Thursday, July 28, 2016

xxJust Eating & Drinking



                                          

Right: Evelyn Axell (b. 1935, Namur, Belgium - 2010) Ice Cream, 1964



   Edward  Hopper, (b, Nyack,NY 1882 - 1967) A Table for Ladies, 1930


Every art work that strongly foregrounds, manipulates, or just includes food is open for discussion.

 

Lassry, Elad  (b.Tel Aviv, Israel, 1977 )Reposteria

        John Giorno (b. NYC, 1936), minimalist, using found imagery and texts in collage. Influenced by Warhol , William S. Burroughs, and Robert Rauscheurg.











Libsohn, Sol  (1914 - 2001) Waitress, 1930s
                   Good example of black and white sociological art/documentary art during the Depression.
                                                                                         
   
 Jankel Adler (Tuszyn, irl at a Table, 1947   
 
(b.Tuszyn, a suburb of Łódź. 1895 - 1949) Trained as an engraver
  

   Certain fiction masterworks also use food as a particularly strong message. Examples include Bram Stoker's Dracula (1889), Thomas Mann's Budenbrooks, Toni Morrison's Song of Solomon, Caleb Carr's The Alienist, Faulkner's Intruder in the Dust, Coraghessan's The Tortilla Curtain, Truman Capote's "A Christmas Memory", in Breakfast at Tiffany's,1953, and Jonathan Grimwood's Last Banquet (2013). Wemust include lighter works, like Peter Mayle's Provence novels or Alan Furst's espionage stories (the Braserrie Heineger is always visited and the lobster is always delicious) which often examine real restaurants and cafes in order to establish verisimilitude. These and other titles are found in the Food Bibliography.

 
                                      ABOVE: Braserrie Heininger, 5-7, Rue de la Bastille, Paris

    But visual culture, its various media, is more quickly recognized, though its function is not always clear. 
                                            Mike Baldwin, cartoonist  (b. Ontario,Canada, 1954) "Man Cornered"


 

Japanese image of breastfeeding, 1700s
[artist unknown]

 


 Hillerbrand, Stephen+Magsaman, Mary (b.Denver, CO and Durham, NC)    Ready to Eat





   Food in the Arts attempts several things:

1  To broaden your familiarity with works of art in general; classics and moderns, photographs,art installations and sculpture, abstract art, and of course, film, musc and literature

2.  Once you have met and examined the artists and their works, you discover information in depth through your browser, as you peruse the artist's biography and learn about the era in which the art piece was created. Occasionally. you will discover the artist's work in more than one medium. Moreover, many artists are noted in several categories.

3. Link artists', biography, era and locale,and you will discover meaning, message and the techniques or styles of art.

Below, Francisco Goya's
    
    Two Old Men Eating, 1820, will lead to political events in 19th century Spain.

    And Charles Ebbet's famous Skyscraper Lunch, 1932, workers posed on the early structure of Rockefeller Center, NYC, uncovers stories of Irish immigration, the vertical growth of the city, the spirit of an expanding metropolis, and the madness of photographers.  





Ebbets, Charles C.  Lunch Atop a Skyscraper, 1932

Charles Clyde Ebbets (August 18, 1905 – July 14, 1978) was an American photographer, born in August 18, 1905 in Gadsden, Alabama



  Film: Men at Lunch Men at Lunch (2012)  The story of "Lunch atop a Skyscraper," the iconic photograph taken during the construction of 30 Rockefeller Plaza. Director: Seán Ó Cualáin

Lee Russell.  Japanese-Americans Preparing Picnic Lunch PICNIC, San Benito, CA, 1940s

     

Lhote, Andre ( b. Bordeaux, France  1885-1962)  The Sailors' Meal, 1914
Cubism

                                                                                                                                                                                                                                                                        Morrris Engel, (b. Brooklyn,NY, 1918 - 2005) Harlem Merchant, 1937
                                                 
 
                                                                                                              Machado, Juarez (b. Brazil, 1941) BBQ in Paris
 

  JACOB LAWRENCE  (b.Atlantic City, New Jersey, 1917 - 2000)  BBQ
                               
      Home Chores, 1945



Leger, Ferdinand  Petite Desjourne (Breakfast)


