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	One and Three Chairs - Wikipedia, the free encyclopedia
		Kosuth demonstrates the difference between concept and presentation in a way which was prefigured in the "event cards" of Fluxus-artists like George Brecht, Dick Higgins and Yoko Ono.
		Kosuth not only changes the art practice from hand-made originals to notations with substitable realizations but he tries to exemplify the relevance of this change for the theory of art within the concept of the presentation form which constitutes the "One and Three..." series, too.
		Joseph Kosuth, WBAI, April 7, 1970: "I used common, functional objects - such as a chair - and to the left of the object would be a full-scale photograph of it and to the right of the object would be a photostat of a definition of the object from the dictionary.
	en.wikipedia.org /wiki/One_and_Three_Chairs (1177 words)

	Adam \| Art Gallery - Guests and Foreigners: Rules and Meanings
		Kosuth is perhaps best known for his use of language as the primary vehicle for, and subject of, his practice.
		Joseph Kosuth was born in Toledo, Ohio in 1945.
		Joseph Kosuth's installation at the Adam Art Gallery was instigated by Christina Barton and organised by the Adam Art Gallery as part of the New Zealand International Festival of the Arts 2000 project.
	www.vuw.ac.nz /adamartgal/exhibitions/2000/2000-kosuth.html (1029 words)

	ISGM Exhibitions: Joseph Kosuth (Site not responding. Last check: 2007-10-20)
		Joseph Kosuth is one of the pioneers of the Conceptual art movement.
		Joseph Kosuth has chosen to investigate the cultural politics of putting work into the world: collecting, presenting, and exploring the individual thinking and ambitions that shaped an idea of art not only of the present, but of a contemporary view of the past.
		Kosuth takes carefully selected sentences and re-contextualizes them, inviting us to construct meaning both from the text itself and the context in which it appears, activating the viewer's relationship to the meaning-making process.
	www.gardnermuseum.org /2003_exhibitions/jkosuth_info.asp (522 words)

	Joseph Kosuth - AMAM
		Kosuth presents his dictionary definitions of the words "White" and "Black" in the general format of a painting: square, flat fields with light figures and fl grounds, hung on a wall.
		Joseph Kosuth studied at the Toledo Museum School of Design from 1955 to 1962, and simultaneously began to pursue his interest in philosophy and science.
		Joseph Kosuth, "Introductory Note by the American Editor," Art/Language(February 1970); cited in Lucy R. Lippard, The Dematerialization of the Art Object from 1966 to 1972, (New York and Washington, D.C., 1973; reprinted Berkeley, Calif., 1997), p.
	www.oberlin.edu /allenart/collection/kosuth_joseph.html (774 words)

	Joseph Kosuth - Wikipedia, the free encyclopedia
		Joseph Kosuth (born January 31, 1945) is an influential American conceptual artist.
		In this and other, similar works, Five Words in Blue Neon and Glass One and Three, Kosuth forwards tautological statements, where the works literally are what they say they are.
		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'." Kosuth once declared that art is art if someone calls it art; he explains that works of conceptual art are analytic propositions.
	en.wikipedia.org /wiki/Joseph_Kosuth (428 words)

	Joseph Kosuth:Re-defining the Context of Art: 1968 - 1997 (Site not responding. Last check: 2007-10-20)
		Joseph Kosuth, a key figure in the redefinition of the art object that took place during the 1960s and 1970s with the formulation of Conceptual art, will site a new project, Re-Defining the Context of Art: 1968-1997 :The Second Investigation and Public Media, at the List Visual Arts Center and venues around Cambridge and Boston.
		Kosuth initiated his work with public media--or art sited outside the gallery context--in 1968 with The Second Investigation and considers the LVAC project a continuation of the themes of that project.
		Kosuth's purpose is to question art's traditional forms and the assumptions surrounding them, from the function of the objects to the role of the exhibition itself.
	web.mit.edu /lvac/www/exhibitions/WINTER/1997/kosuth.html (342 words)

	amfAR Press Releases
		Kosuth, whose work is unparalleled in the field of conceptual art, is a long-time amfAR supporter and has generously donated the installation, dedicating it to amfAR and the history of the AIDS epidemic.
		Joseph Kosuth has been at the forefront of conceptual art for thirty years.
		Kosuth’s most recent activities include a commissioned work for the German Parliament; a sculpture walk project for the 2000 Olympics in Sydney, Australia; and a "Guests and Foreigners" installation for the Chiba City Museum of Art in Chiba City, Japan.
	www.amfar.org /cgi-bin/iowa/amfar/press/record.html?record=20 (300 words)

