Kynaston McShine (ed.) 『Joseph Cornell』 (MoMA 1980)

『Joseph Cornell』
Edited and with an Introduction by Kynaston McShine
Essays by Dawn Ades, Carter Ratcliff, P. Adams Sitney, and Lynda Roscoe Hartigan

The Museum of Modern Art, New York, 1980
Reprint 1990 by Prestel Verlag, Munich
296pp, 28.2x22.2cm, hardcover (clothbound), dust jacket
Designed by Patrick Cunningham and Keith Davis
Printed in the Federal Republic of Germany

Originally published on the occasion of the exhibition *Joseph Cornell*, November 17, 1980 - January 20, 1981, The Museum of Modern Art, New York



1980年にニューヨーク近代美術館で開催されたジョゼフ・コーネル回顧展のカタログを10年後の1990年に同一内容で書籍化(丸背布装上製本)したもので、これは1996年に増刷されたものだとおもいます。
カラー図版32点、モノクロ図版294点収録。ほかに参考図版(モノクロ)多数です。


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Contents:

Acknowledgments (Kynaston McShine)

Introducing Mr. Cornell (Kynaston McShine)
The Transcendental Surrealism of Joseph Cornell (Dawn Ades)
Joseph Cornell: Mechanic of the Ineffable (Carter Ratcliff)
The Cinematic Gaze of Joseph Cornell (P. Adams Sitney)
Joseph Cornell: A Biography (Lynda Roscoe Hartigan)

Plates

Bibliography
A Dossier for Joseph Cornell
List of Illustrations
Photograph Credits
Lenders to the Exhibition



joseph cornell - moma 02



◆感想◆


本書はジョゼフ・コーネルの基本文献でありますが、もっていなかったのでアマゾンで中古(可)が2,047円(送料込)で売られていたのを購入してみました。
図版はほとんどモノクロですが、それはそれで時代色というか、趣があります。
編者による序文、シュルレアリスム(ドーン・エイズ)、ロマン主義(カーター・ラトクリフ)、映画作品(P・アダムス・シトニー)、と、さまざまな側面からのコーネル論三篇、そしてリンダ・ロスコー・ハーティガンによるバイオグラフィー(コーネルの妹エリザベスが情報提供しています)と、よみもの面も充実しています。


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スポンサーサイト

『Joseph Cornell: Wanderlust』 (Royal Academy of Arts 2015年)

『Joseph Cornell: Wanderlust』
Sarah Lea, Lynda Hartigan and Jasper Sharp

Royal Academy Publications, 2015
270pp, 27.8x24.8cm, hardcover
Printed in Italy by Lego, Vicenza


'Joseph Cornell: Wanderlust'
Royal Academy of Arts, London
4 July - 27 Sepember 2015

'Joseph Cornell: Fernweh'
Kunsthistorisches Museum, Vienna
20 October 2015 - 10 January 2016



joseph cornell - wanderlust 01


はっ (`・ω・´)ゞ

2015年にロンドンで、2015年から2016年にかけてウィーンで開催された
ジョゼフ・コーネル回顧展のカタログであります (`・ω・´)ゞ
角背布装上製本(ハードカバー)で
ダストジャケット(カバー)は付いてないタイプの本であります (`・ω・´)ゞ
表紙中央にコーネル作品を印刷した紙が、
裏表紙には説明文を印刷した紙が貼付されているであります (`・ω・´)ゞ
出展作80点(映画フィルム3点を含む)については
基本的に一点ごとに見開きでカラー図版と解説文が掲載されていて、
要所要所に部分拡大カラー図版(見開き)が挿入されているであります (`・ω・´)ゞ
そのほか参考図版55点であります (`・ω・´)ゞ

うつ状態で寝こんでいたので
このような図録が発売されていたことに気づかなかったであります (`・ω・´)ゞ
このまえアマゾンで検索してたら
この本とチャールズ・シミックさんの最新刊二冊があったので
注文したであります (`・ω・´)ゞ
「Wanderlust」(放浪癖)といえばレベッカ・ソルニットさんの本にも
そういうタイトルのがあったでありますな (`・ω・´)ゞ
コーネルはひきこもりだけど
日々ニューヨークの街を放浪してボックスの素材を蒐集したであります (`・ω・´)ゞ
自分も基本ひきこもりでありますが
毎日近所を徘徊しているであります (`・ω・´)ゞ
見かけても石は投げないでねっ (`・ω・´)ゞ


