Early Conceptual Art
Kosuth's concern with the difference between a concept and its mode of presentation was prefigured in the "event cards" of Fluxus-artists like George Brecht, Dick Higgins and Yoko Ono. These artists also tackled the problem of presenting "concepts" to an art audience. One and Three Chairs is, perhaps, a step towards a resolution of this problem. Rather than present the viewer with the bare written instructions for the work, or make a live event of the realization of the concept (in the manner of the Fluxus artists), Kosuth instead unifies concept and realization. One and Three Chairs demonstrates how an artwork can embody an idea that remains constant despite changes to its elements.
Kosuth stresses the difference between concept and presentation in his writings (e.g., "Art after Philosophy", 1969 ) and interviews (see the quotation below). He tries to intimately bind the conceptual nature of his work with the nature of art itself, thus raising his instructions for the presentation of an artwork to the level of a discourse on art. In 1963 Henry Flynt articulated these problems in the article "Concept Art". This was a forerunner to Kosuth's thematization of "Concept Art" in "Art after Philosophy", the text that made One and Three Chairs famous.
Read more about this topic: One And Three Chairs
Famous quotes containing the words early, conceptual and/or art:
“On the Coast of Coromandel
Where the early pumpkins blow,
In the middle of the woods
Lived the Yonghy-Bonghy-Bo.
Two old chairs, and half a candle,—
One old jug without a handle,—
These were all his worldly goods:
In the middle of the woods,”
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“Thou art not fair, for all thy red and white,
For all those rosy ornaments in thee.
Thou art not sweet, though made of mere delight”
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