Kosuth’s linguistic works of the 1960s forever changed the perception of what constituted an art object and cemented his status as early pioneer of Conceptual Art. As in many of his seminal works, Texts for Nothing (Waiting For-) #2 uses language to question (and confuse) the very nature of how meaning is created …

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In his 1969 essay “Art After Philosophy,” Joseph Kosuth stated, “The ‘value’ of particular artists after Duchamp can be weighed according to how much they questioned the nature of art…” Kosuth’s linguistic works of the 1960s forever changed the perception of what constituted an art …

Medium
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courtesy of the artist, sprüth magers, berlin and london; and sean kelly gallery, new york

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.

Blue-chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions
2019
'who knows one' curated by Haim SteinbachVistamare/Vistamarestudio
Joseph Kosuth | Existential TimeLia Rumma
2017
Joseph Kosuth, Maxima Proposito (Ovidio)Vistamare/Vistamarestudio
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TEXTS FOR NOTHING (WAITING FOR-) #2, 2011

White neon, dipped in matte black, and transformers
6 1/2 × 54 3/4 in
16.5 × 139.1 cm
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Kosuth’s linguistic works of the 1960s forever changed the perception of what constituted an art …

Includes certificate of authenticity

In his 1969 essay “Art After Philosophy,” Joseph Kosuth …

Medium
Image rights
courtesy of the artist, sprüth magers, berlin and london; and sean kelly gallery, new york

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.

Blue-chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions (3)
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