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Get a “taste” of the following food artists!

Discover the ways in which artists use food as a subject for their work, from clay sculptures to soft sculptures and paintings. Explore the rituals and techniques behind these unique art forms.

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Get a “taste” of the following food artists!

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  1. Get a “taste” of the following food artists! The ways in which artists use food as a subject for their work.

  2. Artist/Illustrator: Saxton FreymannAuthor: Joost Elffers

  3. Sandy Skoglund The Cocktail Party 1992 What kind of ritual is going on in this work?

  4. What is a RITUAL? a prescribed code of behavior regulating social conduct, for example, the raising of one's hat or the shaking of hands in greeting. • "Eating, in human society, is a ritual," Ms. Skoglund says. "The "Cocktail Party' has got this artificial seemingly unnatural, color. The Cheese Doodles seem to be alive, like wormsor caterpillars. Then you have the cocktail party, which is all about ritualistic behavior. • "We think about rituals in other societies, but we don't think of our own rituals. The thing about rituals is that they are invisible to the participant." Skoglund, center, watches as Chris Gomien, left, and Mark Patsfall install "The Cocktail Party".

  5. Raining Popcorn 2001

  6. Careful preparation • Ms. Skoglund, 52, builds her installations in her New York studio, carefully sculpting the animals, arranging them in the setting, composing it for a camera. • Models are hired to pose for the photographs, but the settings survive without live models for installation in galleries and museums. • So it's sculpture, installation, photography and often performance, when the artist walks through the bathroom, crushing the eggshells under her feet.

  7. Claes Oldenburg

  8. Does this look familiar? • Artist Claes Oldenburg created the 28-ft tall, 48-ft long steel office stamp in 1985.

  9. Claes Oldenburg’s Soft Sculpture • "The main reason for making a soft version of a known hard object may be (I think more and more it is) to dramatize or isolate the condition of softness. And other conditions such as the response to "gravity"--this condition under which objects appear to exist, and we as objects, as matter, appear to exist."

  10. Gallery photograph

  11. Giant BLT (Bacon, Lettuce and Tomato Sandwich), 1963. • Vinyl filed with kapok, and wood painted with acrylic,32 x 39 x 29 inches

  12. Soft Fur Good Humors, 1963. • Fake fur filled with kapok; wood painted with enamel4 units, each 2 x 9-1/2 x 19 inches

  13. Since 1962, Oldenburg has been making soft sculpture based on common objects ranging from household fixtures (such as toilets, fans, and light switches) to foodstuffs and Manhattan maps. His later soft sculptures are sewn from vinyl or canvas and are stuffed with filler material to achieve varying degrees of flaccidity, his method of "modeling." What does “modeling” in the art mean? The treatment of volume, as the turning of a form, in sculpture.

  14. Pastry Case, I. 1961-62. • Painted plaster sculptures on ceramic plates, metal platter and cups in glass-and-metal case, 20 3/4 x 30 1/8 x 14 3/4"

  15. Close-up

  16. Two Cheeseburgers, with Everything. 1962. What is the “everything?” • Burlap soaked in plaster, painted with enamel, 7 x 14 3/4 x 8 5/8"

  17. Floor Burger, 1962. • painted sail cloth and foam rubber • Oldenburg blows up simple items to gigantic scale and reproduces them in odd materials. He did "soft" toilets sculptures in white vinyl, a 45 foot tall clothespin in Cor-Ten steel, and many others as you will see.

  18. Floor Cake. 1962. • Synthetic polymer paint and latex on canvas filled with foam rubber and cardboard boxes, 58 3/8" x 9' 6 1/4" x 58 3/8"

  19. Floor Cone. 1962. • Synthetic polymer paint on canvas filled with foam rubber and cardboard boxes, 53 3/4" x 11' 4" x 56"

  20. 7-UP, 1961 • Enamel on plaster-soaked cloth on wire55 x 39 1/4 x 5 1/2 in.

  21. Wayne Thiebaud (painter) What did the artist do to make these foods look realistic?

  22. TEXTURE • reflection • Shading • detail

  23. Creating a large food sculpture from clay Things to consider : ~TEXTURE of the pieces of food ~the COLOR of the food ~what would it be SERVED IN or on (plate, platter, bowl etc) ~any SIDE DISHES that would go with the main food ~remember to think of ALL the SMALL DETAILS (ex. Seeds on a bun)

  24. Ceramic terminology: Slip • Slip is liquid clay. You want it to be about the consistency of thick cream.Used as a “glue” for holding clay pieces together. Score and Slip • Score and slip refers to a method of joining two pieces of clay together. First, score the clay; this means that you make scratches in the surfaces that will be sticking together. Then you slip it; that is you wet the surface with some slip, using it like glue. Next, you press the two pieces together. It is very important to always score and slip clay. If you do not, the pieces will likely pop apart when they are fired. Wedging • Pushes the air out of the clay so your artwork will not explode in the kiln.

  25. Firing • This is the process of heating the pottery to a specific temperature in order to harden it. I will fire your pieces BEFORE we paint them the last two weeks. Calendar: • Today: Intro • Tomorrow: PICS DUE. Quick demo, probably begin building food. • Thurs: 9-10 days to build your two dishes (so NO LATER than Wed. March 4th) If we can get done a bit earlier that will give you more time on your last project, the tattoo project, as well as on painting your food items, which all takes a bit of time.

  26. NEXT PROJECT… • During this project you will also be taking one class period to “cast” for our last project. Casting is going to be done with a rubber mold, a hand or foot, and plaster you will mix. When it is your day to cast I will have your name on the board, so you know NOT to get your clay items out for the day. Everyday 4 people will cast until everyone has done so.

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