Art after philosophy 1969 joseph kosuth essay

This caused a near revolt of the faculty, as he had been a disruptive presence in the opinion of many of the instructors, several who had unhappily faced his questioning of basic presumptions. Through his art, writing and organizing, he emphasized his interest in the dialectical process of idea formation in relation to language and context. 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.

Art after philosophy 1969 joseph kosuth essay

The space and content of the Studio series of five paintings were formulated in vertical phases of varying sombreness; a mysterious bird that featured in this series was a symbol expressive of aspiration. Petersburgreached in a style in which lozenges of solid paint were built into structures of echo and correspondence.

The painterly and basically traditional vein of abstraction pursued in Paris by such painters as Alfred Manessier remained, at root, decorative.

In the work of Asger Jorn and Karel Appelthe image springs as if by chance from the free extempore play of brushstrokes. Surrealism proved remarkably durable. Among its admirers, the American Joseph Cornell had been evolving from the techniques of collage and assemblage a personal and evocative form of image; the Pole Hans Bellmer and the German Richard Lindner, working in Paris and New York Cityrespectively, explored private and obsessive themes; they were recognized as among the most-individual talents of their generation.

In general, the most idiosyncratic and anarchic qualities of art were being developed as a new tradition, while geometric abstraction was seen to be the natural basis for the arts that are public and communal in purpose. Victor Pasmore in Britain, for instance, abandoned his earlier Post-Impressionist standpoint to start afresh with constructional and graphic symbols deriving from Klee and Mondrian.

Art after philosophy 1969 joseph kosuth essay

The possibilities had, in fact, been implicit in modern painting for at least two decades; in Paris in the s Jean Fautrier was already basing pictures on spontaneous and informal gestures with paint. In the United States in the s, however, fresh impetus came from the impulsive play of colour in the work of influential teacher Hans Hofmann.

The movement that became known as Abstract Expressionism represented a decisive departure from its European sources, not only because the homogeneous consistency of a painted surface in itself took on a new meaning in the expansive American conditions but at least equally because of the exceptional personality of Jackson Pollock.

The style Pollock adopted in reflected an original involvement in the act of painting that transcended deliberation or control. What was to go on the canvas was not a picture but an event.

Another Abstract Expressionist, Franz Klineclaimed, in executing his shapes like huge black-and-white ideograms, to be in some sense depicting figurative images. The climate of artistic opinion that spread outward from New York City made possible flamboyant gesture paintings such as those of the French-born Georges Mathieu.

The idea of painting as a homogeneous allover fabric led at the same time to other, quite separate developments. The energy that fills the works of American painter Mark Tobey is by comparison gentle and lyrical and was much influenced by East Asian art.

Lawrence Gowing The Editors of Encyclopaedia Britannica Modernism and postmodernism defined One of the obvious difficulties in developing a general account of art since is its closeness to the contemporary period. As yet art historians have not settled on an overarching label for the period as with terms such as the Renaissance or the Romantic era.

One of the most-useful ways of thinking about the period since World War II, however, is in terms of notions of Modernism and postmodernism. Before embarking on a historical survey, it will therefore be useful to sketch out the implications of these key terms.

The term modernism poses an immediate problem because it is used in two distinct ways.Phd, French architect and sociologist, was born in Paris The architecture led him to sculpture, furniture and jewelry. Sociology leads to Dogon dancers of Mali, then to research in psychiatric hospitals in France, a group therapy based on the use of masks.

Dan Flavin: Dan Flavin was an American artist best known for his Minimalist constructions of color and light. Often using nothing more than a few dozen fluorescent bulbs for his work, Flavin was a crucial figure in the Minimalism of the s and '70s.

Art after philosophy 1969 joseph kosuth essay

Conceptual Art From the Aesthetic of Administration to the Critique of Institutions Author(s): Benjamin H. D. Buchloh Conceptual Art From the Aesthetic of Administration one of the campaign statements by Joseph Kosuth from the late s asserts: "Art before the modern period is as much art as Neanderthal .

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Kosuth, Joseph, essay; Art After Philosophy () Endnotes: [1] Art After Philosophy was first published in three parts in Studio International, in October, November and December Art After Philosophy () Joseph Kosuth. And what holds true for Duchamp’s work applies as well to most of the art after him.

In other words, the value of Cubism – for instance – is its idea in the realm of art, not the physical or visual qualities seen in a specific painting, or the particularization of certain colors or shapes.

The Philosophy of Art after 'Art After Philosophy' « Ruth Barker