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目次:

Foreword (Christopher Le Brun, President, Royal Academy of Arts / Sabine Haag, Director General, Kunsthistorisches Museum)
Supporter's Statement (Daniel Torras, Managing Director UK, JTI)
Acknowledgements

1
Joseph Cornell: Wanderlust (Sarah Lea)
2
The Pierrot Who Never Saw Paris: Joseph Cornell and His Relationship with Europe (Jasper Sharp)
3
Musings on Joseph Cornell's Alchemy of the Mind (Lynda Roscoe Hartigan)

Catalogue Plates
With Entries by Sarah Lea and Jasper Sharp
 1. Untitled (1930s) / 2. Untitled (1930s) Collage on paper
 3. Untitled (Story without a Name - for Max Ernst) (c. 1930s) Collage on board
 4. Untitled (c. 1930) Paperboard box with engraving
 5. Untitled (Le Grand Chien) (c. 1930) Collage and ink on paper
 6. Untitled (1930s) Wood engravings and paper on paperboard
 7. Untitled (c. 1932) Glass bell jar, wood, paint and printed-paper collages
 8. Untitled (1933) Collage on paper
 9. Untitled (Minutiae Objects) (c. early 1930s) Cuboid paperboard box containing five cylindrical paperboard boxes, marbled paper, printed-paper collage, balls, metal screws, glass /  10. Untitled (1933) Cylindrical paperboard box with paper collage, shell, ball bearing and metal springs
 11. Untitled (M'lle Faretti) (1933) Glazed wooden box, cabinet photograph, antiqued mirrors, thread and hand-made ornaments
 12. Untitled (1934) Collage on paper
 13. Panorama (c. 1934) Collage with ink on pleated and seamed paper
 14. Untitled (c. 1934) Collage with ink on paper
 15.'Le Voyageur dans les Glaces': Jouet Surrealiste (1935) Cardboard box containing a metal contraption and seven double-sided discs with paper collage
 16. Tilly Losch (c. 1935) Glazed wooden box, marbled paper, printed-paper collage, string, bead, cardboard
 17. Object Fenetre (1937) Assemblage with Photostats, marbled paper and type on cardboard
 18. Object (Tower of Babel and Children of Israel) (1938) Cardboard box collaged with paper, wooden beads, blocks and tokens; cardboard and paper map
 19. Joseph cornell and Lawrence Jordan: Thimble Theater (c. 1938-40s) 16-millimetre film, black and white, with sound, c. 6 minutes
 20. Untitled (1952) Cylindrical paperboard box, paper collage, glass discs with paint / 21. Untitled (c. 1939-40, c. 1957) Cylindrical paperboard box, paper collage
 22. A Dressing Room for Gille (1939) Glazed wooden box, wood panel cover, paint, mirror, cork, printed paper collage, cotton thread, textiles, ribbon
 23. Object: Hotel Theatricals by the Grandson of Monsieur Phot Sunday Afternoons (1940) Glazed, hinged, wooden cabinet; photographic reproductions, red, green, blue and black glass marbles, wood, paper collage, textiles
 24. Untitled (To Marguerite Blachas) (1940) Book containing paper, silk, velvet, chain-link fencing, metal, synthetic hair and nacre
 25. Untitled Object (Mona Lisa) (c. 1940-42) Cylindrical cardboard box sealed with painted clear glass, containing photographic reproductions, sequins, hairpin, glass beads, and black paper fragment
 26.L'Egypte de Mlle Cléo de Mérode: cours élémentaire d'histoire naturelle (1940) pre-existing nineteenth-century hinged oak box, marbled paper, glass bottles, cork, glass, paper collage
 27. Le Caire (c. 1940) Prefabricated cylindrical paperboard box, paper collage, wound paper scrolls, coloured cotton thread
 28. Object (Compass set) (1940) Hinged wooden chest; maps; paper collage; 24 compasses, clear and coloured glass
 29. Object: Les abeilles ont attaqué le bleu céleste pâle (1940) Glazed wooden box, engraving, rhinestones, cork, paint and paper cut-outs
 30. Untitled (Tamara Toumanova) (c. 1940) Collage with tempera on paperboard
