“The circus of the present day is judged by the quality of
its paper." |
| W C Coups promotional Carny Cash |
"I believe I ordered the first three-sheet lithograph ever
made… This was considered a piece of foolishness; but when I ordered a
hundred-sheet bill and first used it in Brooklyn it was considered such a
curiosity that show people visited the City of Churches for the express purpose
of looking at this advertising marvel. How things have changed!”
W C Coup –
Sawdust and spangles, stories and secrets of the circus
(1901)
“One of the most beautiful and artful of the posters is “The
Barnum & Bailey Greatest Show on Earth: a Child’s Dream,”
an 1896 lithograph that depicts a child in
bed surrounded by a Bosch-like wreath of circus performers. The poster dances toward nightmare,
with clowns riding ostriches, bears with clown collars standing on one
another’s shoulders, a monkey riding a harlequin in a makeshift rodeo, all
printed in the rich, fermented colors of a Max Ernst painting. Collage couldn’t do this: there’s something both innocently disturbing
and disturbingly innocent here, with a text banner at the bottom reading:
“This smiling face is multiplied a
million times a year. Whereas the
children’s friend this wondrous show appears: with sunny gleams of fairyland, with scenes of merriest glee,
with cute and cunning animals for either side of the sea.”
"The language is arcane, the imagery antique, but there’s a
mysteriousness that transcends purpose, and gives this poster a nostalgic
fervor “fine art” doesn’t usually muster.
It’s serendipity: you the
gallery-goer stumbling upon an accidental connection between circus and Surrealism,
Barnum & Bailey and contemporary art (the “street art” of Banksey or
Shepherd Fairey for instance) that tries to use the forms of advertising (text,
printing, hyperbole) but can only come up with thematic irony at best,
self-aggrandizement at worst."
 | |
| "Shadow boxes become poetic theaters or settings wherein are metamorphosed the element of a childhood pastime.” Joseph Cornell. | |
"The sincerity involved in trying to sell the dream to the
child gives this poster its enigmatic power, and somehow allows this simple,
humble poster a way out of kitsch and into dream.
It’s the same alchemy Joseph Cornell employed when building
his shadow-box paeans to lonely glamorous hotels: what is publically fashioned as luxury and thrill becomes a
secret you keep in order to return to a paradise that really isn’t there, on
Earth at least. Cornell’s
shadow-boxes, like many of the posters in “The Amazing American Circus Poster,”
depict life as transient and full of moments you can only capture through
fantasy, an encyclopedia of cotton-candy mysticism, seediness transcending into
longing, and longing melting into trance."
"These posters still mirror desires and excitements that
become renditions of what we often forget we need:
spectacle, absurdity, delight.”
Keith Banner - The American Circus Poster
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