Bob Trotman's Cake Lady evokes fond memories of his fifties childhood, while questioning the ambivalent role of women and their association with sweets.Explorations in Contemporary Art
Curated by Sarah Tanguy

Food: it is life sustaining, a form of cultural expression, a part of big business, a challenge to dieters, a source of comfort, and a symbol of prosperity. As fast-food culture has taught us, the choices we make about food impact the health of individuals and the earth’s environment.

In Food Matters, 24 artists explore the concept of food from start to finish – how it is prepared, consumed, and presented in America. The result is a rich and provocative sampling in all media. Full of beauty, humor and surprise, the works on display awaken the senses, conjure up memories, and question assumptions, while breaking down the barriers between art and life.

A 36-page, full color catalogue is available by calling the Katonah Museum of Art, at 914 232 9555.

Bob Trotman's Cake Lady evokes fond memories of his fifties childhood, while questioning the ambivalent role of women and their association with sweets. Sarah Tanguy makes remarks during the opening of the exhibition. Fantasy and reality meet in Sandy Skoglund’s Cocktail Party where Cheez Doodles become the social lubricant for this common ritual.
One of Susan Eder and Craig Dennis’s anthropomorphic popcorn portraits stares back at a William Stevens and his father, Robert. In Pret-a-Pouler, Margaret Adachi makes a humorous yet disturbing equivalence between chickens, babies, and fashion. A detail of Ming Fay’s Herbal Glyphs celebrates nature’s bounty and explores the symbolic language of plants and vegetables.
In Potato Stones Song, Bonnie Lee Holland combines potatoes with a cycle/female figure to investigate ideas of transformation and community. Glimpses of Margaret Adachi’s Pret-a-Pouler and Ming Fay’s Herbal Glyths during the curator’s gallery talk. Clark & Hogan’s 110 Nafta Oranges plays off on earlier expressions of the still life while commenting on the socio-economic impact of NAFTA.
Linda Dolack’s beaded simulacra of everyday comfort foods dazzle the eye of a young visitor. In Celia Shapiro’s Last Suppers, brightly colored trays filled with unlikely combinations of food turn out to be the final meals of executed prisoners. Jeanne Friscia’s manipulated images of poultry, fish, and meat use elements of design to address the homogenized state of our mass-production culture.
A detail of Barton Lidice Benes’ Food Museum exposes our obsession with celebrity while spoofing our throwaway culture and need for immortality. In Double Acting, Jaune Quick-to-See Smith uses Calumet baking powder as the starting point for a critique of branding and stereotyping. Mildred Howard tackles racial politics and the promise of a better society in this installation that commemorates the Black Panther’s Free Breakfast Program.
In his self-portrait made from cast sugar, John Kirchner juxtaposes an ephemeral living material with the classical tradition of the memorial bust.

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