JOSEPH CORNELL Collages Avant-garde Films Shadow Box ART Surrealism psychedelic

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Please Note: We can Combine Auctions / Purchases so you will Save Money on Shipping Normal 0 false false false EN-US X-NONE X-NONE JOSEPH CORNELL Edited by Kynaston McShine Published by the Museum of Modern Art, New York 1980 Essays by Dawn Ades, Carter Ratclift, P.Adams Sitney, & Rose Roscoe Hartigan This book is a soft cover in fine condition with 296 pages including Color & black and white illustrations. Published in conjunction with the retrospective exhibit at the Museum of Modern Art in NYC, 1980. CONTENTS INTRODUCING MR. CORNELL by Kynaston McShine THE TRANSCENDENTAL SURREALISM OF JOSEPH CORNELL by Dawn Ades JOSEPH CORNELL: MECHANIC OF THE INEFFABLE by Carter Ratcliff THE CINEMATIC GAZE OF JOSEPH CORNELL by P. Adams Sitney JOSEPH CORNELL: A BIOGRAPHY by Lynda Roscoe Hartigan PLATES BIBLIOGRAPHY A DOSSIER FOR JOSEPH CORNELL LIST OF ILLUSTRATIONS PHOTOGRAPH CREDITS LENDERS TO THE EXHIBITION FROM THE COVER == Joseph Cornell, maker of collages, constructions, and experimental films, has been a mysterious figure in the New York art world since his montages and Glass Bell (surmounting a mannequin's hand and a rose implanted with an eye) were included in the Julien Levy Gallery's Surrealism show in 1932. Cornell lived most of his life on Utopia Parkway in New York's borough of Queens. His occupation in the early years was that of textile salesman, but his inner life encompassed music, Literature, ballet, theater- in short, the arts in all their manifestations. Following his inclusion in the 1932 show, he began to make shadow boxes, creating a universe of his own within each box. His basement workshop became the repository of a large collection of unrelated objects-empty cages, mirrors, clay pipes, postage stamps, marbles, thimbles, charts of the stars, rare books, art reproductions. From these disparate elements he fashioned a great variety of works - aviaries, habitats, pharmacies, hotels, homages to the Romantic ballet, and penny arcades. The essays in this survey of Cornell's life and work include an analysis of Cornell's relation- ship to twentieth-century art, particularly to Surrealism, by Dawn Ades, Lecturer at the University of Essex (Colchester) in England, and the author of Photomontage (1976) and Dada and Surrealism Reviewed (1978). Carter Ratcliff, well known poet and critic and a Contributing Editor of Art. in America, discusses Cornell's relationship to both American and European Romanticism. P. Adams Sitney, lecturer on cinema at Princeton University and author of Visionary Film (1974) and editor of The Avant-Garde Film: A Reader of Theory and Criticism (1978), investigates Cornell's imaginative forays into filmmaking and the writing of scenarios. Finally, a detailed biography of Cornell has been written by Lynda Roscoe Hartigan, Assistant Curator of 20th Century Painting and Sculpture at the National Collection of Fine Arts, Smithsonian Institution, Washington, D.C. The general editor of the book and director of the exhibition it accompanies is Kynaston McShine, Senior Curator of Painting and Sculpture at The Museum of Modern Art. He is co-editor of Marcel Duchamp (1973) and editor of The Natural Paradise (1976), also published by the Museum. REVIEWS = Cornell's art was and is unique. His metaphysical assemblages of exquisitely arranged objects and cut-out images are at once enigmatic, poetic and perfect. Never quite a surrealist, nor a dadaist, Cornell worked alone, and in his cellar studio - surrounded by a suburbia typical of America - he created boxes containing magical and improbable worlds. McShine's superb detailed text and commentary helps us to understand the mystery that was Cornell, his motivation and inspiration to create amazing surrealist box constructions, collages and cinema. A huge amount of his work is reproduced, and an extensive bibliography are included. An excellent place to begin your voyage into the worlds of a truly eccentric genius. More About == Joseph Cornell (December 24, 1903 – December 29, 1972) was an American visual artist and film-maker, one of the pioneers and most celebrated exponents of assemblage. Influenced by the Surrealists, he was also an avant-garde experimental filmmaker. He was largely self-taught in his artistic efforts, and improvised his own original style incorporating cast-off and discarded artifacts. He lived most of his life in relative physical isolation, caring for his mother and his disabled brother at home, but remained aware of and in contact with other contemporary artists. Cornell attended Phillips Academy in Andover, Massachusetts, in the class of 1921. Aside from the period he spent at the academy in Andover, Cornell never traveled beyond the New York City area. Art practice = Sculpture and collage Cornell's most characteristic art works were boxed assemblages created from found objects. These are