Noth'ing [ Per Sean Kelly Gallery, In The Exhibition 'Titled (Art As Idea As Idea)' [Nothing], Joseph Kosuth'S First Ever Gallery Installation, Which Debuted In 1968 At Gallery 669 In Los Angeles, When Kosuth Was 23 Years Old. The 1968 Exhibition Marked The First Presentation Of What Became Kosuth'S Seminal Dictionary Definition Works. The Installation Includes 10 Mounted Reversed Photostats, Each 48 X 48 Inches, Of 10 Different Dictionary Definitions Of The Word "Nothing," As Well As A Framed Original Poster For The 1968 Exhibition. In This Major Work, Kosuth Approaches Meaning As Something Undeniably Present And Poses Questions Concerned With How Meaning Is Produced...Both By The Artist And The Viewer]

Los Angeles Ca: Gallery 669, 1968. 1st Edition 1st Printing. No Binding. Very Good. Poster, 20 X 20? (50.8 X 50.8 Cm), For Kosuth's First Solo Exhibition, 1968], Machine-Folded Mailer, Whited-Out Address To Jae Carmichael, Then Of The Pasadena Art Museum. Per Wikipedia, Joseph Kosuth (1945-) Is An American Conceptual Artist. Kosuth Belongs To A Broadly International Generation Of Conceptual Artists That Began To Emerge In The Mid-1960'S, Stripping Art Of Personal Emotion, Reducing It To Nearly Pure Information Or Idea And Greatly Playing Down The Art Object. Kosuth Gives Special Prominence To Language. His Art Generally Strives To Explore The Nature Of Art Rather Than Producing What Is Traditionally Called "Art". Kosuth's Works Are Frequently Self-Referential. He Remarked In 1969: "The 'Value' Of Particular Artists After Duchamp Can Be Weighed According To How Much They Questioned The Nature Of Art." Kosuth's Works Frequently Reference Sigmund Freud's Psycho-Analysis And Ludwig Wittgenstein's Philosophy Of Language. His First Conceptual Work Leaning Glass, Consisted Of An Object, A Photograph Of It And Dictionary Definitions Of The Words Denoting It. In 1966 Kosuth Also Embarked Upon A Series Of Works Entitled Art As Idea As Idea, Involving Texts, Through Which He Probed The Condition Of Art. The Works In This Series Took The Form Of Photostat Reproductions Of Dictionary Definitions Of Words Such As "Water", "Meaning", And "Idea". Accompanying These Photographic Images Are Certificates Of Documentation And Ownership (Not For Display) Indicating That The Works Can Be Made And Remade For Exhibition Purposes. One Of His Most Famous Works Is One And Three Chairs. The Piece Features A Physical Chair, A Photograph Of That Chair, And The Text Of A Dictionary Definition Of The Word "Chair". The Photograph Is A Representation Of The Actual Chair Situated On The Floor, In The Foreground Of The Work. The Definition, Posted On The Same Wall As The Photograph, Delineates In Words The Concept Of What A Chair Is, In Its Various Incarnations. In This And Other, Similar Works, Four Colors Four Words And Glass One And Three, Kosuth Forwards Tautological Statements, Where The Works Literally Are What They Say They Are. A Collaboration With Independent Filmmaker Marion Cajori, Sept. 11, 1972 Was A Minimalist Portrait Of Sunlight In Cajori's Studio. His Seminal Text Art After Philosophy, Written In 1968-69, Had A Major Impact On The Thinking About Art At The Time And Has Been Seen Since As A Kind Of "Manifesto" Of Conceptual Art Insofar As It Provided The Only Theoretical Framework For The Practice At The Time. (As A Result, It Has Since Been Translated Into 14 Languages, And Included In A Score Of Anthologies.) It Was, For The Twenty-Four Year Old Kosuth That Wrote It, In Fact More Of A "Agitprop" Attack On Greenbergian Formalism, What Kosuth Saw As The Last Bastion Of Late, Institutionalized Modernism More Than Anything Else. It Also For Him Concluded At The Time What He Had Learned From Wittgenstein - Dosed With Walter Benjamin Among Others - As Applied To That Very Transitional Moment In Art. In The Early 1970S, Concerned With His "Ethnocentricity As A White, Male Artist", Kosuth Enrolled In The New School To Study Anthropology. In 1969 Kosuth Held His First Solo Exhibition At Leo Castelli Gallery, New York [This Exhibition Predates That!]. That Same Year, He Organized An Exhibition Of His Work, Fifteen Locations, Which Took Place Simultaneously At Fifteen Museums And Galleries Worldwide; He Also Participated In The Seminal Exhibition Of Conceptual Art At The Seth Siegelaub Gallery, New York. In 1973, The Kunstmuseum Luzern Presented A Major Retrospective Of His Art That Traveled In Europe. In 1981, The Staatsgalerie Stuttgart And The Kunsthalle Bielefeld Organized Another Major Kosuth Retrospective. He Was Invited To Exhibit At Documentas V, Vi, Vii And Ix (1972, 1978, 1982, 1992) And The Biennale Di Venezia In 1976, 1993 And 1999. He Continued To Exhibit In Venice During The Biennale From 2011 Onwards.