 31. Untitled (c. 1945) Wooden box, blue glass, rhinestones, printed paper collage, paint / 32. Untitled (Fortune) (c. 1967 or before) Metal mirro with fabric backing, plastic swan and paper tag inscribed 'fortune'
 33. Object (Soap Bubble Set) (1941) Glazed wooden box frame; paint; clay pipe; glass discs; paper collage
 34. Untitled (The Life of Ludwig II of Bavaria) (c. 1941-52) Papered wood valise with sepia photograph mounted inside lid; containing one bound book; one printed folio of photographic reproductions; two rectangular boxes with clear glass miniature swans; two cylindrical boxes with broken glassware and crockery shards
 35. Untitled (Pinturicchio Boy) (1942-52) Hinged, glass-paned wooden cabinet; latch; internal panes of glass (four amber, three clear); Photostats; wooden dividers; collaged wooden cubes; mirror; Baedeker travel guides of Venice; metal spiral (fixed to internal base)
 36. Naples (c. 1942) Glazed wooden box, metal handle, wine glass, paint, photograph, shell, mirrors, thread, textile, paper collage, cork
 37. Palace (1943) Glass-paned, stained wooden box, photographic reproduction, mirror, wood, charred bark, spray-painted twigs
 38. Beehive (1940-48) Prefabricated wooden Shaker-style box, mirror, cork, paper collage, metal thimbles, glass beads
 39. Untitled (The Crystal Cage: Portrait of Berenice) (c. 1934-67) Papered wood valise; photographs; printed and photomechanical reproductions; clippings from newspapers, books and magazines; typed and annotated notes; paper ephemera and collage
 40. Pharmacy (1943) Hinged, glass-paned wooden cabinet; marbled paper, mirror, glass sheets, twenty glass bottles containing various printed paper cuttings, coloured sand, pigment, coloured aluminium foil, feather, a paper butterfly wing, a dried leaf, a blue glass marble, fibres, driftwood, wooden marbles, glass rods, beads, sea-shell, transluent crystals, stone, wood shavings, sawdust, sulphate, copper, wire, fruit pits, golden paint, water, cork
 41. Habitat Group for a Shooting Gallery (1943) Hinged wooden cabinet; glass (shattered by the artist); wood; paint; printed clippings; cut-out colour lithographs; shredded newspaper; dried plant material, feathers
 42. Letter from Joseph Cornell to Tilly Losch (Christmas 1943) Typewritten letter with collage, stickers and thread on paper
 43. Paolo and Francesca (1943-48) Box construction with paper cut-out, velvet, blue glass and rhinestones
 44. Hölderlin Object (1944-46) Pre-existing wooden chest, blue glass, marbled paper, velvet, oak leaf, book, string
 45. Object: Romantic Museum (1946) Paperboard box construction, blue glass, paper, sand, metal
 46. Untitled (Multiple Cubes) (1946-48) Glazed, wooden hinged cabinet with latch; wood; white paint
 47. Letter with collage embellishments, from Cornell to Dorothea Tanning (1947) Typewritten letter with collage on paper
 48. Untitled (Music Box) (c. 1947) Box construction with cardboard printed paper collage, postage stamps, maps, bells and rattles
 49. Untitled (Owl Habitat) (Mid- to late 1940s) Wooden box construction with blue glass, coloured print cutout, bark, wood, pulverised plant matter, painted lichen
 50. Untitled (Aviary with Cockatoo and Corks) (c. 1948) Wooden box with metal hinges and catch, panes of glass, paint, cut-out colour lithograph, string, driftwood, wooden divisions and objects, corks, paper boxes, music box parts
 51. Soap Bubble Set (1948) Glazed wooden box, printed map, painted object, cordial glass, velvet, metal, glass sheets, clay pipes
 52. Untitled (Medici Princess) (c. 1948) Glazed box with four painted internal panes of glass; wooden blocks, variously collaged; Photostat with touches of blue paint; wooden ball; metal jack; glass marble. Drawer lined with maps containing bundle of papers tied with thread, paper fan, pink and silver foil ball
