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Fiction. Robert Coover takes us through the looking-glass of Joseph Cornell's boxes into a world of "Grand Hotels" we never dreamed of. Rooms are accessed via ferris wheel. They open onto crystal cages, night voyages, sand fountains. They lead us back to childhood, to forgotten games, to sleeping princess who do not await a prince and, finally, home, poor heart. Funny and wistful by turns, these brilliant vignettes explore the nature of desire and the melancholy of fulfillment. As the author says, they are also an "architectural portrait of the artist," with biographical information "built into the construction of the text like girders, brickwork or decor." "A set of brochures to the marvelous. Coover, with magnificent simplicity, orchestrates countering strands of pathos and wonder, decadence and innocent glee, in these 10 short chapters that are sure to make anyone permanently dissatisfied with the run-down bed-and-breakfast we call planet Earth"--Publishers Weekly.
Coover takes us through the looking-glass of Joseph Cornell's boxes into a world of "Grand Hotels" we never dreamed of. Rooms are accessed via ferris wheel. They open onto crystal cages, night voyages, sand fountains. They lead us back to childhood, to forgotten games, to sleeping princess who do not await a prince and, finally, home, poor heart. Funny and wistful by turns, these brilliant vignettes explore the nature of desire and the melancholy of fulfillment. As the author says, they are also an "architectural portrait of the artist," with biographical information "built into the construction of the text like girders, brickwork or decor."
From its beginnings as the humble inn, the hotel has undergone enormous changes over the centuries. Elaine Denby charts the development of the Grand Hotel and how it has kept pace with technological innovations.
Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.
The Hotel: Occupied Space explores the hotel as both symbol and space through the concept of “occupancy.” By examining the various ways in which the hotel is manifested in art, photography, and film, this book offers a timely critique of a crucial modern space. As a site of occupancy, the hotel has provided continued creative inspiration for artists from Monet and Hopper, to genre filmmakers like Hitchcock and Sofia Coppola. While the rich symbolic importance of the hotel means that the visual arts and cinema are especially fruitful, the hotel’s varied structural purposes, as well as its historical and political uses, also provide ample ground for new and timely discussion. In addition to inspiring painters, photographers, and filmmakers, the hotel has played an important role during wartime, and more recently as a site of accommodation for displaced people, whether they be detainees or refugees seeking sanctuary. Shedding light on the diverse ways that the hotel functions as a structure, Robert A. Davidson argues that the hotel is both a fundamental modern space and a constantly adaptable structure, dependent on the circumstances in which it appears and plays a part.
Fairy tales are supposed to be magical, surprising, and exhilarating, an enchanting counterpoint to everyday life that nonetheless helps us understand and deal with the anxieties of that life. Today, however, fairy tales are far from marvelous—in the hands of Hollywood, they have been stripped of their power, offering little but formulaic narratives and tame surprises. If we want to rediscover the power of fairy tales—as Armando Maggi thinks we should—we need to discover a new mythic lens, a new way of approaching and understanding, and thus re-creating, the transformative potential of these stories. In Preserving the Spell, Maggi argues that the first step is to understand the history of the various traditions of oral and written narrative that together created the fairy tales we know today. He begins his exploration with the ur-text of European fairy tales, Giambattista Basile’s The Tale of Tales, then traces its path through later Italian, French, English, and German traditions, with particular emphasis on the Grimm Brothers’ adaptations of the tales, which are included in the first-ever English translation in an appendix. Carrying his story into the twentieth century, Maggi mounts a powerful argument for freeing fairy tales from their bland contemporary forms, and reinvigorating our belief that we still can find new, powerfully transformative ways of telling these stories.
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.
This text takes on the work of Robert Coover, a major figure of postmodern metafiction. In an analysis of Coover's short stories and novels, it demonstrates how Coover writes in several different modes that cross over into one another.
Published on the occasion of a retrospective exhibition of the work of a quintessential American artist, Joseph Cornell, this volume presents his life and work, including an analysis of his relationship to twentieth-century art, particularly to Surrealism.
In this volume she probes Cornell's elusive imagery in his earliest Surrealist-inspired collages of the 1930s, his masterful box constructions of the 1940s and 1950s, his experimental films, and his final collages in his last years."--BOOK JACKET.