By Kirsten Hoving
Joseph Cornell and Astronomy offers an in-depth examine one artist's excessive fascination with the technology of astronomy. Joseph Cornell (1903-72) has frequently been considered as a recluse, remoted in his domestic on Utopia expressway, misplaced within the fairy stories and captivating items of his collages and assemblage containers. much less in general identified has been Cornell's vested and severe curiosity within the historical past of astronomy and the state-of-the-art discoveries made in the course of his personal lifetime. An avid reader, he gathered a library of books and articles approximately technological know-how and astronomy, and his reflections approximately those topics had a right away impression on his art.
This publication explores why astronomy captivated Cornell, and considers 1000's of his works--found-footage movies, third-dimensional space-object bins, enigmatic collages, and cosmic ephemera--that include references to astronomical phenomena. Kirsten Hoving considers Cornell's huge, immense selection of astronomy fabrics, starting from eighteenth-century books to contemporary works; newspaper and journal articles that Cornell clipped and looked after; and diary entries of his observations whereas stargazing in his yard. She examines how Cornell explored many dimensions of astronomy via his identities as a Christian Scientist and surrealist artist.
Unfolding Cornell's paintings with intensity and breadth, Joseph Cornell and Astronomy bargains a resounding and unique appreciation of this interesting American artist.
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Extra info for Joseph Cornell and Astronomy: A Case for the Stars
There Cornell’s Soap Bubble Set was paired with a second box, Cabinet of Natural History (Object), and additional small objects. 6 Over the course of his life, Cornell never really explained what his soap bubble sets meant, preferring to leave analysis to the viewer. When he exhibited a group of them at the Copley Galleries in Beverley Hills, California, in 1948, his written comments linked astronomy to poetry, metamorphosis, and fantasy: Shadow boxes become poetic theatres or settings wherein are metamorphosed the elements of a childhood pastime.
11. Joseph Cornell, Story without a Name—for Max Ernst, c. 1934–35. Reproduced in View (April 1942). Number 10 of 16 collages on paperboard, 10 × 71/2 in. Private collection. Photographer: Hickey-Robertson, Houston, TX. indd 18 Cornell and Surrealism Cornell liked his things in piles. ” Balanced on studio shelves are games and toys and balls and tubes of glitter and porcelain parrots. Photos of his living room reveal more piles. There are stacks of old newspapers, towers of books, and, tucked nearly out of sight, vast hoards of pages and clippings from newspapers, magazines, and books.
30 Like other Surrealist artists and writers, Cornell saw vast creative potential in the concept of “chance encounters” first articulated by the proto-Symbolist writer Isidore Ducasse (better known by his nom de plume, le Comte de Lautréamont), later adopted as a creative creed by Surrealists. 31 Cornell credited the importance of Surrealism’s validation of the poetic object for his own work, writing in 1967, “Exposure to Surrealism’s philosophy relative to, concern with, the ‘objet,’ a kind of happy marriage with my life-long preoc.
Joseph Cornell and Astronomy: A Case for the Stars by Kirsten Hoving