Cinga Samson 's paintings lay bare the complex relationship between contemporary life, African traditions, globalisation, and representation. His strikingly sombre portraits contain similarities to those of contemporary painters such as Toyin Ojih Odutola, Lynette Yiadom-Boakye , Kehinde Wiley , Florine Démosthène, and Tunji...
Seismic Movements , the fifth Dhaka Art Summit, plotted movements, solidarities, and exchanges across the Global South with over 500 artists, scholars, curators, and thinkers.
At the freshly opened Winsing Art Place in Taipei, works by Vietnamese-Danish artist Danh Vo are being presented in Taiwan for the first time. In this video, the founder of Winsing Arts Foundation, Jenny Yeh, introduces Vo's exhibition.
Joseph Kosuth is one of the pioneers of Conceptual art and installation art, initiating language-based works and appropriation strategies in the 1960s. His work has consistently explored the production and role of language and meaning within art.Read More
Born in 1945 in Toledo, Ohio, Kosuth attended the Toledo Museum School of Design from 1955 to 1962 and studied privately under the Belgian painter Line Bloom Draper. From 1963 to 1964, he was enrolled at the Cleveland Art Institute.
In 1965 Kosuth moved to New York to attend the School of Visual Arts; he would later join the faculty. He soon abandoned painting and began making conceptual works, which were first shown in 1967 at the exhibition space he co-founded, known as the Museum of Normal Art. In 1969 Kosuth held his first solo exhibition at Leo Castelli Gallery, New York and in the same year became the American editor of the journal Art and Language.
From 1971–1972 he studied anthropology and philosophy at the New School for Social Research, New York. The philosophy of Ludwig Wittgenstein, among others, influenced the development of his art from the late sixties to mid seventies. Kosuth's work has consistently explored the production and role of language and meaning within art. His nearly forty year inquiry into the relation of language to art has taken the form of installations, museum exhibitions, public commissions and publications throughout Europe, the Americas and Asia, including Documenta V, VI, VII and IX (1972, 1978, 1982, 1992) and the Biennale di Venezia in 1976, 1993 and 1999. Recently, he exhibited Il Linguaggio dell'Equilibrio / The Language of Equilibrium at the Monastic Headquarters of the Mekhitarian Order on the island of San Lazzaro degli Armeni, Venice. This was presented concurrently with the 2007 Biennale di Venezia.
Awards include the Brandeis Award, 1990, Frederick Weisman Award, 1991, the Menzione d'Onore at the Venice Biennale, 1993, and the Chevalier de l'ordre des Arts et des Lettres from the French government in 1993. He received a Cassandra Foundation Grant in 1968. In June 1999, a 3.00 franc postage stamp was issued by the French Government in honor of his work in Figeac. In February 2001 he received the Laurea Honoris Causa, doctorate in Philosophy and Letters from the University of Bologna, Italy. In October 2003 he received the Austrian Republic’s highest honour for accomplishments in science and culture, the Decoration of Honour in Gold for services to the Republic of Austria. In May 2012 he was inducted into the Royal Belgian Academy.
Text courtesy Sean Kelly.
Organized by seminal conceptual artist Joseph Kosuth, 'Dot, Point, Period,' a Curated Installation by Joseph Kosuth covers every square foot of wall at the Castelli Gallery's 40th Street space. A selection of artworks by over 40 artists are dispersed within a continuous string of short texts. This string of text, in a three-inch typeface,...
What images keep you company in the space where you work? Quite a few: my portrait by Andy Warhol, a painting by Ad Reinhardt from 1960, a small painting by D.H. Lawrence, a late drawing by Giorgio Morandi, a 2004 autobiographical box/shelf work by Haim Steinbach; a group of small works, photos and drawings, by Man Ray, Rene Magritte, Marcel...
'Art Brussels believes in galleries that support their artists throughout their evolution... We are definitely not interested in showing work in a supermarket-like style.' We speak with Anne Vierstraete, Managing Director of Art Brussels, as the fair nears its thirty-fifth edition.
The Unlimited sector of Art Basel is devoted to large-scale installation and works that “transcend the classical art show stand.” The name is a hyperbole—as it does contain walls at some points—but it can really appear endless when you first walk in. And the works inside are very, very big. That is the point of the whole...
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