Joseph Kosuth’s writings, like his installations, assert that art begins where mere physicality ends. The articles, statements, and interviews collected here. A discussion of Joseph Kosuth’s definition of art as a proposition within the world, with reference to the text ‘Art After Philosophy’. 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.
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Although he is now very critical of its implicit postivism, no one can deny how effective it was at the time.
Kosuht piece features a physical chair, a photograph of that chair, and the text of a dictionary definition of the word “chair”. Quote b — Art After Philosophy p Accompanying these photographic images are certificates of documentation and ownership not for display indicating that philosohy works can be made and remade for exhibition purposes.
Yale University ; Cornell University: Formalism, he said, limits the possibilities for art with minimal creative effort put forth by the formalist. The point is this: Hegelian philosophy made sense in the nineteenth century and must have been soothing to a century that was barely aftef over Hume, the Enlightenment, and Kant.
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.
Actual works of art are little more than historical curiosities. In Britain alone, consideration must be given to a plurality of traditions, all valid, and all followed within art practice — an Indo-European tradition, for example; an North African tradition, a West Indian tradition, a specific Islamic tradition, and so on.
It would be a mere ejaculation, in no way characterizing that to which it was supposed to philossophy. One can easily sympathize with his desire to connect, say, Tiepolo with Jules Olitski.
As he said to friends at the time: He continued to exhibit in Venice during the Biennale from onwards, with the European Cultural Centre. 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. The function of art, as a question, was first raised by Marcel Duchamp. Whether a geometry can be applied to the actual physical world or not, is an empirical question which phhilosophy outside the scope of geometry itself.
He introduced the notion that art, as he put it, “was not a question of forms and colors but one of the production kosuh meaning. For now it is perhaps enough to emphasise that Kosuth uses phiposophy term in a very narrow range, in contrast to most standardised definitions. Or, that is to say, when the truth or falsity of its assertion is verifiable on empirical grounds.
The Philosophy of Art after ‘Art After Philosophy’ « Ruth Barker
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I will then conclude by considering the cultural significance of the ideas which have been raised. There are no absolutely certain empirical propositions.
For convenience, all page numbers and references will refer pholosophy the Art in Theory Harrison and Wood, edition reprinted extract of this text. Clearly there is a sympathetic relationship between this opinion and that extolled by Kosuth. Formalist criticism is no more than an analysis of the physical attributes of particular objects that happen to exist in a morphological context.
Joseph Kosuth – Wikipedia
Certainly art or objects of painting and sculpture cannot be expected to compete experientially with this? Matias Monteiro rated it really liked it Feb 01, 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 wrt moment in art.
Thus, as Ayer has stated: His analysis had a major impact on his practice as an artist and, soon after, on that of aftfr. 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.
Art is art-as-art and everything else is everything else.