	Joseph Kosuth
		Kosuth employed language itself as the medium to explore the meaning of art.
		Kosuth used this to undermine the precious quality of the art object and it’s place in the museum.
		To Kosuth the focus of “art” is not in the art object, but rather in the concept of the work.
	www-viz.tamu.edu /students/stenner/vist305/kosuth.html (185 words)

	joseph kosuth (Site not responding. Last check: 2007-10-20)
		In creating his pieces, Joseph Kosuth usually uses quotations of writings and images that he inserts in a...
		Joseph Kosuth (Stati Uniti) interviene nella loggia del Podestà a San Gimignano, il luogo in cui per secoli...
		joseph kosuth - one + nine, a re-text - torino, galleria in arco - Exibart.com
	www.ultrafilter.it /business_centre/joseph_kosuth.html (283 words)

	Joseph Kosuth a Arte all'Arte 1999
		In creating his pieces, Joseph Kosuth usually uses quotations of writings and images that he inserts in a new context.
		This digression on architecture is not out of place in our discussion; it is essential, in a work like Kosuth’s, to investigate the urban fabric in which the artwork is to be inserted because the piece originates in a strict relationship with the environment.
		So Kosuth’s work combines the thought of a contemporary visual artist with that of a theoretician from the last century; present with past culture; a specific place that today has lost its function and has become little more than a side-show with the international culture of which it had been an inspiration.
	www.arteallarte.org /aap/english/1999/kosuth.html (472 words)

	Paul James: Staging Cultural Translation
		The metaphor of the horizon, which Kosuth himself uses to describe the circling texts, is not a casual one as an examination of its connotations reveals.
		The stolen texts became overdetermined by Kosuth’s programme, for in their dis-located state they could no longer be relied upon to act as a representation of the Maori author.
		Kosuth’s readymade box of textual artefacts is dis-articulated in each successive context to which it is transported.
	www.thepander.co.nz /art/reviews/pjames2000.php?printer_friendly=false (1160 words)

	Land Forum - Landscape Architecture, Garden Design, & Environmental Planning
		Kosuth combined a chair (reality), a photograph of the chair (sign), and a dictionary definition of "chair" (designation) to create a work which clearly illustrates the limited information value of object, representation and language.
		In order to pursue this question, in order to understand better what is going on in the Kosuth piece and what implications this might have for the profession, and for the teaching of landscape architecture, I will rely on two quotes.
		Rose's writing reveals a great deal about where she stands on the question of actual things: she believes there is a reality out there to which her writing does point, and that that reality is one we are all capable of perceiving and evaluating.
	www.spacemakerpress.com /lffall98/lfpage04.htm (2405 words)

	Guggenheim Collection - Artist - Kosuth - Biography
		Joseph Kosuth was born January 31, 1945, in Toledo, Ohio.
		Kosuth founded the Museum of Normal Art in New York in 1967 and his first solo show took place there that year.
		Kosuth was coeditor of The Fox magazine in 1975–76 and art editor of Marxist Perspectives in 1977–78.
	www.guggenheimcollection.org /site/artist_bio_79.html (381 words)

	HighBeam Research: Library Search: Results (Site not responding. Last check: 2007-10-20)
		Reading between the lines: Joseph Kosuth's ambitious new gallery installation, made up of neon and texts, was characterized by visual complexity and intellectual heterodoxy.
		Beginning in the boardroom: a new installation in Joseph Kosuth's "Guests and Foreigners" series is a tribute to the supporters of an AIDS organization.
		Joseph Kosuth puts the meaning of art to the text.
	www.highbeam.com /library/search.asp?q=Joseph+Kosuth&refid=kunstnet (493 words)

	Sean Kelly Gallery \| Exhibition Details (Site not responding. Last check: 2007-10-20)
		While photographic reproduction techniques have been part of Kosuth's work consistently since the 60's, his new work departs from, as it adds to, his prior use of it.
		While Kosuth has always insisted that he does not object to the use of color when it is meaningful (and not simply decorative), the new work is no exception to this rule.
		Joseph Kosuth's work has been exhibited extensively since the early 1960's in a multitude of galleries and museums throughout the United States, Europe and Asia.
	www.skny.com /lasso-bin/exhibition.lasso?-token.ExID=10078 (321 words)

