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Joseph Cornell: Navigating
the Imagination
November17 - February 19, 2007
Joseph Cornell:
Navigating the Imagination is on view at the Smithsonian
American Art Museum from November17 through February 19, 2007. This major
retrospective, the first in more than 25 years, presents new insights into
Cornell's career, illuminating the richness of the themes he explored across
all media. The exhibition expands the critical and public appreciation of
the artist as an American master.
Co-organized by the Smithsonian American Art Museum and
the Peabody Essex Museum, the exhibition features 177 of Cornell's finest
box constructions, collages, dossiers, films and graphic designs from public
and private collections, and an array of source materials from the museum's
Joseph Cornell Study Center. Lynda Roscoe Hartigan, chief curator at the
Peabody Essex Museum and nationally recognized Cornell scholar, is the curator
of the exhibition.
"Navigating the Imagination" presents a number
of new ideas and new opportunities for understanding Joseph Cornell's work.
This retrospective is organized thematically to suggest for the first time
Cornell's interpretation of the imagination as a metaphorical "echo
chamber" or "mirror of the mind." Unlike previous chronological
presentations, the exhibition mingles Cornell's series and media across
four decades of his career to convey the conceptual and formal cohesiveness
of his body of work. This approach emphasizes Cornell's perception of art
as a means of creating and communicating connections and possibilities through
repetition and variation. The exhibition also is the first time that his
films, a greater range of his collages and the open-ended projects that
he called "explorations" are being shown in the company of the
box constructions for which he is best known.
More than 30 Cornell objects will be on public display
for the first time in the exhibition, including the box construction "Bel
Echo Gruyère" and the collages "Untitled [Tamara Toumanova],"
"Untitled [Flying Machines]," "Untitled [Mary Taylor by Lee
Miller]" and "Goop Joe's Poultry Pages" from the museum's
collection, and "Quiet Autumnal -- for Jeanne Eagels," a collage
from the Peabody Essex Museum's collection.
"We are thrilled to open this exhibition which is
an ambitious and imaginative consideration of Joseph Cornell, one of America's
most inventive modern artists," said Elizabeth Broun, The Margaret
and Terry Stent Director of the Smithsonian American Art Museum. "'Navigating
the Imagination' continues the Smithsonian American Art Museum's tradition
of presenting groundbreaking exhibitions that contribute to new interpretations
of American art and artists."
Joseph Cornell (1903-1972) looked at art as a way to discover
connections and bring together disparate visual elements and ideas from
the arts, humanities and sciences. Cornell owed much of his experimentation
to his origins as a self-taught artist. His work often is associated with
surrealism's emphasis on dreams and poetic dislocation, yet Cornell drew
imagery and inspiration from sources as wide-ranging as Victorian educational
pastimes, cabinets of curiosities, optical devices, literature and the performing
arts.
"We are delighted that the Peabody Essex Museum and
the Smithsonian American Art Museum have partnered in organizing this landmark
exhibition," said Hartigan. "Cornell's transformation of far-flung
ideas and transitory materials goes hand in hand with his elegant integration
of woodworking, painting, drawing and piecing. The result is a remarkable
synthesis of the sophisticated and the vernacular that positions him as
a modern American artist with a singular way of seeing."
The first major presentation of Cornell's work since The
Museum of Modern Art's retrospective in 1980, the exhibition is organized
in 10 sections. "Navigating a Career," an introductory section,
features a selection of collages, box constructions, dossiers and graphic
designs from 1931 to 1972 that provides an overview of Cornell's evolution
as an artist. The following sections-"Cabinets of Curiosity,"
"Dream Machines," "Nature's Theater," "Geographies
of the Heavens," "Bouquets of Homage," "Crystal Cages"
and "Chambers of Time"-each represent a particular recurring idea
or theme explored by the artist.
"Wonderland" offers a selection of Cornell's
source materials from the museum's major research archive, the Joseph Cornell
Study Center. More than 150 objects are presented for the first time as
a survey of his encyclopedic interests and to provide a rare public glimpse
into his working methods. This repository, along with more than 700 artworks
by Cornell in the museum's permanent collection, establishes the museum
as an essential destination for any scholar interested in understanding
the whole of Cornell's career.
