- Joseph KosuthBy Fiona Biggiero, Pieranna Cavalchini, Joseph Kosuth, and Anne Hawley
- Joseph Kosuth: Re-defining the Context of Art: 1968-2014By John Welchman, Gabriele Guercio, Joseph Kosuth, and Fiona Biggiero
- The Play of the Unmentionable: An Installation by Joseph Kosuth at the Brooklyn MuseumBy Joseph Kosuth and David Freedberg
Important Art by Joseph Kosuth
This work is the first and most famous example of Kosuth's series of One and Three installations, in which he assembled an object, a photograph of that object, and an enlarged dictionary definition of the object. It questions what actually constitutes a chair in our thinking: is it the solid object we see and use or is it the word "chair" that we use to identify it and communicate it to others? Furthermore, it confronts us with how we use words to explain and define visible, tangible, ordinary things, how words represent, describe, or signify things, and how this often becomes more complex when the thing is simple, fundamental, or intangible. Thus, it explores how language plays an integral role in conveying meaning and identity. It makes us more aware of why and how words become the verbal and written equivalents for commonplace tangible, solid things and objects.
Kosuth continued this exact formula in subsequent works, employing a shovel, hammer, lamp, and even a photograph itself (including a photograph of the photograph and definition of "photograph"). This is one of the first Conceptual works of art that was intended to eliminate any sense of authorship or individual expression and creativity.
Five Words in Orange Neon is among the many language-based works Kosuth made using neon lights and a transformer, all of which were inspired by Wittgenstein's explorations of tautologies. In logic and linguistics, as established largely by Wittgenstein, a tautology is a statement of fundamental fact or truth which is unchangeable and irreversible, even if rephrased in any way possible. The meaning of the phrase is equated with how the words are visualized. In this case, they are shown with orange neon tubes shaped to form the words of the phrase. Kosuth plays with linguistic and verbal literalness by giving us a visual equivalent in the neon letters to what the text reads regardless of its form. As with his other Conceptual works of the 1960s, the idea is considered more important and fundamental than the visual or aesthetic content or expression of an artwork. It was a radical reconsideration of the importance of the visual in visual art.
After beginning his One and Three series, Kosuth wanted to further remove images and objects from his language-based Conceptual art, and this led to his Art as Idea as Idea series. In these works, he produced enlarged photostats of definitions of words that look like they came from dictionaries, which he then mounted on walls similar to how paintings, drawings, or photographs would be exhibited. He makes the viewer aware of the multiple identities and types of existence that these various things have, as solid objects and tangible things, as mechanical reproductions that are quickly made and mass-produced, and as verbal, written, and intangible equivalents. This challenges us to think of how we would define or explain simple, ordinary things that we see and use in our daily lives.