Joseph Kosuth
Toledo, Ohio 1945
Photo credit Wolfgang Wesener, 2013 / Courtesy Joseph Kosuth Studio
For him the way to demonstate the difference between the object, its definition, and the image consists in showing the viewer these three phases of knowledge. Visualizing this operation becomes the work of art (the quote refers to his works from the mid 60s).
Joseph Kosuth, Clear, Square, Glass, Leaning, 1965. Four square glass plates with black lettering, 105 x 435 cm. Panza Collection, Mendrisio. Photo Alessandro Zambianchi, Milano
Joseph Kosuth, Three Color Sentence, 1965. Red, blue, and green neon tubing, 123,19 cm lenght. Collection Albright-Knox Art Galley, Buffalo, New York, The Panza Collection and George B. and Jenny R. Mathews Fund, by exchange, George B. and Jenny R. Mathews Fund and Charles Clifton Fund, by exchange, 2008. Photo Alessandro Zambianchi, Milano
Joseph Kosuth, One and Five (Clock) [Eng.-Ita], 1965. Four gelatin silver prints, clock, 49,7 x 284,8 cm, each print: 49,7 x 49,8 cm, clock: 30,5 x 30, 5 x 6 cm. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Joseph H. Hirshhorn Purchase Fund, 2007, The Panza Collection. Photo Alessandro Zambianchi, Milano
Joseph Kosuth, Titled (Art as Idea as Idea) [Silence], 1967. Wrap photo print mounted on board and lamination, 120 x 120 cm. Panza Collection, Mendrisio. Photo Alessandro Zambianchi, Milano
Rosa Giovanna Magnifico Panza di Biumo and PanzaCollection would like to thank the artist, the family and the institutions for granting image publishing.