"Movie Palace" features a selection of Cornell's
films: "Rose Hobart" (about 1936); "Untitled (Bookstalls)"
(late 1930s; restored 1978); "The Aviary" (1954); "Angel"
(1957); "Nymphlight" (1957); "A Legend for Fountains"
(1957; completed 1965, with Larry Jordan); and "GniR RednoW"
(1955), based on outtakes from Stan Brakhage's "Wonder Ring" (1955).
For the first time the artist's films are presented within the context of
an exhibition as part of his body of work. The presentation is based on
digital images of the original 16mm films, which are intended to be projected
on a larger scale.
About Joseph Cornell
Joseph Cornell was born in 1903 in Nyack, N.Y. He attended
Phillips Academy in Andover, Mass., from 1917 to 1921. Beginning in 1929,
Cornell lived in Flushing, N.Y., with his mother and his brother Robert.
Cornell often visited New York City's galleries, theaters, museums, libraries
and secondhand shops, collecting ideas and materials for his artworks.
Self-taught but amazingly sophisticated, he created his
first collages, box constructions and experimental films in the early 1930s.
His first solo exhibitions in 1932 and 1939 were held at the Julien Levy
Gallery in New York. During this period, Cornell became familiar with the
work of Marcel Duchamp, Max Ernst and Salvador Dali. By 1940, Cornell's
boxes contained found materials artfully arranged, then collaged and painted
to suggest poetic associations that drew on the arts, humanities and sciences.
In the 1940s and 1950s, Cornell created some of his most memorable and compelling
boxes, including the "Medici," "Aviary," "Hotel"
and "Observatory" series, as well as boxes devoted to stage and
screen personalities. His art has been described as romantic, poetic, lyrical
and surrealistic. He believed aesthetic theories were foreign to the origin
of his art and said his works were based on everyday experiences,
"the beauty of the commonplace." Cornell died in his home in Flushing
in 1972.
About the Joseph Cornell Study Center
The Smithsonian American Art Museum's Joseph Cornell Study
Center was established in 1978, when Mr. and Mrs. John Benton, Cornell's
sister and brother-in-law, donated a collection of the artist's works and
related documentary material to the museum. The center contains Cornell's
source and working materials, as well as his library. An insatiable collector,
he acquired thousands of printed and 3-D ephemera-searching the libraries,
museums, theaters, book shops and antique fairs in New York and relying
on his contacts across the United States and in Europe. With these objects,
he created magical relationships by seamlessly combining disparate images.
The center has actively contributed to Cornell scholarship and advanced
appreciation of the artist through public access, research fellowships and
contributions to exhibitions and publications.
Tour
The exhibition debuts at the Smithsonian American Art Museum
and then travels to the Peabody Essex Museum (April 28, 2007 - Aug. 19,
2007) and to the San Francisco Museum of Modern Art (Oct. 6, 2007 - Jan.
6, 2008).
Publication
Lynda Roscoe Hartigan, a widely published Cornell scholar,
wrote the catalog that is forthcoming from Yale University Press in spring
2007.
The Papers of Joseph Cornell at the Archives of American
Art
To complement "Joseph Cornell: Navigating the Imagination,"
the Smithsonian's Archives of American Art will display selections from
the papers of Joseph Cornell in its Lawrence A. Fleischman Gallery at the
Reynolds Center. The exhibition "Exquisite Surprise: The Papers of
Joseph Cornell," on view Nov. 17 through Feb. 28, 2007, includes his
handwritten diaries, photographs, source material for his boxes and letters
from Mark Rothko, Matta, Dorothea Tanning, Mina Loy, Ray Johnson, Fay Wray
and others who provide an intimate view of Cornell's life and work. For
more information, visit the Web site aaa.si.edu.
Panel texts for the exhibition
-
- "Now voyager sail thou forth to seek and find."
