{"id":1039,"date":"2021-04-20T15:50:56","date_gmt":"2021-04-20T15:50:56","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=1039"},"modified":"2021-04-20T18:44:08","modified_gmt":"2021-04-20T18:44:08","slug":"joseph-cornell-james-rosenquist-and-generational-transmission","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2021\/04\/20\/joseph-cornell-james-rosenquist-and-generational-transmission\/","title":{"rendered":"Joseph Cornell, James Rosenquist, and Generational Transmission"},"content":{"rendered":"\n<p><a href=\"http:\/\/blogs.rollins.edu\/cfam\/2020\/09\/30\/joseph-cornell-earl-cunningham-and-collecting\/\">Back in September<\/a>, I wrote about the affinities between Joseph Cornell and Earl Cunningham, two untrained eccentrics who made collecting the core of their artistic practices. In that post I also wrote about the serendipity of research, whereby the proximity of the artists\u2019 last names helped me to draw a connection between their art. This week I have made a similar discovery, though it was not alphabetical but rather temporal. Two prints in the collection\u2014<em>Untitled (Derby Hat)<\/em> by Cornell and <em>Spinning Faces in Space<\/em> by James Rosenquist\u2014happen to have been made in 1972. As with Cornell and Cunningham, that serendipitous proximity might seem to be all the works have in common. After all, <em>Derby Hat<\/em> is a mostly monotone assembly of printed material rendered in the old-fashioned medium of heliogravure. <em>Spinning Faces in Space<\/em>, on the other hand, is brightly colored, executed in a mix of lithography and serigraphy (better known as silkscreen printing), the latter of which is the quintessential twentieth century printmaking medium. Yet the two works\u2014and their artists\u2014do have quite a bit in common, and the way in which they do speaks to the fascinating and often oblique ways ideas and techniques are transmitted from one artistic generation to another.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"507\" height=\"700\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat.jpg\" alt=\"\" data-id=\"757\" data-full-url=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat.jpg\" data-link=\"http:\/\/blogs.rollins.edu\/cfam\/2020\/09\/30\/joseph-cornell-earl-cunningham-and-collecting\/cornell-joseph-untitled-derby-hat\/\" class=\"wp-image-757\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat.jpg 507w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat-217x300.jpg 217w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat-100x138.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat-150x207.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat-200x276.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat-300x414.jpg 300w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/09\/cornell-joseph-untitled-derby-hat-450x621.jpg 450w\" sizes=\"auto, (max-width: 507px) 100vw, 507px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"1013\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space.jpg\" alt=\"\" data-id=\"1043\" data-full-url=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space.jpg\" data-link=\"http:\/\/blogs.rollins.edu\/cfam\/?attachment_id=1043\" class=\"wp-image-1043\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space.jpg 700w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space-207x300.jpg 207w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space-100x145.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space-150x217.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space-200x289.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space-300x434.jpg 300w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space-450x651.jpg 450w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2021\/04\/rosenquist-james-spinning-faces-in-space-600x868.jpg 600w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/figure><\/li><\/ul><figcaption class=\"blocks-gallery-caption\">Left: Joseph Cornell, (American, 1903-1972),<em> Untitled (Derby Hat)<\/em>, 1972, Heliogravure<br>13 \u00bc in x 10 \u00bc in. Print, Purchased by the Wally Findlay Acquisitions Fund. 1993.3. \u00a9 The Joseph and Robert Cornell Memorial Foundation\/ Artists Rights Society (ARS), New York, NY  Right: James Rosenquist, (American, 1933-2017),<em> Spinning Faces in Space<\/em>, 1972, Multicolor lithograph and screenprint on Arches Cover, 33 in. x 23 \u00bc in.