 53. Museum (1949) Pre-existing wooden chest with inlaid decoration; Photostat, paper collage, coloured cotton thread, cardboard cylinders with various contents
 54. Untitled (Aviary with Parrot and Drawers) (1949) Wooden box, glazed central compartment, modified pre-existing wooden drawers, colour lithograph, wood pieces, watch springs
 55. Planet Set, Tête Etoilée, Giuditta Pasta (dédicace) (1950) Glazed wooden box, liqueur glasses, crystal, wood and paper collages
 56. Observatory: Corona Borealis Casement (1950) Glazed wooden box; metal mesh; wooden components; white, blue and yellow paint; additional wooden compartment at back; two double-sided wooden panels
 57. Untitled (Hotel Family, Parmigianino, Bel Antea Variant) (c. 1950) Glass-paned wooden box, wooden strips, paint, photographic prints, book pages
 58. Untitled (Soap Bubble Set Variant) (c. 1952-54) Glazed wooden box, pipe, plaster, driftwood, nails, paint
 59. Untitled (Sand Tray with Map and Starfish) (c. 1952) Box construction: clear glass, sand, cork balls, driftwood, coral, map collage, starfish
 60. Untitled (Medici Boy) (c. 1953) Glazed wooden box, marbled paper, wood strips, blue glass, paint, collaged wooden blocks, Photostat
 61. A Parrot for Juan Gris (1953-54, 'rejuvenated' 24 June 1957) Glazed wooden box; wooden parts; cut chromolithograph; paper collage; ink; crayon; metal dowel and ring; string; cork ball; folded note
 62. Toward the Blue Peninsula: For Emily Dickinson (c. 1953) Glass-paned wooden box, wooden dowel and components, wire mesh, paint, scraps of newspaper
 63. Andromeda: Grand Hôtel de l'Observatoire (1954) Glass-paned wooden box, painted and paper-covered wood, metal rod and chain, paper collage with Photostats
 64. Untitled (Compartmented Box) (c. 1954-56) Wooden box glazed with blue glass, wooden strips, twenty-five wooden balls, twenty-five Photostats
 65. Untitled (Medici Variant) (c. 1955) Glazed wooden box; Photostat; printed numerical tables; ink; painted cork ball; on the reverse: collaged pages of pritned Latin text
 66. Untitled ('Dovecote' American Gothic) (c. 1954-56) Glass-paned stained wooden box, paint, wooden components, twenty-four wooden balls
 67. Untitled (Celestial Navigation) (c. 1956-58) Glazed wooden box, various paper collage, cordial glasses, two blue marbles, driftwood, map pins, collaged wooden cylinders, metal rod, drawer, white sand, shells, ball bearings
 68. Andromeda (1956) Collage of photographic reproductions with oil, pencil and ink on Masonite
 69. Blériot #2 (c. 1956) Glazed wooden box; wood components; metal spiral
 70. Joseph Cornell and Budy Burckhardt: Angel (November 1957) 16-millimetre film (Kodakchrome), colour, silent, c. 4 minutes
 71. Weather Satellites (c. 1965) / 72. Observations of a Satellite I (c. 1960) Collage on paper)
 73. A Propos d'un passage de Plutarque (1963-65) Collage of printed paper on Masonite
 74. Cassiopeia #3 (c. 1963) Wooden box; painted glass; metal rods and rings; printed cork ball; printed tin; shell; toy block; broken clay pipe; metal pins; paint and gesso; verso: paper collage
 75. Untitled (Penny Arcade, Pascal's Triangle) (c. 1965) Collage with pencil, tempera paint and coins on Masonite
 76. Untitled (After René Magritte, La clef de verre, 1959) (c. 1965) / 77. Mica Magritte II: Time Transfixed (c. 1965) Collage on board
 78. Sorrows of Young Werther (c. 1966) Collage with photomechanical reproduciton, paper, gouache and ink on fibreboard
 79. Untitled (Portrait of Leila in Letters) (Late 1960s) Collage and pencil on board
 80. Joseph Cornell and Stan Brakhage: Gnir Rednow (1955, 1960s) 16-millimetre film (Kodachrome), colour, silent, 6 minutes

