New York

Joseph Kosuth

Sean Kelly Gallery

In an interview a couple of years ago, Joseph Kosuth lamented that although his work is “in the collections of all the major museums,” he has “never had the support of collectors.” Instead, he said, his art had become “dissertation fodder,” more frequently studied than bought. Despite his concern about this “predicament” (a situation many artists would envy), Kosuth’s new work somehow manages to be more pedantic than ever. The Conceptualist recently presented his “Essays” series, 2000, large color photographs of his own earlier works, to which he had added snippets of text by some of the more enigmatic Serious Thinkers of the twentieth century: Beckett, Buber, Derrida, and Foucault, among others. The repackaging was supposed to reflect a play on meaning: By reframing work that had already (“originally”) questioned its frame, Kosuth wanted to create a mise en abîme that throws into question

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