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Enchantments

Joseph Cornell and American Modernism

Marci Kwon

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Princeton University Press img Link Publisher

Geisteswissenschaften, Kunst, Musik / Kunstgeschichte

Beschreibung

The first major work to examine Joseph Cornell's relationship to American modernism

Joseph Cornell (1903–1972) is best known for his exquisite and alluring box constructions, in which he transformed found objects—such as celestial charts, glass ice cubes, and feathers—into enchanted worlds that blur the boundaries between fantasy and the commonplace. Situating Cornell within the broader artistic, cultural, and political debates of midcentury America, this innovative and interdisciplinary account reveals enchantment's relevance to the history of American modernism.

In this beautifully illustrated book, Marci Kwon explores Cornell's attempts to convey enchantment—an ephemeral experience that exceeds rational explanation—in material form. Examining his box constructions, graphic design projects, and cinematic experiments, she shows how he turned to formal strategies drawn from movements like Transcendentalism and Romanticism to figure the immaterial. Kwon provides new perspectives on Cornell's artistic and graphic design career, bringing vividly to life a wide circle of acquaintances that included artists, poets, writers, and filmmakers such as Mina Loy, Lincoln Kirstein, Frank O’Hara, and Stan Brakhage. Cornell's participation in these varied milieus elucidates enchantment's centrality to midcentury conversations about art's potential for power and moral authority, and reveals how enchantment and modernity came to be understood as opposing forces. Leading contemporary artists such as Betye Saar and Carolee Schneemann turned to Cornell's enchantment as a resource for their own anti-racist, feminist projects.

Spanning four decades of the artist's career, Enchantments sheds critical light on Cornell's engagement with many key episodes in American modernism, from Abstract Expressionism, 1930s "folk art," and the emergence of New York School poetry and experimental cinema to the transatlantic migration of Symbolism, Surrealism, and ballet.

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Schlagwörter

Art history, Parker Tyler, Work of art, Harpo Marx, Engraving, Contemporary art, Wallace Stevens, Romanticism, Romantic ballet, Isadora Duncan, Mr., Philosopher, Avant-Garde and Kitsch, Mary Baker Eddy, George Platt Lynes, Ideology, Soap bubble, Smithsonian Institution, P. Adams Sitney, Arthur Dove, Publication, Silent film, Special collections, Barnett Newman, Ballets Russes, Kitsch, Christian Science, Henry Newbolt, Stan Brakhage, Clement Greenberg, Emblem, Philadelphia Museum of Art, Sophistication, Surrealism, Getty Research Institute, Fine art, Odilon Redon, Transcendentalism, Popular culture, Literary criticism, Joseph Cornell, Private collection, Grace Hartigan, Charles Henri Ford, Evocation, John Ashbery, Illustration, Metropolitan Museum of Art, Modernism, Copyright, Gilded Age, Marianne Moore, Harper's Bazaar, John Donne, Writing, Literature, Disenchantment, Marcel Duchamp, Charles Egan Gallery, Aby Warburg, Immanence, Abstract expressionism, Elie Nadelman, Alfred Stieglitz, Julien Levy, Robert Rauschenberg, Totalitarianism, Jackson Pollock, Fantastic art, George Balanchine, Georges Seurat, Mark Rothko, Giorgio de Chirico, Modernity, Diary, Wadsworth Atheneum, Princeton University Press, Theory, Daguerreotype, Carolee Schneemann, Folk art, Rudy Burckhardt, Donald Windham, Lincoln Kirstein, Mina Loy, Photography, Realism (arts), Smithsonian American Art Museum, Matthew Josephson, Narrative, T. J. Clark (art historian), Poetry, Anecdote, Natural philosophy, Max Ernst, Photograph, Constantin Brâncu?i, Anthology Film Archives, Lynn Garafola, Symbolism (arts)