Chronology (Ben Street)

Endnotes
Select Bibliography
Lenders to the Exhibition
Photographic Acknowledgements
Index



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57. Untitled (Hotel Family, Parmigianino, Bel Antea Variant) (c. 1950)


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Deborah Solomon - Utopia Parkway: The Life and Work of Joseph Cornell

Deborah Solomon
"Utopia Parkway :
The Life and Work of Joseph Cornell"


MFA Publications, a division of the Museum of Fine Arts, Boston, 1997, 2nd Printing (date unknown)
xiii, 426pp, 23.4x15.4cm, paperback



女性美術評論家デボラ・ソロモンによる詳細なジョゼフ・コーネル伝。本文中図版(モノクロ)多数。邦訳も出ているようです。
ニューヨーク市クイーンズの「ユートピア・パークウェイ」は、コーネルが家族(母親と脳性麻痺の弟)とともに生涯の大半を過ごした家があった場所です。


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Contents:

Preface
1. "Combination Ticket Entitles Bearer To . . . ": 1903-17
2. Dreaming of Houdini: 1917-21
3. Life of a Salesman: 1921-28
4. The Julien Levy Gallery: 1929-32
5. The Persistent Memory of Salvador Dali: 1935-36
6. Introducing the Neo-Romantics: 1937-39
7. A Night at the Ballet: 1940-41
8. Voices from Abroad: 1942
9. Bebe Marie, or Visual Possession: 1943-44
10. The Hugo Gallery: 1945-49
11. The Aviaries: 1949
12. The Egan Years: 1950-53
13. The Birds: 1954-55
14. The Stable Gallery: 1956-57
15. Breakfast at Bickford's: 1958-59
16. Pop Goes the Art World: 1960-63
17. The Life and Death of Joyce Hunter: 1964
18. Goodbye, Robert: 1965
19. Goodbye, Mrs. Cornell: 1966
20. The Guggenheim Show: 1967
21. "Bathrobe Journeying": 1968-71
22. "Sunshine Breaking Through . . . ": 1972
Acknowledgments
Notes
Index



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庭で読書するコーネル。
コーネルは伝記を好んで読んだ、彼は伝記が「ロマンス」たりうることを知悉していた(Cornell understood that biography can be a form of true romance.)、それが現今のような伝記本の流行らない時代に、あえてコーネル伝を執筆した理由だ、と著者は序文に書いています。

「それはちいさな蜘蛛の巣だ
半透明な緑の蜘蛛が
森いつぱいにミクロトームを装置して
虫のくるのを待つてゐる
にもかゝはらず虫はどんどん飛んでゐる
あのありふれた百が単位の羽虫の群が
みんなちいさな弧光燈(アークライト)といふやうに
さかさになつたり斜めになつたり
自由自在に一生けんめい飛んでゐる
それもあゝまで本気で飛べば
公算論のいかものなどは
もう誰にしろ持ち出せない
むしろ情に富むものは、
一ぴきごとに傳記を書くといふかもしれん」
(宮澤賢治 「半蔭地選定」 より)

宮澤賢治は本書とは関係ないですが、コーネルが宮沢賢治を読んだらさぞかし喜んだことであろうとおもいます。

コーネルは死の直前、妹に、「こんなに人見知りじゃなければよかった」(You know, I was thinking, I wish I hadn't been so reserved.)と打ち明けていますが、思うに、波乱万丈立身出世の英雄豪傑の伝記本など過去の遺物といってよいです。これからは人見知りの引きこもりさんたちの伝記が深い共感とともに読まれる時代になるはずです。


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◆本書より◆

"It was at the Hippodrome that Cornell had the chance to see Harry Houdini, who escaped from chains and a locked safe, and made elephants vanish into thin air. Houdini's act turned out to be the most memorable performance of Cornell's youth; the magician would loom over his childhood as a symbol not only of inspired entertainment but of artistic possibility as well. For art, as much as a magic show, can be a disappearing act, and the notion of vanishing was central to the young Cornell's imagination. The metal rings and suspended chains that would later become common elements in his boxes refer at least partly to Houdini and the memory of a lonely boy who wished to vanish from the shackles of day-to-day reality. And the very form of the Box was already intriguing to Cornell; whereas Houdini escaped out of boxes, Cornell would one day escape into them."

(コーネルはヒッポドローム劇場で奇術師ハリー・フーディーニを見た。鎖で雁字搦めにされたり鍵を掛けた金庫に閉じこめられた状態から脱出したり、象を消失させたりするフーディニーの芸は、幼いコーネルの記憶に刻み付けられた。それは芸術の可能性の象徴でもあった。のちの箱作品にみられる金属の輪や鎖といった要素には、フーディーニの思い出、そして日々の現実という足枷から逃れたいという少年時の望みが潜んでいるかもしれない。フーディーニは箱から脱出(エスケープ)し、コーネルは箱の中へと逃避(エスケープ)した。)


"It should be noted that Cornell never saw Watteau's picture of Gilles in the Louvre; the reproductions that surface in his work were of paintings he had not seen. In using a reproduction, Cornell wasn't trying to recapture the experience of seeing the original; rather, he was recognizing that reproductions have their own potent qualities. Like his boxes, reproductions are suffused with desire: they make us long for originals we can never possess or parhaps even see."

