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''One and Three Chairs'', 1965, is a work by Joseph Kosuth. An example of conceptual art, the piece consists of a chair, a photograph of this chair, and an enlarged dictionary definition of the word "chair". The photograph depicts the chair as it is actually installed in the room, and thus the work changes each time it is installed in a new venue. Two elements of the work remain constant: a copy of a dictionary definition of the word "chair" and a diagram with instructions for installation. Both bear Kosuth's signature. Under the instructions, the installer is to choose a chair, place it before a wall, and take a photograph of the chair. This photo is to be enlarged to the size of the actual chair and placed on the wall to the left of the chair. Finally, a blow-up of the copy of the dictionary definition is to be hung to the right of the chair, its upper edge aligned with that of the photograph.〔Dickel, Hans u.a.: Die Sammlung Paul Maenz. Neues Museum Weimar. Edition Cantz, Ostfildern-Ruit 1998, p. 82s.〕 ==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〔Kosuth J., (1969), (''Art after Philosophy, part 1'' )〕 ) 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".〔Flynt, Henry: (''Concept Art'' ). In: Mac Low, Jackson/Young: LaMonte (ed.): An Anthology. New York 1963, unpaginated.〕 This was a forerunner to Kosuth's thematization of "Concept Art" in "Art after Philosophy", the text that made ''One and Three Chairs'' famous.〔Kosuth, Joseph: Art after Philosophy, Part III. In: Studio International, November 1969, p. 212.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「One and Three Chairs」の詳細全文を読む スポンサード リンク
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