	Irish Museum of Modern Art
		The first solo exhibition in Ireland of the work of Joseph Kosuth, one of the founders of Conceptual art, opens to the public at the Irish Museum of Modern Art on Thursday 13 March.
		Joseph Kosuth’s work played a key role in the redefinition of art which took place in the 1960s and ‘70s, which questioned traditional art forms and practices and the assumptions surrounding them.
		For Kosuth the meaning of art, as expressed in language, is more important than its appearance, the concept more important than the object.
	www.modernart.ie /en/print.cgi?id=page_19246.htm (516 words)

	Art & Language - Wikipedia, the free encyclopedia
		Their early work, as well as their journal Art-Language which first appeared in 1969, is regarded as an important influence on much conceptual art both in the United Kingdom and in the United States.
		In the early 1970s Ian Burn, Michael Corris, Charles Harrison, Preston Heller, Graham Howard, Joseph Kosuth, Andrew Menard, Mel Ramsden, Terry Smith and from Coventry Philip Pilkington and David Rushton joined the group and worked under its name.
		Art and Language produced a good deal of art as well as theoretical writings, though by the end of the 1970s the group was essentially reduced to Baldwin, Harrison and Ramsden as the political analysis that developed within the group resulted in many members leaving to work in more activist political occupations.
	en.wikipedia.org /wiki/Art_&_Language (437 words)

	Conzept art
		Kosuth *1945 in Toledo, Ohio, USA gehört zu den wichtigsten Vertretern der Konzeptkunst.
		Zwischen 1965 und 1974 war Kosuth in seiner künstlerischen Entwicklung vorrangig von den philosophischen Abhandlungen Ludwig Wittgensteins beeinflusst und untersuchte die selbstreferenzielle Bedeutung von Sprache.
		JOSEPH KOSUTH - Toledo, Ohio, 1945 - ist einer der bedeutendsten Experimentierkünstler der zweiten Hälfte des XX.
	www.kunstwissen.de /fach/f-kuns/o_mod/kosuth0.htm (502 words)

	Art in America: Reading between the lines: Joseph Kosuth's ambitious new gallery installation, made up of neon and ...
		Art in America: Reading between the lines: Joseph Kosuth's ambitious new gallery installation, made up of neon and texts, was characterized by visual complexity and intellectual heterodoxy.
		In 1969, when he was not quite 25, Joseph Kosuth published an essay about art that quickly became a founding text of Conceptualism.
		Kosuth's was an ascetic's faith: art's value was its delivery of information; its material manifestations were disposable.
	www.findarticles.com /p/articles/mi_m1248/is_3_93/ai_n13487144 (343 words)

	[No title] (Site not responding. Last check: 2007-10-20)
		Plato's concept of the Forms found visual representation in the work of Conceptual artist Joseph Kosuth in his work "One and Three Chairs" and other similar works.
		Joseph Kosuth appropriated images to engage with philosophy and epistemological theory.
		One and Three Chairs, 1965, is a work by Joseph Kosuth which includes a chair, a photo of a chair, and the written definition of a chair.
	www.worldhistory.com /wiki/J/Joseph-Kosuth.htm (256 words)

	Editors' picks \| Question man
		During his residency, Kosuth became intrigued with the relationship among Whistler, Berenson, and Gardner as principal players in the conception and creation of Mrs.
		And there’s a sort of "intervention" in the museum’s upstairs galleries, where Kosuth replaced the covers printed with the cautious invitation "Visitors May Lift" (found on light-sensitive works in the collection since the 1930s) with fabric embroidered with texts relating to the objects they protect.
		Related events will include two talks by Kosuth: on January 25, at 1:30 p.m., the artist will speak about his public-art works, and on March 6, at 6:30 p.m., he will discuss his current exhibition as part of the Gardner’s acclaimed "Eye of the Beholder" lecture series.
	www.bostonphoenix.com /boston/events/galleries/documents/02660696.asp (554 words)