(コーネルはワトーの「ジル」の原物を見たことはなかった。箱作品に「ジル」の複製を使うことによって、コーネルは原物(オリジナル)を見た経験を再体験しようとしたのではない。複製には、複製独自のすぐれた特質があるのだ。複製には、手に入れることはおろか目にすることすら出来ないかもしれない原物(オリジナル)への欲望が詰まっているのだ。)


"( . . . ) what really excited him was a nostalgia for people he had never known, for places he had never been, for an innocence that had never existed."

(コーネルを駆り立てたのは、彼の知らない人々、彼が行ったことのない場所、決して存在したことのない無垢(イノセンス)への郷愁(ノスタルジア)だった。)


"Despite (Marianne) Moore's interest in his work, Cornell was not an easy acquaintance. He brought to their relationship the same cautious advances and withdrawals that characterized nearly all his relationships, reluctant to commit himself to the demands of friendship even through the scrim of the page. Though their letters were filled with extravagant praise for each other's work, Cornell could be astonishingly tardy in replying to Moore. In letter writing, as in so much else, he could not bring the slightest task to completion without hesitation. In 1944, when he sent Moore a "Valentine package", it was not February 14 but April 9 - and a whole year since her last letter to him."

(詩人のマリアンヌ・ムーアにとっても、コーネルは付き合いやすい人物ではなかった。ムーアとの関係を築くにあたってコーネルはいつものように用心深く引っ込み思案だったし、それは手紙のやり取りにおいてもそうだった。互いに賞賛し合いながらも、コーネルからの返信はとんでもなく遅くなることがあった。手紙を書くに当たっても、ほかのことと同様、ほんのちょっとした作業でも躊躇なしに遂行することはできなかった。1944年に、ムーアにヴァレンタインのプレゼントを贈ったときも、日付は2月14日ではなく4月9日で、しかもムーアから来た手紙に返事を書かないまま一年が経ってからだった。)


"In compiling material for his special issue of Dance Index, Cornell had befriended another librarian, Maria Cimino, who kept extensive files on Andersen and felt that Cornell uncannily reminded her of the Danish writer. As she once remarked, "He was long and thin and misunderstood, the way that Andersen was."
In March 1950, Miss Cimino wrote to Cornell ( . . . ) asking whether he could assist with a fairy-tale show she was planning for the Central Children's Room at the library. She hoped he might provide illustrations, and Cornell apparently agreed. In the end, the project fell pray to his habitual procrastination. As the librarian later noted in an annual report: "He offered to turn the room into a fairyland by making us some large designs for the walls. However, when Mr. Cornell came to the children's room one day (very near to the time of opening this show) to tell us that his pictures were not ready and that the thought of meeting the deadline prevented him from actually making them ( . . . )" One suspects she had never before heard anyone use the word "deadline" as an explanation for a spell of inactivity."


(コーネルはアンデルセンのことを調べていて図書館員のマリア・チミノと知り合ったが、チミノによれば「彼はアンデルセンと同じように、背が高く痩せていて誤解されやすい人だった」。1950年3月、チミノは図書館で催す予定の子どものためのショウの手伝いをしてくれるようコーネルに頼んだが、コーネルの先延ばし体質に困らされることになった。チミノによると「壁をデザインして部屋をフェアリーランドにするということだったが、コーネルはショウのオープニング間際にやってきて、まだ準備ができていない、締め切りのことを考えると仕事が手につかないからだと説明した」。彼女にとって、「締め切り」があるから仕事ができない、などと言い訳する人がいようとは思いもよらぬことだったろう。)


"When Cornell put something off, he didn't wait just a day or two; he waited a year or two, or longer. Just as he didn't open his records when he bought them, he seldom read his mail on the day it arrived, letting it accumulate in a pile in his basement until he felt ready to attend to it. He was predictably slow in sending off letters, often waiting before composing them, or composing them right away but forgetting to mail them."

