Frank Sinatra, Tommy Dorcey, Thelonious Monk, Glenn Miller, Artie Shaw, Bing Crosby, Johnny Mercer, Arthur Hammerstein, Duke Ellington, Cole Porter, Sergei Rachmaninoff, Igor Stravinsky, Johnny Dodds
電影
Joseph Cornell, the genius behind the boxed 3-dimensional collages, one of the most important American artists of the 20th century, was spellbound by cinema. Not only did certain actresses reign as objects of devotion and inspiration for his boxes and collages, but Cornell was also a resolutely "amateur" filmmaker of great invention (he helped initiate a filmic form, the found footage film) and generous beguilement. A dedicated gatherer with specialized affinities, he also corralled a considerable collection of 16mm films, which he always enjoyed unspooling given the occasion. Among his holdings were films from early cinema (French "trick films," such as the work of pioneers George Melies and Ferdinand Zecca), Chaplin one-reelers, dance films, and curiosities all sharing a tendency to delight.
early cinematic trick films, by Melies and Zecca;
Sidney Peterson's 1947 dance film, Clinic of Stumble; Jerome Hill's 1968 bird animation The Canaries; and Courtney Hoskins' 2002 Snow Flukes, which aligns ice skating and Felix the Cat; Joseph Cornell: Shadowplay Eterniday;
A Bagatelle for Joseph Cornell is a deliberate "trifle" of a film program offered in kindred spirit to the work Cornell would himself screen.
Larry Jordan's Cornell, 1965, a short and personal documentary of Cornell at work, made by Cornell's one-time collaborator. Offering detailed close-ups of many of Cornell's boxes, this film also offers the only film footage of Cornell.
anything with Greta Garbo, Hedy Lamarr, and Anne Pavlova;
偶像
Helen, Elizabeth(Betty), and little brother, Robert
關於我： “Shadow boxes become poetic theaters or settings wherein are metamorphosed the element of a childhood pastime.” - Joseph Cornell
Joseph Cornell was never trained as an artist, yet he had an eye for the way objects and images fit together. He never learned to paint or draw. Instead, Cornell built small wooden boxes by hand that he filled with collages and objects that he collected over years of treasure hunting in second-hand stores. Cornell worked alone and almost never traveled outside New York City.
If all of that makes him sound like some idiosyncratic outsider or folk artist, he was not. Cornell was one of the most imaginative American artists of the 20th century. The mysterious little worlds he created in his boxes influenced everyone from pop artists like Robert Rauschenberg and Andy Warhol to contemporary installation artists.
THE RECLUSE Joseph Cornell was born in a suburb of New York City in 1903, and educated at Phillips Academy in Andover, Massachusetts. He lived a hermetic existence in a small one-family house on Utopia Parkway in Flushing, Queens and for most of his life shared this home, which was also his studio, with his mother and his disabled brother Robert. Self-taught as an artist and filmmaker, Cornell began to exhibit his collages and objects in New York in 1932 at the Julien Levy Gallery.
AMERICAN SURREALIST Cornell was inspired by the Surrealist Movement and in turn was admired and visited by many of the leading European Surrealist artists. Cornell was particularly inspired by Max Ernst’s juxtapositions of incongruous images. André Breton included Cornell in Surrealist exhibitions although Cornell never embraced the darker or erotic aspects of the movement, maintaining an innocent delight in manifestations of ordinary objects and popular culture that predated Pop Art by two decades.
BOXES Cornell made small wooden boxes that are simple, glass-fronted, presentations in which surprising collections of commonplace and exotic things are placed like performers in a theatrical stage. The boxes combine the formal austerity of Constructivist sculpture with the fantasy and irrationality of Surrealism. His work is evocative and poetic, provoking nostalgia for an imagined past. Cornell’s materials included faded photographs and images of often obscure ballerinas and movie stars, astronomical maps, emblems of voyages, birds and objects such as marbles, corks, and aperitif glasses, and small colored balls. Cornell collected his materials on journeys into Manhattan where he frequented junk stores, flea markets, and souvenir shops on 42nd Street.
His last major exhibition was a show he arranged especially for children, with the boxes displayed at child height and with the opening party serving soda pop and cake.
Like Kurt Schwitters he could create poetry from the commonplace. Unlike Schwitters, however, he was fascinated not by refuse, garbage, and the discarded, but by fragments of once beautiful and precious objects, relying on the Surrealist technique of irrational juxtaposition and on the evocation of nostalgia for his appeal (he befriended several members of the Surrealist movement who settled in the USA during the Second World War). Cornell also painted and made Surrealist films.
Souvent, pour s'amuser, les hommes d'équipage Prennent des albatros, vastes oiseaux des mers, Qui suivent, indolents compagnons de voyage, Le navire glissant sur les gouffres amers.
A peine les ont-ils déposés sur les planches, Que ces rois de l'azur, maladroits et honteux, Laissent piteusement leurs grandes ailes blanches Comme des avirons traîner à côté d'eux.
Ce voyageur ailé, comme il est gauche et veule! Lui, naguère si beau, qu'il est comique et laid! L'un agace son bec avec un brûle-gueule, L'autre mime, en boitant, l'infirme qui volait!
Le Poète est semblable au prince des nuées Qui hante la tempête et se rit de l'archer; Exilé sur le sol au milieu des huées, Ses ailes de géant l'empêchent de marcher. (CHARLES BAUDELAIRE)
Thank you so much for adding me. I live very close to your Utopia Parkway home. In fact, one of my friends met you when he was a child and has told me a marvelous story of that day.
Hologlyphics is the art of performing true 3D animations along with with music. It combines elements of holography, music, video synthesis, visionary film, electronic music, sculpture and improvisation to create a unique new artform. Emphasis is focused on exploration of new, previously unseen 3D animations, patterns, scenes and glyphs, not on photorealistic imagery.
These spatial visuals are seen in full 3D without glasses. Although not the same technical process as holography, the visual result is the same, a True 3D image with full horizontal parallax. Horizontal parallax allows you not only to see the animation in 3D, but to see all views of the animation scene within a 90 degree viewing range. As you walk left to right, the perspective of the image changes as in the real world.
The Hologlyphic Funkalizer is a performance based Analog/Digital video synthesis system, that displays moving true 3D images, intertwined with music and spatial sound. Visuals and sounds are controlled by musical keyboards, acoustic instruments, sound sculptures and a unique control panel. Sounds can be associated and interact with images, modulate each other and undergo vast spatial transformations in the aural and visual realm.
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