	Joseph Kosuth
		Joseph Kosuth behoort tot de belangrijkste vertegenwoordigers van de conceptuele kunst uit de jaren zestig en zeventig.
		Kosuths project om de wereld fragmenten van haar eigen beschrijving terug te geven, werden via advertenties in kranten en tijdschriften en via pamfletten, posters, spandoeken en affiches over de gehele wereld verspreid.
		Joseph Kosuth heeft in de installatie ‘Located Text, Amsterdam' tien citaten opgenomen van geleerden die met de UvA verbonden zijn geweest of die hij van bijzondere betekenis acht voor de verhouding van de universiteit tot de stad.
	www.kunstbus.nl /verklaringen/joseph+kosuth.html (513 words)

	Joseph Kosuth Online
		Original works by Joseph Kosuth available for purchase at art galleries worldwide
		Joseph Kosuth copyright requests handled by the Artists Rights Society.
		All images and text on this Joseph Kosuth page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/kosuth_joseph.html (282 words)

	I protagonisti dell'arte contemporanea 2005 - Città di Molfetta - JOSEPH KOSUTH (Site not responding. Last check: 2007-10-20)
		Joseph Kosuth è una figura chiave nell'ambito della ridefinizione dell'oggetto artistico avvenuta negli anni sessanta e settanta con la formulazione dell'arte concettuale, che indaga e mette in questione le forme e pratiche tradizionali dell'arte nonché le teorie connesse.
		Joseph Kosuth ha dichiarato quanto segue sul suo uso del neon: “Ho iniziato ad usare il neon a metà degli anni sessanta.
		Altri lavori analoghi di Kosuth sono attualmente esposti come installazioni permanenti in Italia, a Venezia sulla facciata della Querini Stampalia ('The Material of Ornament', 1997), a Napoli nella Metropolitana a Piazza Dante ('Queste cose visibili (Napoli, per Ferruccio Incutti)', 2001) e a Torino vicino al ponte Vittorio Emanuele ('Doppio Passaggio (Torino)', 2001).
	www.protagonistidellarte.it /kosuth.html (928 words)

	Artisti (Site not responding. Last check: 2007-10-20)
		Born in Toledo, Ohio, in 1945, Kosuth is one of the leading exponents of Conceptual art.
		At the end of the 1960s his artistic concerns focused on the confrontation between the visual arts and the philosophy of language.
		Kosuth’s works are intentionally distant from all that has to do with emotion and autobiographical intent.
	www.castellodirivoli.it /eng/homepage/Collezione/Frame/Pagine/artisti/Kosuth.htm (123 words)

	ArtandCulture Artist: Joseph Kosuth (Site not responding. Last check: 2007-10-20)
		However, Kosuth does address the paradox: as an artist, he is consigned to produce objects, and yet he develops objects that cast off their identities as things and become pure ideas.
		In later works, Kosuth omitted the first two, leaving us with nothing more than the concept: he reduced his art to definitions of art.
		Since an idea is no one’s property, Kosuth allows art to slip beyond the museum, to become public.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=2 (432 words)

	lawler
		"Joseph Kosuth's work explores the role of meaning in art and, like an archeologist of language and culture, he orders words and ideas from our historical memory into distinct yet intersecting layers of culturally activity-ones that are experienced today."
		Kosuth uses alot of text in his museum installations, use the internet to find other artworks by Kosuth that use text.
		Kosuth like fellow artist Hans Haacke comments on the established modes of representation and interpretation in the museum.
	www.scu.edu.au /schools/edu/student_pages/sem2_2004/gcrawford/kosuth.html (371 words)

	Art in America: Beginning in the boardroom: a new installation in Joseph Kosuth's "Guests and Foreigners" series is a ...
		Guests and Foreigners: Corporal Histories is a recent and continuing installation by Joseph Kosuth on the walls of the boardroom, lobby and hallways of the Wall Street headquarters of the American Foundation for AIDS Research (Amfar).
		The series evolved from Kosuth's participation in a group exhibition in Linz, Austria, in 1992 based on the writings of Viennese philosopher Dr. Hans-Dieter Bahr.
		Kosuth's subjects have ranged from Goethe's stay in Italy to the relationship between the Maori and New Zealanders of Caucasian descent.
	www.findarticles.com /p/articles/mi_m1248/is_11_89/ai_80497050 (439 words)

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