simple shadow boxes, usually fronted with a glass pane, in which he arranged eclectic fragments of photographs or Victorian bric-a-brac, in a way that combines the formal austerity of Constructivism with the lively fantasy of Surrealism. Many of his boxes, such as the famous Medici Slot Machine boxes, are interactive and are meant to be handled. Like Kurt Schwitters, Cornell could create poetry from the commonplace. Unlike Schwitters, however, he was fascinated not by refuse, garbage, and the discarded, but by fragments of once beautiful and precious objects he found on his frequent trips to the bookshops and thrift stores of New York. His boxes relied on the Surrealist use of irrational juxtaposition, and on the evocation of nostalgia, for their appeal. Cornell never regarded himself as a Surrealist; although he admired the work and technique of Surrealists like Max Ernst and René Magritte, he disavowed the Surrealists' "black magic", claiming that he only wished to make white magic with his art. Cornell's fame as the leading American "Surrealist" allowed him to befriend several members of the Surrealist movement when they settled in the United States during the Second World War. Later he was claimed as a herald of pop art and installation art. Cornell often made series of boxed assemblages that reflected his various interests: the Soap Bubble Sets, the Medici Slot Machine series, the Pink Palace series, the Hotel series, the Observatory series, and the Space Object Boxes, among others. Also captivated with birds, Cornell created an Aviary series of boxes, in which colorful images of various birds were mounted on wood, cut out, and set against harsh white backgrounds. In addition to creating boxes and flat collages and making short art films, Cornell also kept a filing system of over 160 visual-documentary "dossiers" on themes that interested him; the dossiers served as repositories from which Cornell drew material and inspiration for boxes like his "penny arcade" portrait of Lauren Bacall. He had no formal training in art, although he was extremely well-read and was conversant with the New York art scene from the 1940s through to the 1960s. His methodology is described in a monograph by Charles Simic as: Somewhere in the city of New York there are four or five still-unknown objects that belong together. Once together they'll make a work of art. That's Cornell's premise, his metaphysics, and his religion. Marcel Duchamp and John Cage use chance operation to get rid of the subjectivity of the artist. For Cornell it's the opposite. To submit to chance is to reveal the self and its obsessions. Cornell was heavily influenced by the American Transcendentalists, Hollywood starlets (to whom he sent boxes he had dedicated to them), the French Symbolists such as Stéphane Mallarmé and Gérard de Nerval, and 19th-century ballet dancers such as Marie Taglioni and Fanny Cerrito. Experimental film Joseph Cornell's 1936 found-film montage Rose Hobart was made entirely from splicing together existing film stock that Cornell had found in New Jersey warehouses, mostly derived from a 1931 "B" film entitled East of Borneo. Cornell would play Nestor Amaral's record Holiday in Brazil during its rare screenings, as well as projecting the film through a deep blue glass or filter, giving the film a dreamlike effect. Focusing mainly on the gestures and expressions made by Rose Hobart (the original film's starlet), this dreamscape of Cornell's seems to exist in a kind of suspension until the film's most arresting sequence toward the end, when footage of a solar eclipse is juxtaposed with a white ball falling into a pool of water in slow motion. Cornell premiered the film at the Julien Levy Gallery in December 1936 during the first Surrealist exhibition at the Museum of Modern Art (MoMA) in New York. Salvador Dalí, who was in New York to attend the MoMA opening, was present at its first screening. Joseph Cornell continued to experiment with film until his death in 1972. While his earlier films were often collages of found short films, his later ones montaged together footage he expressly commissioned from the professional filmmakers with whom he collaborated. These latter films were often set in some of Cornell's favorite neighborhoods and landmarks in New York City: Mulberry Street, Bryant Park, Union Square Park, and the Third Avenue Elevated Railway, among others. In 1969 Cornell gave a collection of both his own films and the works of others to Anthology Film Archives in New York City. Art market == Sold from the estate of Edwin and Lindy Bergman, Chicago-based collectors and art patrons, Cornell's Untitled (Penny Arcade Portrait of Lauren Bacall) (1946) fetched $5.3 million at Christie's New York, setting an auction record for the artist. The jewel-like box, with images of Bacall on blue background, was inspired by To Have and Have Not, a film starring Bacall and Humphrey Bogart. 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