Joseph Kosuth, ‘L'Essence de la rhétorique est dans l'allégorie IV (The Essence of Rhetoric is in Allegory IV), from Sequences’, 1998, Print, The complete set of three heliogravure and aquatints in colours, on BFK Rives paper, the full sheets., Phillips
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Joseph Kosuth

L'Essence de la rhétorique est dans l'allégorie IV (The Essence of Rhetoric is in Allegory IV), from Sequences, 1998

The complete set of three heliogravure and aquatints in colours, on BFK Rives paper, the full sheets.
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About the work
Bibliography
P
Phillips

all S. 40 x 50.1 cm (15 3/4 x 19 3/4 in.)

Medium
Signature
Montrer et nommer signed, dated and numbered 'AP 10/10' in pencil on the front, imiter et signifier and regarder et lire signed and dated …
Joseph Kosuth
American, b. 1945
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In 1965, Joseph Kosuth moved from Ohio to New York, where he began creating experimental conceptual installations, museum exhibitions, and public commissions that explore the role of language and meaning within art. Kosuth's practice is highly self-referential, drawing influence from Sigmund Freud and Ludwig Wittgenstein's seminal theories. "The 'value' of particular artists after Duchamp can be weighed according to how much they questioned the nature of art," Kosuth has said. One of his best known works is One and Three Chairs (1965), a visual expression of Plato’s Theory of Forms. In the collection at the Museum of Modern Art, the piece features a wooden chair, a photograph of the chair, and a dictionary definition of the word “chair.” Plato’s theory asserts that non-material abstract forms (or ideas), and not the physical world, possess the highest and most fundamental kind of reality.

Joseph Kosuth, ‘L'Essence de la rhétorique est dans l'allégorie IV (The Essence of Rhetoric is in Allegory IV), from Sequences’, 1998, Print, The complete set of three heliogravure and aquatints in colours, on BFK Rives paper, the full sheets., Phillips
Save
Save
Share
Share
About the work
Bibliography
P
Phillips

all S. 40 x 50.1 cm (15 3/4 x 19 3/4 in.)

Medium
Signature
Montrer et nommer signed, dated and numbered 'AP 10/10' in pencil on the front, imiter et signifier and regarder et lire signed and dated …
Joseph Kosuth
American, b. 1945
Follow

In 1965, Joseph Kosuth moved from Ohio to New York, where he began creating experimental conceptual installations, museum exhibitions, and public commissions that explore the role of language and meaning within art. Kosuth's practice is highly self-referential, drawing influence from Sigmund Freud and Ludwig Wittgenstein's seminal theories. "The 'value' of particular artists after Duchamp can be weighed according to how much they questioned the nature of art," Kosuth has said. One of his best known works is One and Three Chairs (1965), a visual expression of Plato’s Theory of Forms. In the collection at the Museum of Modern Art, the piece features a wooden chair, a photograph of the chair, and a dictionary definition of the word “chair.” Plato’s theory asserts that non-material abstract forms (or ideas), and not the physical world, possess the highest and most fundamental kind of reality.

Joseph Kosuth

L'Essence de la rhétorique est dans l'allégorie IV (The Essence of Rhetoric is in Allegory IV), from Sequences, 1998

The complete set of three heliogravure and aquatints in colours, on BFK Rives paper, the full sheets.
Bidding closed
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Conceptual Art