Kosuth: One and three chairs (1965)
'Perhaps only because it's been this way for me, it seems that the strongest artists have their "why" before they have their "how". It certainly was that way for Pollack, for Reinhardt, for Judd, for Flavin. It's about having one's "why" and realizing that everyone else's "how" won't do; and the continuing search for a personal "how" that directly answers and relates to his "why".
Joseph Kosuth Art After Philosophy and After: Collected Writings 1966-1990
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3 comments:
Interesting quote, and yet, not very plausible right? Wouldn't it be very common for an artist to develop their 'why' as they develop their technique?
EDITED FROM PREVIOUS POST COMMENT....Yes, feedback between the two seems unavoidable (also hard to prove one way or the other). So the quote is something of an exaggeration (poetic licence), a clear idea of what one wants to say being preferable to a highly developed technique devoid of idea/concept/direction. So the 'why' should drive the 'how' (even if some modification of the 'why' occurs due to some 'how-ing')
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