{"id":22588,"date":"2012-11-10T16:45:12","date_gmt":"2012-11-10T16:45:12","guid":{"rendered":"http:\/\/rafaelfajardo.com\/portfolio\/cavetocanvas-joseph-kosuth-one-and-three\/"},"modified":"2018-12-05T21:36:59","modified_gmt":"2018-12-06T04:36:59","slug":"cavetocanvas-joseph-kosuth-one-and-three","status":"publish","type":"post","link":"https:\/\/rafaelfajardo.com\/portfolio\/cavetocanvas-joseph-kosuth-one-and-three\/","title":{"rendered":""},"content":{"rendered":"<div id='gallery-1' class='gallery galleryid-22588 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/rafaelfajardo.com\/portfolio\/cavetocanvas-joseph-kosuth-one-and-three\/attachment\/22589\/'><img loading=\"lazy\" decoding=\"async\" width=\"100\" height=\"100\" src=\"https:\/\/rafaelfajardo.com\/portfolio\/wp-content\/uploads\/tumblr_mch4mxtjXK1qghk7bo1_1280-100x100.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<p><a class=\"tumblr_blog\" href=\"http:\/\/www.cavetocanvas.com\/post\/34356424343\/joseph-kosuth-one-and-three-chairs-1965-from\">cavetocanvas<\/a>:<\/p>\n<blockquote>\n<p>Joseph Kosuth, <em>One and Three Chairs<\/em>, 1965<\/p>\n<p>From <a href=\"http:\/\/www.moma.org\/collection\/browse_results.php?criteria=O%3AAD%3AE%3A3228&amp;page_number=1&amp;template_id=1&amp;sort_order=1\">The Museum of Modern Art<\/a>:<\/p>\n<blockquote>\n<p>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\u2019t this last chair simply \u2026 a chair? Or, as Marcel Duchamp asked in his\u00a0<em>Bicycle Wheel<\/em>\u00a0of 1913, does the inclusion of an object in an artwork somehow change it? If both photograph and words\u00a0<em>describe<\/em>\u00a0a chair, how is their functioning different from that of the real chair, and what is Kosuth\u2019s artwork doing by adding these functions together? Prodded to ask such questions, the viewer embarks on the basic processes demanded by Conceptual art.<\/p>\n<p>\u201cThe art I call conceptual is such because it is based on an inquiry into the nature of art,\u201d Kosuth has written. \u201cThus, it is \u2026 a working out, a thinking out, of all the implications of all aspects of the concept \u2018art,\u2019 \u2026 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.\u201d 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.<\/p>\n<\/blockquote>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>cavetocanvas: Joseph Kosuth, One and Three Chairs, 1965 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 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[10],"tags":[],"class_list":["post-22588","post","type-post","status-publish","format-gallery","hentry","category-words","post_format-post-format-gallery"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p6PWot-5Sk","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/22588","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/comments?post=22588"}],"version-history":[{"count":1,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/22588\/revisions"}],"predecessor-version":[{"id":22590,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/22588\/revisions\/22590"}],"wp:attachment":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/media?parent=22588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/categories?post=22588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/tags?post=22588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}