- Walt Whitman, Leaves of Grass, 1871
-
- Joseph Cornell (1903-1972) has been celebrated internationally
for his box constructions, collages, and films since the 1930s. His lyrical,
often surprising combinations of materials and concepts reflect his highly
personal exploration of art, culture, and science as an uplifting voyage
into the imagination. This retrospective exhibition, the artist's first
in twenty-five years, mingles series, media, and time frames in thematic
clusters to suggest Cornell's emphasis on discovering possibilities and
connections through the subtle intricacies of repetition and variation.
-
- His work is usually associated with surrealism's emphasis
on dreams and poetic dislocation, yet Cornell owed much of his experimentation
to his origins as a self-taught artist. He often described himself as a
maker rather than as an artist because his principal format, the box, traditionally
involves craftsmanship, a concept foreign to the definition of modern art,
which emphasizes transformation rather than fashioning.
-
- Making "something from nothing" is critical
to the processes of many self-taught artists, as well as to fundamental
concepts of creativity. A desire to reinterpret traditions and to suggest
connections between disparate experiences frequently drive creativity and
innovation as springboards for change and discovery. Cornell's belief that
artists can renew and transform transitory materials, experiences, and
ideas inspired his emphasis on the beauty and magic of forgotten and ordinary
things.
-
- In 1867, Henry James, one of the artist's favorite American
writers, observed that Americans "can pick and choose and assimilate
and in short (aesthetically) claim our property wherever we find it."
Cornell's mining of far-flung ideas and traditions and elegant integration
of painting, drawing, piecing, papering, and woodworking all contribute
to the sense of innovation and poetic synthesis associated with his work.
-
-
- Navigating a Career: 1931-1972
-
- During the 1920s, Cornell frequented New York City's
theaters, secondhand shops, museums, galleries, and libraries and began
collecting, especially books and photographs, to offset his job as a textile
salesman. In 1931 he made his first collages and "objects," inspired
by "the exploring that became creative."
-
- By 1932, Cornell incorporated cutouts from prints, colored
paper, and small items such as wood beads into small prefabricated boxes
that he had salvaged. He also began shaping old books into chambered containers
and surfaces for collage as well as altering antique portable chests. Around
1936 he mastered basic carpentry and woodworking skills that launched him
into building glass-paned box constructions. References to the visual and
performing arts, nature, science, and time in these early works suggest
the breadth of topics and themes that he would develop in individual series
and larger "families" of works that share visual features or
associations.
-
- Cornell called his early constructions "poetic theaters"
after Victorian miniature toy theaters. Into the mid-1940s his boxes suggest
stage sets in their arrangement and use of velvet, old-fashioned engravings,
mirrors, and photographs. By contrast, boxes made between the late 1940s
and 1972 assumed a "clean and abstract" look in their streamlined
ordering of space, architectural and celestial references, and emphasis
on texture.
-
- The principle of collage-piecing together elements-runs
throughout Cornell's constructions, films, graphic designs, and dossier-based
projects. He even applied the concept to the backs of his works to complete
his integration of design and meaning. After the mid-1950s, making collages
dominated his efforts. Continuing his serial approach, these late collages
explore themes and subjects found in his boxes, suggesting the overall
cohesiveness of Cornell's work.
-
-
- Cabinets of Curiosity
-
- European royalty and affluent professionals from the
1500s to the 1700s gathered works of art, illustrated texts and maps, coins,
scientific devices, seashells, and other natural specimens from around
the world to create "cabinets of curiosities." Dense arrangements
in drawers, chests, and glass-fronted cases in private chambers suggested
a collector's highly personal view of the cosmos in miniature. Like his
European counterparts, Cornell assembled elements in a matrix of metaphors
designed to incite wonder, curiosity, and contemplation about the physical
and spiritual interrelationship of man and nature.
-
- Cornell also absorbed his family's Victorian sensibility
of gathering and recycling things as talismans of "what else were
scattered and lost." Well-furnished Victorian homes featured "art
corners" with assorted natural and cultural souvenirs displayed on
shelves or in curio cabinets. For the first time in Western culture, children
were encouraged to collect as an educational activity, and the containers
for their treasures were dubbed "schoolboy's museums." In combining
the traditions of two eras, Cornell expressed his appreciation of curiosity
as an ongoing and intimate pursuit of knowledge and experience.
