lostprofile: BOXED-IN: JOSEPH CORNELLHe establishes a delicately adjusted dialogue between the narra
lostprofile: BOXED-IN: JOSEPH CORNELLHe establishes a delicately adjusted dialogue between the narrative and the visual qualities of the work in which neither is allowed to dominate. The result is a completely new kind of realism. This, I suspect, is why Cornell’s work means so much to so many different kinds of artists, including some far removed from Surrealism. Each of his works is an autonomous visual experience, with its own natural laws and its climate: the thing in its thingness; revealed, not commented on; and with its ambiance intact.–John Ashbery, “The Cube-Root of Dreams,” 19671. Untitled (Medici Princess), 1948, Private Collection 2. Untitled (Butterfly Habitat), 1940, Chicago, Art Institute of Chicago. 3. Untitled, 1942, Private Collection. 4. Untitled (Penny Arcade Portrait of Lauren Bacall) with Penny Arcade Portrait of Lauren Bacall, 1946, Private Collection. 5. Untitled (Hotel de la Mer), 1950/51, E. Lansing, Michigan State University 6. Toward the Blue Peninsula: for Emily Dickinson, 1953, Robert Lehmann Art Trust. 7. For Juan Gris #7, 1954, Chicago, Art Institute of Chicago. 8. Untitled (Tilly Losch), 1935/38, Robert Lehmann Art Trust. 9. Untitled (The Hotel Eden), 1945, Ottawa, National Gallery of Canada. 10. Untitled (Paul and Virginia), 1946, Private Collection 11. Untitled (Dieppe), 1958, Private Collection. -- source link