Dime-Store Alchemy: The Art of Joseph Cornell

The task Charles Simic undertakes in this diverse, essentially unclassifiable book is one of illumination and tribute. Rather than constrict his response to Joseph Cornell's surreal art to the objective terms of critical analysis, Simic sets out to recreate in a different medium - the written language of the poet - the experience of viewing Cornell's enigmatic constructions of boxes, collages, and film. Partly an appreciation of Cornell's work, partly an appropriation of his method, Dime-Store Alchemy interweaves elements of art history, poetry, and biography in a series of short texts that create a kind of poetic equivalent to Cornell's visual art. The artist's premise that the world is beautiful, but not sayable becomes Simic's as well. From incisive meditations on Cornell's methods and aims, Simic moves to create his own assemblages in the spirit of Cornell and the poets he admired - Dickinson, Whitman, and Poe. The resulting prose poems are studded with the same unlikely combinations of found objects and dime-store jewels that inhabit Cornell's boxes. Simic's evocative images, like Cornell's, defy rational explanation but instead invite the viewer to participate in the imaginative life of the art, "to make up stories about what one sees." This highly personal consideration of one of the most important visual artists of the twentieth century conveys the same spirit of chance, the same playful celebration of the miraculous properties of the commonplace, that distinguishes the work of an artist who is, as Simic writes, "in the end unknowable."

It's hard to do justice to the charm and power of Joseph Cornell's boxes. His reliance on collage, indifference to technical display, and Surrealist mining of private obsession make him very much a modern artist, yet his work also brings to mind bourgeois parlors, the tidy vitrines of collectors, and the odds and ends children carry around for comfort and distraction. It is an art at once hermetic and matter-of-fact, sophisticated and simple. Appropriately, this study is neither a straightforward critical account of Cornell's art nor a merely literary embellishment of it, but rather a parallel text: written by Simic ( Hotel Insomnia ), one of our best poets, it includes his own poems and reminiscences, as well as quotations from a variety of other writers. Simic mingles biography and critical discussion with selections of writings from the artist's notebooks. The book emerges as a piece of writing constructed along the enigmatic lines of Cornell's art. And that art, as Simic sees it, gathers from the scattered pieces of the American past a new, redeeming reality; at heart, this art is a religious practice. Only seemingly random, Simic's approach develops both the plain detail of Cornell's life and illuminates the nature of his work. Illustrations.
Copyright 1992 Reed Business Information, Inc.