    Limbourg 1412  Northern Renaissance Book of Hours

Limbourg brothers, Très Riches Heures du Duc de Berry

Larsen, Mernet   Coffee

Mernet Larsen   



Lee, Russell  Men of  Pie Town, TX
LEE Cafe interior, Junction, Texas


                                Caudill Family Xmas dinner, Texas


Bruegel the Elder  Big Fish Eat Little 


Fish
Bruegel the Elder, Pieter (b. 1525 – 1569) Big Fish Eat Little Fish, 1556

Martin Manser:  The Facts on File Dictionary of Proverbs (2002):
big fish eat little fish: Small organizations or insignificant people tend to be swallowed up or destroyed by those that are greater and more powerful ... The proverb was first recorded in a text dating from before 1200. In Shakespeare's play Pericles (2:1), the following exchange occurs between two fishermen: "'Master, I marvel how the fishes live in the sea.' 'Why, as men do a-land—the great ones eat up the little ones?"


Joseph DeLaney   Last Supper





Bearden, Romare  (b. The Family Eating, 1993. Collage

                       
 



       Urban Roman Women and Men at Dinner


Nataliya Nesterova,(b. Moscow, 1944) Ordering Lunch, 1993

Nataliya Goncharova Feasting with Peasants



Glen Baxter, cartoonist

Cranach the Elder (b. 1472 - 1553)


Cranach set the scene in a German landscape, with the city of Wittenberg in the background.
Glen Baxter Judith dines with the enemy warlord Holofernes. He is impressed by her beauty and feels a strong desire for her. He drinks too much wine, so that later in his tent he promptly falls asleep. In the museum in Gotha is another panel of similar size where Cranach depicted what happened in the tent.

Lucas Cranach the Elder (b.1472-1553) Picnic with Holofernes
 

Cranach the Elder, Last Supper


                Rubin, Reuvin,, The Milk Man (a popular figure in Jewish folklore, as Tevye in "Fiddler on the Roof.")
  Reuven Rubin (Hebrew: ראובן רובין‎‎; November 13, 1893 – October 13, 1974) was a Romanian-born Israeli painter and Israel's first ambassador to Romania.[1]


  Tevye the Dairyman ([ˈtɛvjə], Yiddish: טבֿיה דער מילכיקערTevye der milkhiker, Hebrew: טוביה החולב) is the fictional narrator and protagonist of a series of short stories by Sholem Aleichem, originally written in Yiddish, and first published in 1894. The character is best known from the fictional memoir Tevye and his Daughters (also called Tevye's Daughters, Tevye the Milkman or Tevye the Dairyman) as a pious Jewish milkman in Tsarist Russia with six troublesome daughters:[a] Tzeitel, Hodel, Chava, Shprintze, Bielke, and Teibel. He is also known from the musical dramatic adaptation of Tevye and His Daughters, Fiddler on the Roof. The Village of Boyberik, where the stories are set, is based on the town of Boyarka in Ukraine (then part of the Russian Empire) [Wikipedia].


 Field hand eats lunch with his boss

German Airline Food 
Service in  Junkers, 1938



Szyk, Arthur (b. Poland b. 1894 – 1951, a

aka SZYK Artur (Arthur),Wlodzimierz Krzyzanowski) Virulent anti-Nazi illustrator





LEFT-0VERS:


Spoerri, Daniel  Left Overs from a Hungarian Meal, 1963
                                       Spoerri   Eaten Partly,1979


End






Saturday, July 9, 2016

INSTALLATIONS and their Challenges


https://1.bp.blogspot.com/-b9nIaxsSxao/VbOromyxs8I/AAAAAAAAEYc/m5LHyJyLwHg/s113/Blog%2BPic.jpg Willard B. Moore, PhD (b. 1931), www.foodinthearts.blogspot.com


INSTALLATIONS
    If the average person happens to notice a photo of an art installation in the newspaper, it is invariably large, far away or secluded, technically very difficult to create, and usually bewildering. Also, they are expensive. 

  This posting is presented with the goal of offering a sample of the wide diversity among installations and the way in which they overlap  or merge with other genres (i.e. performance art and conceptual art).

