One and Three Chairs
Wood folding chair, mounted photograph of a chair, and mounted photographic enlargement of the dictionary definition of "chair"
Chair 32 3/8 x 14 7/8 x 20 7/8" (82 x 37.8 x 53 cm), photographic panel 36 x 24 1/8" (91.5 x 61.1 cm), text panel 24 x 24 1/8" (61 x 61.3 cm)
Museum of Modern Art, New York
Excerpt from The Museum of Modern Art:
A chair sits alongside a photograph of a chair and a dictionary definition of the word chair. Perhaps all three are chairs, or codes for one: a visual code, a verbal code, and a code in the language of objects, that is, a chair of wood. But isn’t this last chair simply... a chair? Or, as Marcel Duchamp asked in his Bicycle Wheel of 1913, does the inclusion of an object in an artwork somehow change it? If both photograph and words describe a chair, how is their functioning different from that of the real chair, and what is Kosuth’s artwork doing by adding these functions together? Prodded to ask such questions, the viewer embarks on the basic processes demanded by Conceptual art.
"The art I call conceptual is such because it is based on an inquiry into the nature of art," Kosuth has written. "Thus, it is... a working out, a thinking out, of all the implications of all aspects of the concept art, ...Fundamental to this idea of art is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction." Chasing a chair through three different registers, Kosuth asks us to try to decipher the subliminal sentences in which we phrase our experience of art.
Published: The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 257
Joseph Kosuth, American, (b. 1945)
b. January 31, 1945, Toledo, OH
Art in Context - Projects:
Art in Context - Art for the Day: January 31