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On Kawara and Joseph Kosuth :Formation and Breakdown of Conceptual Art in New York,1964-1969

  • Journal of History of Modern Art
  • 2004, (16), pp.153-176
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History

양은희 1

1경기대학교

Candidate

ABSTRACT

This article examines how early Conceptual art was formed and broken down in New York between 1964 and 1969, focusing on On Kawara and Joseph Kosuth. Kawara and Kosuth exchanged opinions, socialized with each other, and participated in several significant exhibitions that contributed to shaping Conceptual aspects of the newly-emerged art. The point of this thesis is on the give-and-take between the two in October 1969 when Kosuth published “Art after Philosophy” and Kawara wrote “Conceptual Art” on October 7 in his date painting journal. I n this first part of three part essay, Kosuth lineated his perspectives on the meaning of “con ceptual” and legitimized his word-based art and Kawaras date paintings. Yet Kosuth attempted to promote his art in the same essay by legitimizing his works in the tradition of Ad Reinhardt and by critiquing other conceptualists. This act discouraged artists such as Robert Barry and Lawrence Weiner , and eventually broke down the already loose group of artists. Despite Kosuths recognition of Kawaras art as “conceptual,” and their mutual friendship from 1967, the two also became estranged after 1969. I argue that the model of Kosuth s aggressive self-promotion in the international capital of contemporary art not only served to split off the New York conceptualists but also drove hermit-like Kawara to pursue decentralizing as his tactic.

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