A State of Matter: Modern and Contemporary Glass Sculpture
Group Exhibition
Henry Moore Institute, Leeds
Through June 5, 2022

A State of Matter: Modern and Contemporary Glass Sculpture explores glass through its three different states of matter: solid, liquid and gas. Work from 1965 to the present day is on display by 16 artists including Claire Falkenstein, Mona Hatoum, Luke Jerram, Joseph Kosuth and Hew Locke.

Joseph Kosuth
Amnesia: various, luminous, fixed.
November 26, 2014–February 14, 2015
London

Featuring work that dates from 1965 through to 2011, Amnesia: Various, Luminous, Fixed. offers an extensive overview of Joseph Kosuth’s oeuvre in neon. The show chronicles an almost 50-year investigation into the role of language and meaning in art, as well as Kosuth’s enduring use of neon, which he first developed as a medium in the 1960s (preceding Bruce Nauman, Mario Merz and Keith Sonnier, for example), when Kosuth considered the medium a form of ‘public writing’, without fine art associations. The exhibition will feature 25 of Kosuth’s neon works, including one of the artist’s first neons Five Fives (to Donald Judd) [orange] (1965), alongside recent works such as three from his Beckett series (2011).

Joseph Kosuth
Insomnia: assorted, illuminated, fixed.
April 27–August 31, 2013
Berlin

Featuring work dating from 1965 through to today, 'Insomnia: assorted, illuminated, fixed.' will for the first time offer an extensive overview of the artist’s work in neon. This chronicals a nearly 50 year-long investigation of the production and role of language and meaning within art, and an on-going use of neon, a material appropriated in the 1960’s first by Kosuth who considered it a form of ‘public writing’, without fine art associations, and traditionally associated with popular culture.

Joseph Kosuth
The Mind’s Image of Itself #3’ a play of architecture and the mind
September 10–October 1, 2011
London

'The Mind’s Image of Itself' is both a reflection on the architecture of the gallery space and of a suggested architecture of the mind. The installation is composed of an off register, a 1:1 wallpapered line drawing facsimile of the gallery rooms themselves; an architectural plan of the exhibition space visible only due to its off-centre positioning. Kosuth re-frames a structure that literally replicates and shifts the existing morphology of the once Georgian and Victorian architecture of the London gallery. The mind’s ‘image of itself’ is a reflection within itself, an allegorical re-tracing of the defining elements that make up both the physical context of the exhibition itself (its walls, doors and windows) while simultaneously presenting the various meanings that the space, as an architectural object and a social/culture interface in play, reflects.

Joseph Kosuth
February 8–April 13, 2006
London

Joseph Kosuth is a key figure in the redefinition of the art object that took place during the 1960's and 1970's. Conceptual art, as it has been since called, brought Kosuth international acclaim as he is seen as one of its most major practitioners, contributing both the earliest works, its most well-known theoretical text, as well as organizing its first exhibitions. Joseph Kosuth's work has had a major impact on the present practice of art. He was arguably the first to employ appropriation strategies, texts, photography, installations and the use of public media.