Joseph Cornell
Untitled (Pharmacy)
Wood, glass, mirror, shells,
sand, printed paper, coral, cork,
feather, metal, and liquid
(14.375 × 13.25 × 5.25 inches), 1952–1953
The Metropolitan Museum of Art, New York,
The Muriel Kallis Steinberg Newman Collection,
gift of Muriel Kallis Newman, 2006.
©2024 The Joseph and Robert Cornell Memorial Foundation.
Licensed by VAGA at Artists Rights Society (ARS), New York.
Digital image © The Metropolitan Museum of Art.
Licensed by Art Resource, New York.
A school is a community of inquiry, a gathering of people with intersecting purposes and affinities and passions, an outpost of the republic of letters, an eternal set of occasions to just do the work. A school is also a pile of money and power with intellectual and administrative layers wrapped thinly around it. I weave in and out of both understandings, trying to reckon just enough with the money-and-power part to put me in position to concentrate on the do-the-work part.
In April 1947, Simone de Beauvoir wrote from New York to Jean-Paul Sartre in Paris with the glad tidings that she would soon be returning to France and was looking forward to a joyful reunion. Maybe they could go away somewhere together, just the two of them, in May, by way of rapprochement after several months apart? Sartre wrote back hastily to the effect that he was having a lovely time with another woman and could “Beaver” kindly delay her flight to enable him to extend the tryst.
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