-
-
- Wonderland
-
- Studio, laboratory, workshop, museum -- these are the
ways in which Cornell described the modest house where he lived and worked
in Flushing, New York. Since the 1920s, this inveterate collector surrounded
himself with approximately four thousand books and magazines, hundreds
of record albums, thousands of pages of diaries and correspondence, and
countless examples of two- and three-dimensional ephemera. All reflected
his encyclopedic interests, ranging from the performing arts to scientific
phenomena, and the equal value he placed on the rare and the commonplace.
-
- Believing that "everything could be used in a lifetime,"
Cornell gathered his materials as the conceptual and physical resources
for his boxes, collages, and films. He used manila folders, envelopes,
and paper bags to house his files dedicated to thematic topics or specific
people and overflowing with photographs, Photostats, prints, excerpts from
books, newspapers, and magazines, and his typed or handwritten notes. The
basement studio was also home to his "spare parts department."
Shelves filled with cookie tins, industrial packing cartons, and boxes
once devoted to shoes, stationery, and candy held traditional art supplies
and an array of objects, from clay soap bubble pipes to elements that he
prefabricated in bulk for his box constructions.
-
- All of the source materials, box fragments, and unfinished
works displayed here are part of the Joseph Cornell Study Center, established
at the Smithsonian American Art Museum in 1978 through donations from John
A. and Elizabeth Cornell Benton, the artist's sister, and supplemented
by donations from The Joseph and Robert Cornell Memorial Foundation in
1983, 1985, 1991, and 2002.
-
-
- Movie Palace
-
- These seven films provide a cross section of Cornell's
two dozen short films made between the mid-1930s and the late 1950s. This
is the first time that his films have been incorporated into an exhibition
of his work, rather than being shown separately.
-
- Learning how to use a camera held no interest for Cornell,
despite his fascination with still photography and motion pictures. He
is credited with making the first "collage films" because he
edited and spliced footage from silent, commercial, travel, educational,
and early "trick" films that he had collected since the 1920s.
Abrupt changes in scale and scenery that suggest adventures ranging from
the melodramatic to the metaphorical characterize his efforts in the 1930s.
-
- When Cornell renewed making films in the 1950s, he collaborated
with avant-garde filmmakers. He directed their photography of the architecture
and activities of his favorite New York neighborhoods, and then edited
their footage to create his later collage films. The prevalence of images
of young women, children, and the elderly reveal his lifelong fascination
with the city's "stream of humanity."
-
-
- Films on View
-
- The films run for approximately seventy-four minutes
and are shown continuously. This presentation is based on digital images
of the original 16 mm films, which are intended to be projected on a larger
scale; SAAM's public program on Cornell's films on January 27th in the
McEvoy Auditorium provides that opportunity. Digital images of the films,
with the exception of GniR RednoW, are courtesy of The Voyager Foundation,
Inc. Sequentially, the films are:
-
- Rose Hobart, about 1936
- black-and-white with blue or purple filter, sound on
record or tape, 19 1/2 min.
- © The Museum of Modern Art, New York
-
- Untitled (Bookstalls), late 1930s; restored 1978
- tinted black-and-white, silent, 11 min.
- © The Museum of Modern Art, New York
-
- The Aviary, 1954
- photography by Rudy Burckhardt
- black-and-white, silent, 11 min.
- © The Museum of Modern Art, New York
-
- GniR RednoW, 1955-late 1960s
- based on outtakes from Stan Brakhage's The Wonder
Ring, 1955
- unfinished; color, silent, 6 min.
- Courtesy Canyon Cinema
-
- Angel, 1957
- photography by Rudy Burckhardt
- color, silent, 3 min.
- © The Museum of Modern Art, New York
-
- Nymphlight, 1957
- photography by Rudy Burckhardt
- color, silent, 7 1/2 min.
- © The Museum of Modern Art, New York
-
- A Legend for Fountains, 1957;
completed 1965 with Larry Jordan
- photography by Rudy Burckhardt
- black-and-white, silent, 16 1/2 min.
- © The Museum of Modern Art, New York
-
-
- Dream Machines
-
- Toys and machines share a spirit of ingenuity that inspires
new ways of operating in the world, whether for playful or useful purposes.
