of marcel duchamp one week before he died in 1993 he received the menzione d onore at the venice biennale and was named a chevalier de l ordre des arts et des lettres in 1999 in honour of his work the french government issued a 3 franc postage stamp in figeac in 2001 he received the laurea honoris causa doctorate in philosophy and letters from the university of bologna in 2003 kosuth was awarded the austrian republic s highest honour for accomplishments in science and culture the decoration of honour in gold 29 30 in 2017 european cultural centre art award was awarded to kosuth for his lifelong dedication to create meaning through contemporary art 31 other awards include the brandeis award 1990 and the frederick weisman award 1991 the addison gallery of american art andover massachusetts the fred jones jr museum of art norman oklahoma the honolulu museum of art the centre for international light art unna germany the musée d art contemporain de lyon lyon france the national gallery of victoria melbourne australia the saint louis art museum st louis missouri the university of arizona museum of art tucson arizona and the whitney museum of american art new york city are among the museums holding work by joseph kosuth 32 see also edit one and three chairs one of kosuth s most well known pieces notes edit 1 2 3 4 5 joseph kosuth archived 2012 02 05 at the wayback machine guggenheim collection 1 2 3 4 joseph kosuth june 20 july 4 2000 archived july 18 2013 at the wayback machine wiener secession vienna joseph kosuth studio september 2008 maison martin margiela interview the national arts club 2022 10 19 joseph kosuth honored by national arts club retrieved 2025 12 17 via youtube dukelibdigitalcoll 2019 08 29 joseph kosuth leo castelli 1977 retrieved 2025 12 17 via youtube joseph kosuth gets wordy in enniskillen archived 2013 11 09 at the wayback machine culture northern ireland 15 08 2012 carlile aylmer macartney 2025 03 16 lajos kossuth encyclopædia britannica retrieved 2025 03 31 joseph kosuth archived 2011 07 20 at the wayback machine isabella stewart gardner museum boston 1 2 3 4 5 grace glueck december 17 1990 at brooklyn museum an artist surveys the objectionable new york times 1 2 joseph kosuth tate roberta smith july 15 2014 on kawara artist who found elegance in every day dies at 81 new york times 1 2 3 kosuth j 1969 art after philosophy 1 2 neither appearance nor illusion a selection of early works from the 1960s by joseph kosuth october 25 december 6 2008 archived july 22 2011 at the wayback machine sean kelly gallery new york joseph kosuth titled art as idea as idea water guggenheim collection 1966 alexander alberro and blake stimson conceptual art a critical anthology mit press 1999 pxl isbn 0 262 51117 7 roberta smith august 29 2006 marion cajori 56 filmmaker who explored artistic process dies new york times ken johnson november 17 2000 art in review joseph kosuth new york times kabakov ilʹi︠a︡ iosifovich 1994 ilya kabokov joseph kosuth korytarz dwóch banalności the corridor of two banalities koridor dvukh banalʹnosteĭ 25 04 1994 3 09 1994 kosuth joseph ślizińska milada centrum sztuki współczesnej warsaw poland warszawa centrum sztuki współczesnej zamek ujazdowski isbn 9788385142140 oclc 81404252 guests and foreigners rules and meanings te kore 2 march 30 april 2000 adam art gallery wellington henry scott stokes october 30 1994 japan plunges into public art new york times joseph kosuth the mind s image of itself 3 september 10 october 1 2011 sprüth magers london global conceptualism art as an installation some history and some theory 8 february 2011 link removed courtauld institute of art london joseph kosuth sean kelly gallery new york personal structures v...