(コーネルがなにかを先延ばしする場合、一日二日では済まない。一年か二年、あるいはもっとかかることもある。レコードを買ってもすぐに開封しなかったように、手紙を届いた当日に読むことはまずなかった。心の準備ができるまで、溜まるがままにしておくのだ。当然返信も遅くて、返事を書くまで何日もかかるか、すぐに書いたとしても投函し忘れることがよくあった。)


"He was so strange," she (Trudy Goodman) later remembered. "At night, he would turn on the oven to a very low temperature and put his whole upper body in the oven. It was a comfort thing, like climbing back into the womb."

(短期間コーネルのアシスタントをしたことがあるトゥルーディ・グッドマンの回想。「彼はひどく変わり者で、夜中に弱火にしたオーブンに上半身を突っこんでいることがよくありました。お母さんのおなかの中に戻ったようで、落ち着くのね」)


utopia parkway 3


映画女優グレタ・ガルボをテーマにした作品。ガルボ本人はこの作品が気に入らず、「ちっとも似てないわ」(It looks nothing like me)と一蹴したとのことです。その一方で、ローレン・バコールは自分の写真を使った作品について、「すてき、欲しいわ」(I love it and wish I had it!)と、著者の取材に対して代理人を通してコメントしてきたそうです。ちなみにオードリー・ヘップバーンはコーネルから突然作品を送りつけられて、怪しいと思ったのか、送り返してきたそうです。


こちらもご参照下さい:
P. F. Neumeyer (ed.) - Floating Worlds: The Letters of Edward Gorey and Peter F. Neumeyer
































Lindsay Blair - Joseph Cornell's Vision of Spiritual Order

Lindsay Blair
"Joseph Cornell's Vision of Spiritual Order"

Essays in Art and Culture Series

Reaktion Books, London, 1998
223pp, 23.5x13.6cm, paperback
Series design by Humphrey Stone
Printed and bound in Great Britain
With 125 illustrations, 42 in full colour



ジョゼフ・コーネル評伝(英文)。本文中図版(カラー/モノクロ)多数。

"Introduction" より:

"One of the most distinctive features of Joseph Cornell's working method is the all pervading self-scrutiny that accompanied his every move. He kept a record of everything he thought, saw or felt in his dossiers, those files that he meticulously stored, classified and returned to throughout his career."
"In *Joesph Cornell's Vision of Spiritual Order* I examine the scope of Cornell's journey in his search for the self. His dossiers are the first subjects that have to be unravelled, for they reveal the extensive and continuous self-analysis that marked his every creative step. 'GC 44' especially, his largest dossier ( . . . ) displays the neurosis that threatened to envelop him as he strove to create a system of classification that would make some order out of the relentless tide of associations that falooded his mind."
"The dossiers were made available to the public after Cornell's death in 1972. Since then they have been referred to in a number of critical essays, but their full richness is only now being recognized for what they tell us about the boxes and Cornell's working method."



lindsay blair 1


Contents:

Acknowledgements
Chronology

Introduction
1 The Self Observed
2 Origins of Selfhood
3 The Self in Others
4 The Cosmological Search
Conclusion

References
Select Bibliography
List of Illustrations



lindsay blair 2


本書より:

"Reworking and rearranging was almost like a principle within Cornell's method of working; even after boxes had been sold or bound over to friends and family for many years he would not hesitate to send a messenger to collect a box in order to make revisions or alterations."

"Cornell did not conform to any 'normal' codes of behaviour: his sleeping, eating and working habits were dictated by his own system. He generally napped on a daybed and tended to work by night. He rarely joined social rituals, such as sharing a meal, or celebrations such as Thanksgiving. Even in the days when he was participating in functions organized by the Surrealists he would retire at eight o'clock. According to Dorothea Tanning, he was decidedly 'not a come-to-the-party boy'. He was also awkward to work with, as the editor of Dance Index ( . . . ) discovered. Kathryn Kuh, who edited a book of interviews with Surrealists, thought him 'too irrational. He didn't understand how to be interviewed . . . he wouldn't keep appointments'.
Sometimes Cornell's unconventional behaviour brought him into conflict with the authorities. There were instances when he was hounded by the police because of his infatuation with young women and girls. He failed to understand how, for his subjects, his infatuations could become disturbing. He would follow them along the streets, or thrust parcels into their hands."