When Cornell became an artist during the economically challenged 1930s,
interest ran high in toys, games, and movies as sources of entertainment
and in practical and futuristic machines as symbols of progress. Like many
Americans during the Depression, Cornell was also nostalgic for earlier,
better times. His works into the 1940s often evoke his late Victorian childhood
as he reinterpreted parlor games and miniature theaters that had been designed
as educational toys to develop hand-eye coordination or to teach elementary
scientific principles.
-
- Cornell also drew heavily on his childhood memories of
New York City's penny arcades. Their early moving picture machines were
descended from "philosophical toys" that had manipulated perceptions
of time, space, and motion since the 1600s. In his interpretations of the
art and science of seeing, Cornell often alluded to these amusing yet historically
significant optical devices. Penny arcades also featured shooting galleries
and elaborate slotted cabinets, which were called "dream machines"
because they dispensed everything from prizes to fortune-telling cards.
The "endless ingenuity of effects" of the penny arcade's toys
and machines greatly influenced Cornell's appreciation of chance, play,
and spontaneity as avenues to creativity.
-
-
- Nature's Theater
-
- New York City had such an impact on Cornell that it is
easy to underestimate his love of nature. The Hudson River valley, Adirondack
Mountains, New England's and Long Island's rural countryside and coastline,
Manhattan's parks, and his modest backyard in Flushing, New York-all provided
glimpses of "this ethereal magic of simplicity in the commonest aspects
of Nature."
-
- Cornell was an amateur naturalist who used close observation,
natural specimens, and illustrations to create the essence and mood of
rustic environments. His romantic perception of America's distinctive natural
habitats aligns him with the country's landscape painting and literary
traditions since the early nineteenth century. As he enjoyed "the
song of nature, the breezes, the fragrances of the grasses -- like a great
breathing, deep, harmonious, elemental, cosmic," he described nature
as a theater that offers scenarios of repose and inspiration.
-
- The realms of sensuality and sexuality were among nature's
"most intimate mysteries" for this bachelor artist. The tradition
of the female nude as a symbol of fertility and creativity as well as his
sublimation of desire inspired his artful use of images from photography
and gentlemen's magazines after the mid-1950s. Whether rustic or sensual,
Cornell's interpretation of nature creates a space in which beauty, mystery,
and imagination unfold.
-
-
- Geographies of the Heavens
-
- Nature's theater extended into the heavens as Cornell
considered man's relationship to the land, sea, and air in his efforts
to understand the cosmos. His references to the sun, moon, planets, and
stars and to the history and technology of astronomy and space exploration
all relate to celestial navigation as a long-standing method used by sailors,
including his Dutch and American ancestors. Although not a sailor, Cornell
was an avid stargazer at home and at the Hayden Planetarium, and celestial
navigation became his primary metaphor for extended travel across time
and space and between the natural and spiritual realms.
-
- Cornell called upon "geographies of the heavens"
for his interpretation of "observatories," "night songs,"
and "night voyages." This tradition of star maps first appeared
in Europe during the 1400s to illustrate information discovered in astronomical
observatories. The maps incorporate hand-colored line drawings and engravings,
representations of constellations as mythological figures and animals,
and diagrams of the heavens. Cornell also embraced other subjects that
have inspired charts and diagrams-trade winds, solar and lunar eclipses,
and latitudinal and longitudinal views of Earth. From his earliest collages
to his last boxes and films, Cornell's goal was to create a touchstone
for exploring the unknown.
-
-
- Bouquets of Homage
-
- Cornell's interests in science, history, and the arts
were often driven by his fascination with historical and contemporary people,
whether famous or obscure. His own desire for privacy did not prevent him
from researching their lives and accomplishments as sources of inspiration,
comparison, and even consolation. Men recur in his pantheon of creative
kindred spirits, while women dominate his efforts to pay homage to the
fleeting nature of fame, beauty, and the act of performing.
