In 1965, Joseph Kosuth was a 20-year-old undergraduate student at the Ceramics Academy. Their facilities are simple: he will certainly pick up something like a dog box, wooden door or shovel and hang it on the wall. On the one hand, he would definitely install a life-size picture, as the area and later the dictionary has a larger explanation and is published on the poster board.
One of the most famous models is “One and 3 Chairs”, which includes a chair, a picture of the chair and an explanation of the “chair”, which the Modern Art Gallery got quickly after its manufacture. However, “One Mirror and 3 Mirror” (1965), his current Sean Kelly Gallery’s “Future Memories” also changed better. Currently, it is as fresh as the day it is currently completed and worth a try, due to its huge impact on modern art technology and because it gives a clear example of theoretical technology.
Like a chair, Kosuth’s Mirror adds a standard query about art – is it something, a photo or a concept? It is easy to ask such inquiries, but executing them with real projects makes them uniquely necessary because they are ultimately functional rather than presumptive. If you stand in front of “One and 3 Chairs”, you need to determine what to look at: is it a chair or a “chair”? Making the same item with a mirror, it reflects you, your eyes and the gallery you stand in, will only include an interesting category.
In addition to the current plans of Sprüthmagers in London and Almine Rech in Paris, as well as the upcoming exhibition in Lia Rumma in Naples, Italy, “Memories of the Future” equals Kosuth’s retrospective, which is just over 80. This was his initial gallery exhibition, and instead of becoming a relationship, he included his work in every job.
Seeing the entire arc is similar to this, it is possible to simply identify the infinite guarantee, as well as the inevitable stumbling blocks of catch and his difficult approach. Currently, the combination of specific and abstracts in “One Mirror and 3 Mirror” is indeed as interesting as needed in the 1960s. If the human gallery still exists a thousand years later, I hope it does feel very same. Still, his successful work is due to its attempt to develop standard queries without a practical solution, so it is indeed slim. He basically tried to directly enter the branch of experts in ideology. (This is basically what he advocated in his 1969 paper The Art of Opinion.)
In a 1991 article, he made a quote on 2 consecutive light aluminum about whether it could actually be “very identical”. The work functions similar to “One and 3 Chairs” – it reveals specific examples of ideological issues related to the target market’s thinking about artistic ideas. Attention itself doesn’t fascinate me. There are also features like his famous silk display quote, about replicas of his paint or the Gertrude Stein Collection, “Why do you do this if you can”, and honestly, it will certainly be better as a summary of the composition. The only point you manage to really develop them is to provide.
Yet Kossos’s lasting dedication to the connection between thought and project remains brave, and there is a debate that his entire trajectory is itself an efficiency, and that the best useless service is the division of time, death and understanding. As Kosuth himself claims, the pricing estimates for white neon lights Ludwig Wittgenstein: “In the math process, the results are equal.”
Joseph Kosuth
By April 18. (212) 239-1181, skny.com.
