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.
The piece need not be built. He has no idea about art. Sol LeWitt has always been one of those artists. The significance of the mechanics of this is paramount.
The idea becomes a machine that arg the art. If one looks at contemporary art in this light one realizes philisophy minimal creative effort taken on the part of formalist artists specifically, and all painters and sculptors working as such today generally. One can fly all over the earth in a matter of hours and days, not months. He acquainted himself intimately with shapes and lines; the shapes, squares, circles and triangles we know so well.
Joseph Kosuth – Wikipedia
Robert Smithson reacted to this by avoiding the gaze philsophy the consumer and using nature as his gallery. Art is not what is not art. The photograph is a ksouth of the actual chair situated on the floor, in the foreground of the work. His most recent exhibition with this organisation was inwhere he exhibited in Palazzo Bembo. Empirical questions are one and all hypotheses, which may be confirmed or discredited in actual sense experience.
Meaning is always a presupposition of function. By continuing to use this website, you agree to their use. All art after Duchamp is conceptual in nature because philosophh only exists conceptually. Traditional philosophy, almost by definition, has concerned itself with the ksuth.
Art is the definition of art. With the unassisted Ready-made, art changed its focus from the form of the language to what was being said. For we shall see that the characteristic mark of a purely logical inquiry is that it is concerned with the formal consequences of our definitions of art and not with questions of empirical fact.
U B U W E B :: Joseph Kosuth – Art After Philosophy
If one is questioning the nature of painting, one cannot be questioning the nature of art. Retrieved from ” https: In fact it is Marcel Duchamp whom we can credit with giving art its own identity. For it is characteristic of empirical propositions that their validity is not purely formal. He introduced the notion that art, as he put it, “was not a question of forms and colors but one of the production of meaning. From Wikipedia, the free encyclopedia.
But we can use a geometry to reason about physical space. That is, it was ordinarily predictable as to what he would be coming into contact with day after day. For now it is perhaps enough to emphasise that Kosuth uses the term in a very narrow range, in contrast to most standardised definitions. Art indeed exists for its own sake. The whole world is there to be seen, and the whole world can watch man walk on the moon from their living rooms.
University of Michigan Pressp. One way to look at the new art was expressed by Kosuth as a difference in language. 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.
Sooner or later the artist kosjth implicated or devoured by politics without even trying. The validity of artistic propositions is not dependent on any empirical, much less any aesthetic, presupposition about the nature of things.
Insofar as they are all free from contradiction, they are all true. Art After Philosophy was written inat a time when America was hung in a moment of considerable political and social imbalance.
As long as the idea was fulfilled, the artist had succeeded. 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 kosuuth of art as well as within a specific object or example.
As he said to friends at the time: 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.
There are no absolutely certain empirical propositions. In this and other, similar works, Four Colors Four Words and Glass One and ThreeKosuth forwards tautological statements, where the works literally are what they say they are.
This makes them tautological. For Kosuth then, aesthetics could not be the basis of good art. His visual environment in the part of the world in which he lived was fairly consistent. Another way of stating, in relation to art, what Ayer asserted about the analytic method in the context of language would be the following: In the early s, concerned with his “ethnocentricity as a white, male artist”, Kosuth enrolled in the New School to study anthropology.
Thus there is no final proposition. In this age of the automobile, electricity, philosoph atom bomb and space travel, what was the point of traditional philosophy?
Inthe Staatsgalerie Stuttgart and the Kunsthalle Bielefeld organized another major Kosuth retrospective.
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