lindsay blair 3


コーネル家の裏庭にはコーネルお気に入りのウサギの置物が。脳性麻痺の弟ロバートはウサギの絵を描くのが得意だった。


lindsay blair 4


コーネルは人形のベベ・マリー(Bébé Marie)をいとこの家から誘拐してきてオブジェ作品を作った。人見知りの箱入り人形は枯れ枝によって世の中の視線から保護されている。


lindsay blair 5























































Dickran Tashjian - Joseph Cornell: The Gifts of Desire

Dickran Tashjian
Joseph Cornell: The Gifts of Desire


Grassfield Press, Miami Beach, 1992
144pp, 24x19cm, paperback



ディックラン・タシジャンによるジョゼフ・コーネル論。

重症な人見知り人間にとって、会話やメールはコミュニケーションの手段としては不備きわまりないものです。それではどうやって相手に気持を伝えるかというと、ものを贈るのです。
ジョゼフ・コーネルも重症な人見知り人間だったので、気に入った人たち、自分にとって大切な人たちに、自分で作ったコラージュや箱を贈りました。相手はすでにこの世に存在しない過去の人だったりする場合もありましたが、その場合には、相手のために「贈り物」を作るという、そのこと自体が、時間や空間を越えたコミュニケーションとなるのです。

本書は、ジョゼフ・コーネルの作品を、特定の人物への「贈り物」(gifts)としての側面から考察し、そこに秘められたコーネルの「エロス」的「欲望」(desire)を検証する論考です。そこには、対象を「両性具有(アンドロギュノス)」化し、「二重(double)」化しようとする傾向がみられると著者は言います。

図版は42点。文章が主体の研究書であって、いわゆる「画集」ではないので、ご注意ください。


joseph cornell - gifts of desire


フランス表紙のペーパーバック版。表紙に使われているのは、1955年のコラージュ作品「For Josephine」です。コーネルはブロードウェイの舞台で女優のロイス・スミスを見て興味を持ち、プログラムに掲載されていた写真を使ってコラージュを作りました。「Josephine」はその時の役名です。コーネルは知人に、この作品を家の壁に掛けておいてロイス・スミスを招待し、もし彼女が気に入ったら、プレゼントしてくれるように頼んだそうです。


目次:

Preface
Prologue
The Act of Giving: "The Spirit in Which the Gift Is Rich"
Early Gifts from an Enchanted Wanderer
Cornell's "Inspired By-Paths of Romance": Marianne Moore and Emily Dickinson
Mad King Ludwig
Mad about the Ballet
Penny Arcade Portrait of Lauren Bacall
Conclusion
Bibliography



カバー裏解説文より:

「ジョゼフ・コーネルは数多くの魅力的なコラージュや「箱」を、バレリーナや女優、詩人、歴史上の人物などへの個人的なオマージュとして制作しました。そうすることによって、ニューヨークのユートピア・パークウェイに居ながらにして、コーネルは彼の人生を、エミリー・ディキンソンやマリアンヌ・ムーア(詩人)、ローレン・バコール(女優)などの人生とつながりのあるものにしたのです。そのような「贈り物」は、ささやかな愛情の表明にとどまることもあり、リー・ミラー(マン・レイの恋人だった写真家)やレオノール・フィニ(画家)、ドロテア・タニング(イリノイ州ゲイルズバーグ出身の画家。マックス・エルンストの妻)との場合のように、贈り物の交換や共同作業に発展することもありました。著者ディックラン・タシジャンは、畏敬の念や欲望を込めた「贈り物」としての役割に重点を置きつつ、コーネルの作品のもつ意味を探究していきます。
ディックラン・タシジャンはカリフォルニア大学アーバイン校で比較文化論を教えています。」















































































































プロフィール

ひとでなしの猫

Author:ひとでなしの猫
ひ-2-改(ひとでなしの猫 2 改訂版)

◆「樽のなかのディオゲネス」から「ねこぢる」まで◆

難破した人々の為に。

分野: パタフィジック。

趣味: 図書館ごっこ。

好物: 鉱物。スカシカシパン。タコノマクラ。

将来の夢: 石ころ。

尊敬する人物: ジョゼフ・メリック、ジョゼフ・コーネル。

ハンス・アスペルガー・メモリアル・バーベキュー。

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