Utopia Parkway: The Life and Work of Joseph Cornell, by Deborah Solomon
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Utopia Parkway: The Life and Work of Joseph Cornell, by Deborah Solomon
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Deborah Solomon’s definitive biography of Joseph Cornell, one of America’s most moving and unusual twentieth-century artists, now reissued twenty years later with updated and extensively revised text Few artists ever led a stranger life than Joseph Cornell, the self-taught American genius prized for his enigmatic shadow boxes, who stands at the intersection of Surrealism, Abstract Expressionism, and Pop Art. Legends about Cornell abound—the shy hermit, the devoted family caretaker, the artistic innocent—but never before has he been presented for what he was: a brilliant, relentlessly serious artist whose stature has now reached monumental proportions.
Utopia Parkway: The Life and Work of Joseph Cornell, by Deborah Solomon- Amazon Sales Rank: #735992 in Books
- Published on: 2015-10-13
- Released on: 2015-10-13
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.10" w x 5.90" l, .81 pounds
- Binding: Paperback
- 592 pages
Amazon.com Review Joseph Cornell (1903-72) lived in Queens with a domineering mother and severely handicapped brother while creating unique, haunting art: boxes filled with lovingly assembled objects and printed images. But this sympathetic biography demonstrates that he was more than an eccentric recluse, chronicling his friendships with other artists and his immersion in the avant-garde movements of his time. Art critic Deborah Solomon spikes her astute judgments with humor--noting her subject's fondness for epistolary relationships that spared him the unease of physical contact, she comments, "Cornell would have been great on the Internet."
From Booklist Solomon, art critic for the Wall Street Journal, has written the very first biography of Joseph Cornell (1903^-72), one of the world's most elusive artists, and it is a work of compelling perception and glorious inclusiveness. A self-taught artist uncomfortable with traditional mediums, Cornell made provocative collages and reliquary-like boxes, unprecedented creations inspired by his fascination with the quiet poetics of found objects and recycled images, French literature, the magic of movies and dance, and a highly romanticized notion of innocence. Cornell is usually characterized as an isolated genius constructing his beautiful assemblages in the cluttered basement of a deceptively ordinary house on Utopia Parkway in Flushing, New York, where he lived with his shrewish, widowed mother and sweet-natured, handicapped brother. This image of Cornell as an "art monk" is accurate to a point, but--and this is the main thrust of Solomon's eye-opening interpretation--he was profoundly affected by the art world percolating intensely just a train ride away in Manhattan and forged mutually inspiring associations with Marcel Duchamp, Mark Rothko, Willem de Kooning, and Andy Warhol. Solomon also analyzes Cornell's troubled sexuality, his work as a devout Christian Scientist, and his highly influential experimental films. The quiet storm of Cornell's art arose from a conflict of universal significance: the clash between his "spiritual aspirations and sensual compulsions." Donna Seaman
From Kirkus Reviews Joseph Cornell, an American artist most famous for his quirky shadow boxes, is astutely revealed by Wall Street Journal art critic Solomon as a shy, complex figure--even more enigmatic than his art. Cornell's shadow boxes and collages played on juxtapositions of common objects--pictures of ballerinas and movie stars (his Marilyn Monroe file predated Andy Warhol's), bits of costumes, pennies, feathers. Understanding his work requires making connections among these odd bits. Solomon (Jackson Pollock, 1987) likewise sifts through the seemingly disconnected minutiae of the artist's life and pieces together a convincing portrait of the man and his work. It's been hard to label Cornell: His genre-bending art has been linked with Surrealism, Abstract Expressionism, and eventually Pop Art. Cornell's life, spent in New York City, similarly defies classification, providing none of the usual seedy grist available to biographers of famous artists. He was for most of his life a virgin. He catered to the whims of his overbearing mother and cared for his sickly brother in their small house on Utopia Parkway in Flushing, Queens. His pleasures were small- -sifting through trinkets in five-and-dime stores for objects to use in his art, riding the old Third Street El, and consuming an alarming amount of sugar. Cornell's diary, a hodgepodge of 40 years' worth of notes, includes catalogs of sweets the artist ate and annotations on the many infatuations he developed--from the great 19th-century ballerina Fanny Cerrito to a down-on-her-luck waitress. Cornell, ever the observer, was socially awkward: A movie clerk once mistook his hastily offered flowers for a gun and called the police. Solomon intertwines a secret, small life with the great artistic movements of the century and tells a story that will intrigue even those who know nothing of the artist's work. (illustrations, not seen) -- Copyright ©1996, Kirkus Associates, LP. All rights reserved.
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11 of 12 people found the following review helpful. Examining the life and influences of an enigmatic artist By Midwest Book Review Deborah Solomon's biography of artist Joseph Cornell in Utopia Parkway: The Life And Work Of Joseph Cornell, joins other outstanding titles in the MFA's 'artWorks' series but stands well independently, providing a reprint of a 1977 original examining the life and influences of an enigmatic American artist. Analysis blends with personal insight to probe the influences of man prized for his disquieting shadow boxes and his influence on Surrealism, Pop and Abstract expressionism alike. Yes, there have been other coverages - but few offer the depth and authority of an art critic's research talents.
8 of 9 people found the following review helpful. Dreams so real By William Timothy Lukeman This is a fine, sympathetic biography of the reclusive & elusive artist Joseph Cornell, whose work in assemblage & collage made the very essence of dreams & nostalgic memories into something tangible, the fleeting & ephemeral caught in the actual. And yet the work doesn't seem frozen or embalmed in the least; if anything, it suggests far more than is physically present, almost as a glimpse into untold worlds. Such is the magic of Joseph Cornell!But what of the man himself?I see that previous reviewers disagree about this biography, with some finding it too analytical, echoing Wordsworth's line, "We murder to dissect." But I don't think Deborah Solomon falls into the trap of reductionist pathography, stripping away the mystery to reveal tawdry neuroses as the basis of Cornell's art. Certainly she points out how his psychological makeup expressed itself through that art -- but she never claims that the art is merely symptom or therapy. At least, I never got that impression. When all the tentative analysis is done, the mystery still remains, and she's the first to acknowledge this fact.As I said, this is a sympathetic biography. No one can deny that Cornell was emotionally wounded & repressed in many ways; but Solomon never makes this the final sum of his life. She strives for understanding & illumination, always granting that some things simply can't be known. She's given me a great deal of insight into this artist whose work fascinates me & so many others, and leaves me with a sense of compassion for the man, as well as deeper admiration for the artist.This should definitely be read in conjunction with a good color volume of his work, such as Diane Waldman's "Joseph Cornell: Master of Dreams." For a thorough, informative, complex portrait of this unique American artist, I don't think you'll do better than this biography. Highly recommended!
23 of 30 people found the following review helpful. Immensely grateful but waiting for the next By Eddie Watkins As an antidote to my seams-bursting curiosity about Cornell, this book deserves a rating off the measly 5 star scale and into the realm of splendiferous constellations. To you Deborah Solomon I am sincerely grateful. But upon rereading Utopia Parkway seems rather thin, and at times, unfortunately, nearly patronizing. I don't doubt her respect for Cornell, but occasionally she treats him as too much of a curiosity, as if he was an eccentric she's putting into a box. Perhaps she simply had trouble understanding him. And of course she committed the unpardonable sin, and anti-Cornellian faux pas, within her pages of referring to pigeons as ugly grey scavengers. They are, as every reader of this book should know, winged urban enchanters.
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