-
- The aura that now surrounds images and celebrities originated
in the 1800s, when new printing technologies and increasingly sophisticated
marketing techniques contributed to the elevation of performers and artists
as personalities or stars. Cornell took his cue from the scrapbooks and
souvenirs that accompanied these earlier phenomena as he accumulated information,
images, and ephemera "through endless encounters with old engravings,
photographs, books, Baedekers, varia, etc." From this "ecstatic
voyaging," he created works that he described as "bouquets,"
"unauthorized biographies," and "imaginary portraits."
-
- Cornell did not practice representational methods such
as drawing and photography, and literal illustration was never his intent
even when he adapted likenesses created by other artists. Instead he designed
portraits and homages as abstract equivalents that captured the essence
of his subjects, an approach he described as "image making akin to
poetry."
-
-
- Crystal Cages
-
- Typically, boxes are made to be opened and closed, to
reveal and protect their contents. In Cornell's constructions, glass panes
achieve both goals to create a dynamic, transparent relationship between
interior and exterior. Peering through glass to inspect the contents and
composition of his boxes and collages suggests using a telescope to bring
the distant or mysterious closer. The presence of mirrors complicates the
experience. As they expand the sense of space, confuse the real and the
reflected, and include the viewer in their imagery, mirrors evoke a range
of meanings, especially Cornell's interest in the mind as a mirror of the
soul and dreams.
-
- His love of New York's commercial and residential facades,
New England's whitewashed buildings, and Europe's hotels and palaces infuses
his references to rooms, walls, windows, apertures, columns, and beams.
These architectural motifs shape spatial arrangements that reinforce the
distinction not only between interior and exterior but also absence and
presence. After the mid-1940s they dominated the increasingly streamlined
design of his constructions, a trend that coincided with his focus on birdhouses.
These structures for restricting flight and providing temporary way stations
embody the duality that Cornell navigated in building a metaphorical world
around the concepts of containing and releasing the spirit of creativity.
-
-
- Chambers of Time
-
- Cornell's romance with time was complicated. He did not
date most of his works because he had little use for chronology in the
midst of pursuing "cross currents, ramifications, allusions, etc."
Yet he constantly clocked what he was doing day and night in his diaries,
suggesting not just the tyranny of time but also his awareness of life
as a continuum based on the daily. Time's measures, phases, and patterns
loom in his work, whether in the direct use of clock parts and imagery
or the suggestive presence of sand.
-
- Travelers' memoirs, guidebooks, and photographs of the
1800s informed his impressions of "the light of other days."
The results were convincing evocations of the character of a place or period,
even as he struck timeless notes of charm and nostalgia and provided hints
of aging through the use of weathered or old-fashioned materials and peeling
interiors.
-
- A strong sense of the present emanates from Cornell's
efforts to capture "fleeting impressions" and the "spontaneous
unfoldment" of images, while his emphasis on childhood and memory
represents his belief in extending the past into the present and the future.
Ultimately, his descriptions of time as "eterniday" and the "metaphysique
d'ephemera" -- the lasting and the passing-reflect his estimation
of time's multiple dimensions and effects in his projection of beauty and
insight.
Checklist for the exhibition
Please click here for the
exhibition checklist.
Editor's note: readers may
also enjoy:
- "Artbeat" 6/21/11 segment on American art from
WTTW11 titled Joseph
Cornell
- Artist's
papers online from Archives of American Art
- Andromeda Hotel: The Art
of Joseph Cornell; essay by Therese Lichtenstein (6/26/06)
- From ArtForum "Joseph
Cornell/Marcel Duchamp in resonance." - Philadelphia Museum of Art,
Philadelphia, Pennsylvania, Summer, 1999 by Bruce Hainley
- From ArtForum Joseph
Cornell: Soap Bubble Set , ca 1950s - Lunar Rainbow, Space Object - artist,
April, 1999 by Michael Cunningham
- From Art Journal Joseph Cornell's Theater of the
Mind: Selected Diaries, Letters, and Files. - book reviews, Winter, 1994
by Nancy Grove [8/11 audit of this source indicates
link broken. We have saved the citation for reference]
- Smithsonian American Art Museum's page for Joseph
Cornell, with podcasts
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source by visiting the sub-index page for the Smithsonian
American Art Museum in Resource Library.
notes rev. 8/15/11
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