graduate student
Krasnoyarsk, Russian Federation
UDK 7.038.55 Инсталляция. Installation art. Installations
The article analyzes Joseph Kosuth's installation «One and Three Chairs» from 1965 (using the example of a variant from the Museum of Modern Art in New York). The concept of «visual» was chosen as the category in relation to which each of the three elements of the installation was analyzed. As a result of the analysis of the chair as a piece of furniture, visuality was presented as a physical opportunity to see, and the chair itself as a physical object. The analysis of the dictionary entry revealed the difference between virtuality as the ability to read and visuality as the ability to see a white page filled with black forms and white counterforms, which constitute an organized black-and-white unity, and the article itself as a text and as an organized image. The analysis of the chair photograph revealed visuality as the experience of seeing in a planar image of real three-dimensional objects and visuality organized by a planar black-and-white image representing the vision of dark and light spots - a dark spot is formalized as a chair and its shadow, from which we conclude that a light spot is formalized not as a white wall, but as light. And the photo of the chair is presented as an identifier of the physical and non-physical space. From which we conclude that visuality is not only a vision of the visible, but also a vision of the invisible, which is conceptualized into the following idea about the nature of art: a work of art shows the metaphysical through its physical.
visuality, Joseph Kosuth, visual art, metaphysics of art
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