Using Joseph Kosuth's piece One and Three Chairs (1965) as a reference. What Kosuth investigates are permutations of meaning, defining what constitutes an object and what is the basis for something to be valued as art. In my piece the object and additional circumstances surrounding the object presents another level of inquiry. 1) a drawing of the object in a wood frame on top of empty broken wood frames, 2) the object (wood) on top of the drawing, 3) a definition of the object (wood), 4) a photograph of the object on the drawing on top of empty broken frames and a definition of the object. Also available for viewer's to take is an except of Kosuth's Art After Philosophy (1969) that confirms and asks questions still pertinent to how art is viewed, commercialized and consumed. Kosuth's One and Three Chairs investigates meaning in a different way, but I ask Kosuth to help me solve this dilemma of uniting the installation. Here lies the dissimilarity between our work and ultimately Kosuth is unable to solve this problem of defining a single object because the object exists within the context of an expanding narrative requiring an emotive and aesthetic reaction.