<br>Gift of Mr. and Mrs. Robert L. Gardner, New York, NY, 1982.14.3. \u00a9 Estate of James Rosenquist \/ Artists Rights Society (ARS) New York, NY<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Rosenquist, who was thirty years Cornell\u2019s junior, worked as a billboard painter while in college at the University of Minnesota as well as during the early period after he moved to New York in 1955. This familiarity with commercial art, in particular the grid systems that allow artists to translate small source images to large billboards while maintaining legibility, helped Rosenquist to develop an artistic style that incorporated the visual languages of advertising and popular magazines. He began to make these works during the early 1960s, coincidentally during the exact moment that Andy Warhol, Roy Lichtenstein, and other artists were making a similar move in their art. This caused the three of them, along with a number of those others, to achieve near-instantaneous renown as the harbingers of a new era, known as Pop.<sup>1<\/sup> Though the various artists under that umbrella indeed shared a common interest in commercial techniques and imagery, they also all developed unique styles and approaches. For Rosenquist, a key aspect of his approach was the use of collage. Specifically, he kept a huge archive of found material\u2014mostly images from advertisements and photo essays in <em>Life <\/em>magazine\u2014which he used to create collages that formed the basis of his paintings and prints.<sup>2<\/sup><\/p>\n\n\n\n<p>Cornell\u2019s interest in collage, as I wrote in my previous post, as well as his interest in the dreamy world of the subconscious, aligned him with the Surrealists, who were his contemporaries. When Rosenquist first came to prominence he, too, was often compared to the Surrealists, especially before he was wrapped up in the larger Pop phenomenon.<sup>3<\/sup> Rosenquist was the only one of the Pop artists to make extensive use of collage, so this connection seems natural.<sup>4<\/sup> It is even more natural when considering that Rosenquist explicitly sought out these connections, befriending a variety of Surrealist artists during his early days in the city. One of these artists was Cornell himself, who invited Rosenquist to come to his Queens home\u2014which Cornell termed his \u201chabitat\u201d\u2014on several occasions. Indeed, it was Cornell\u2019s habitat and archive full of ephemeral material that inspired Rosenquist to make a similar collection in his Manhattan studio.<sup>5<\/sup><\/p>\n\n\n\n<p>With this background in mind, the affinities between the two prints snap into sharper relief. Both collect and layer a variety of found imagery, and both are dominated by central round forms. Cornell\u2019s use of stamps seems to anticipate Rosenquist\u2019s currency. Both images also have a fuzzy quality that speaks, perhaps, to the optical effect of repeated reproduction or abrupt changes in scale. Then again, there are differences, too. There is the aforementioned color\u2014Rosenquist\u2019s is so bright, so evocative of Pop, while Cornell\u2019s is muted and gray. Cornell\u2019s image is also possessed of a fundamental stillness rooted, perhaps, in its old-timey subject matter and careful geometry. As its title indicates, meanwhile, <em>Spinning Faces in Space<\/em> is as dynamic as <em>Derby Hat<\/em> is static. Driven by different life experiences and interests, the two artists have created works that are as different as they are similar. Ultimately, whatever their formal relationship, the two prints are bound by the two men\u2019s friendship, as well as their shared practice of methodical collecting.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><sup>1<\/sup> Michael Lobel and James Rosenquist, <em>James Rosenquist: Pop Art, Politics, and History in the 1960s<\/em> (Berkeley, Calif.; London: University of California Press, 2010), 9. Constance W. Glenn and James Rosenquist, <em>Time Dust, James Rosenquist: Complete Graphics, 1962-1992<\/em> (New York: Rizzoli, 1993), 1.<\/p>\n\n\n\n<p><sup>2<\/sup> Glenn and Rosenquist, <em>Time Dust, James Rosenquist<\/em>, 14\u201322.<\/p>\n\n\n\n<p><sup>3<\/sup> James Rosenquist et al., eds., <em>James Rosenquist: A Retrospective<\/em> (New York, New York: Guggenheim Museum, 2003), 9.<\/p>\n\n\n\n<p><sup>4<\/sup> Rosenquist et al., 19.<\/p>\n\n\n\n<p><sup>5<\/sup> Rosenquist et al., 25.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Back in September, I wrote about the affinities between Joseph Cornell and Earl Cunningham, two untrained eccentrics who made collecting [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":1043,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[55],"tags":[9,112,73,29],"class_list":["post-1039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research-highlights-insights-into-the-american-art-collection","tag-cornell-fine-arts-museum","tag-james-rosenquist","tag-joseph-cornell","tag-rollins-college"],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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