 And one of the things that distinguishes large, in-place installations is their relationship to their natural surroundings.  These larger works are usually site-specific are more distant from other genres than the smaller ones, which are closer to human interaction.

A large, site-spesific work by Robert Smithson: SPIRAL JETTY (1970) in 
Salt Lake, northern Utah

Christo and Jeanne-Claude: FLOATING PIERS, Lake Iseo, Italy,
    photo by Andre Grossman

Heizer, Michael (b. Berkeley, CA,1944 -) East, South, North, West  Installation, DIA Beacon, NY




De Maria, Walter  (b. Albany, CA, 1935 – 2013) Broken Kilometer 





Below: An example of installation theoretical complexities:
Below: Sol Lewitt’s wall installation,  #260, 1965 (chalk on painted wall). Dimensions variable.
This piece is mainly CONCEPTUAL ART and can be installed in any reasonable space by Lewitt’s assistants.  In any existence, it is a SITE- SPECIFIC INSTALLATION






      Moreover, the subject and forms of site-specific installations are highly variable.
Below: Another installation by Walter DeMaria, 1980’s early avant-garde installation by Walter De Maria's ‘The Earth Room', 141 Wooster Street, in New York City’s SoHo district.




Walter De Maria's lter De Maria's "New York Earth Room" contains more than 80,000 pounds of soil. (Dia Art Foundation)
   

As described by William Powers
Special to The Washington Post
Wednesday, May 20, 2009
“The scent of soil arrested my nostrils as I stepped into "The New York Earth Room" in Manhattan's trendy SoHo district, 141 Wooster Street. Before me: a fortune in indoor floor space tied up with nothing more than 280,000 pounds of loamy dirt.
Stunned, for several minutes I could do little but stare. Light poured in through several windows, glistening on the textured soil. I vaguely registered the muted sound of a cab passing outside. Only a knee-high sheet of Plexiglas separated me from the dirt. There were no other visitors, but that was not particularly surprising. The art installation is way too avant-garde to advertise, or even put up a sign out front; you have to hear about it from someone in the know.

MY PERSONAL INSTALLATION EXPERIENCES:
    As things worked out during one of the Hudson Valley’s famous winters, I had glanced over an article, probably in The New York Times, and began making plans to see this “installation,” (a brand- new word in my vocabulary).  I gathered my family (including a very reluctant teenager) and drove south to view this curious “art work.”
Powers’ words are exactly correct.
   Some years later, in 2004, we drove up to my hometown of Poughkeepsie, N.Y. to observe the 400th anniversary of the first voyage of Henry Hudson up the river, now bearing his name.  Part of the celebration, which included picnics, collegiate crew races, and food.
Of course, we stopped for a day at DIA Beacon on the Hudson River. We took in some astounding, realty audacious works, including Michael Heizer’s installation, shown above.
     But the consummate thrill came from a serendipitously arranged installation. The opening of a public installation called “Bridge Music”, a project initiated and arranged by composer/musician Joseph Bertolozzi of Beacon, N.Y. (Released 2008).  Naturally, we schmoozed with Joe at a local coffee shop in Carmel Square. We asked about his plans and he told us about Paris. It was some years later, after considerable fund-raising and technical planning, Bertolozzi and his crew went to Paris, France, where they  recorded the girders’ similar voice from the iconic Eiffel Tower.[Joseph Bertolozzi'sTower Music” At Vassar College.  The recording was released in 2008.
[Hudson Valley News Network-Apr 22, 2016]
Maya Lin
Goldsworthy's Wall
 Bertolozzi at work [photo Franc Palaia]
     Bertolozzi’s careful navigation of the considerable political, artistic and organizational challenges guided Tower Music to completion through waters fortuitously free of protocols. Notoriously protective of images of their iconic structure, the French embraced Bertolozzi’s project to make it sing. This work might be called an Audio-Visually Interactive, Site-Specific installation.
   Then, on the way back to North Carolina, we searched and finally found the Storm King Art Center in Windsor, NY.  We traveled the grounds and were absolutely astounded by Goldsworthy’s Storm King Wall, below, and Wavefield by Maya Lin.
                                              Image result for storm king sculpture center           


Still later on, a residence in California’s Monterey Peninsula gave me opportunities to see small installations in that area's galleries.

