ArtJanuary 1999 Duchamp & Cornell by Mario Naves On Joseph Cornell/Marcel Duchamp in resonance, at the Philadelphia Museum of Art The most striking thing about the exhibition “Joseph Cornell/Marcel Duchamp … in resonance” is its catalogue.[1] Expertly designed and lavishly illustrated, it contains photographic reproductions that are almost as good as being there. The book’s eye-catching layout is matched by the meticulousness of its essays, artists’ chronologies, and inventory of work. What makes the catalogue truly noticeable, however, is its heft. While 344 pages may not earn it phone book status, the catalogue is nevertheless a major tome, one whose size is in contrast to the exhibition it elucidates. For “in resonance” is an intimate show, occupying a single gallery at the Philadelphia Museum of Art. It delineates the correspondence, both personal and artistic, between these two singular artists, who also happened to be friends, and, by comparing and contrasting wor ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 17 January 1999, on page 48 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/duchampcornell-naves-2942
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by Mario Naves On "Maurizio Cattelan: All" at the Solomon R. Guggenheim Musuem, New York. by Karen Wilkin On “Rembrandt and Degas: Two Young Artists” at the Sterling and Francine Clark Art Institute, Williamstown, MA. On "New Formations: Czech Avant-Garde Art & Modern Glass from the Roy and Mary Cullen Collection” at the Museum of Fine Arts, Houston. On “Ai Weiwei: Dropping the Urn, Ceramic Work 5000 B.C.–A.D. 2010” at the Victoria & Albert Museum, London & “The Flamboyant Mr. Chinnery: An English Artist in India and China” at Asia House, London.
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