     In our art world, installations of the 21st century are still often large, bewildering or beguiling, and often seem to follow the above characteristics as the images below illustrate:

The DESERT BREATH, located in the Egyptian near Qusm Hurghada on the Red Sea coast, is a double-spiral extra-large piece of art.
It was created by the D.A.ST. Arteam, a group made up of three Greek women artists - Danae Stratou, sculptor, Alexandra Stratou, industrial designer, and Stella Constantinides, architect.
 
Finally, some installation artists are drawn to the life - death or ephemeral vs.eternal phenomena. They install a decaying animal. Here, Sam Woodword's decaying fruit at the Massachusetts Art Museum in North Adams.
Xu Bing - Words written in the dust from 9/1: "As there is nothing from New York...'









FOOD INSTALLATIONS
Artists’ food-themed installations require a meaningful spot in which to create the piece but also staying aware taking and advantage of the piece’s aspects which might develop into Performance art. The latter genre often relies on the art viewers to interact with the site to fulfill its function.  Below is one of Gonzales-Torres’ interactive installations.        



                                   
Gonzales-Torres’ carpet installation of wrapped candy, 1991.
          r 

Roelf  Soul City Oranges, 1967

 Rirkrit Tiravanija was born in Buenos Aires in 1961 and was raised in Thailand, Ethiopia, and Canada. He studied at the Ontario College of Art in Toronto ...



Sigmar Polkle’s Kartofellhaus, 1967
Image result for storm king sculpture centerImage result for storm king sculpture center


















                               







Wheat, Natasha Bean-In, 2010

Scattered real things as ART

Coosej van Bruggen, [public piece]  SFMoMA

Claes Oldenburg and Coosje van Bruggen: Geometric Apple Core , 1991

Among the top10 Japanese contemporary artists today are the
United Brothers (Ei Arakawa and Tomoo Arakawa),
Below: Does This Soup Taste Ambivalent?

Tiravanija, Rirkrit Mixed media, 2002.
This artist creates & shares Thai food for colleagues. It confronts the question: is it an interactive installation or performance art?                                                             Image result for r. tiravanija


WHEAT NATASHA

SF COLLEGE ARTS

 

Tanaka, Koki  Take an orange and throw it away without  thinking too much.”

Interactive installation.

Born in 1975, Koki Tanaka lives and works in Tokyo


Take an orange and throw it away without thinking too much (2006) by Koki Tanaka

    material: DVD, color, sound
     time: 7 minutes and 12 seconds
    credit: created in residency programme with Le Pavillon, art research laboratory of the Palais de Tokyo, Paris
.

       Artist’s note: “On the occasion of a one-day solo project at Palais de Tokyo, Paris, I made this installation with fresh oranges. I               bought    it from the farmers’ market in front of Palais and threw all of them into the staircase between Palais and Musée d'Art Moderne de la        Ville de Paris to capture an image of how oranges fall.


Bader, Darren (b. Bridgeport, CN, 1978) Fortune Cookie installation for the 2014 Biennial 
Darren Bader, “ Actually I don’t digress any more …or I mean I don’t call my digressions ‘digressions’ any more. I call them Sympathetic” –Richard Horowitz, Courtesy the artist and Andrew Kreps Gallery, New York, Photograph by Sebastiano Pellion di Persano

Darren Bader, Actually I don’t digress any more …or I mean I don’t call my digressions ‘digressions’ any more. I call them Sympathetic –Richard Horowitz, Courtesy the artist and Andrew Kreps Gallery, New York, Photograph by Sebastiano Pellion di Persano

Below: Darren Bader, installation view of More Buildings About Songs and Food, Sadie Coles HQ, London, 2012. Courtesy the artist and Sadie Coles HQ, London.  Darren Bader, installation view of More Buildings About Songs and Food, Sadie Coles HQ, London, 2012. Courtesy the artist and Sadie Coles HQ, London

Shanabrook, Stephan J.( b. Cleveland, Ohio,1965, US). Shanabrook is an American conceptual artist, who lives and works in New York City and Moscow, Russia.
Suicide bomber (in chocolate)