Rory Coyne, "Solo Kill" Oil on Linen, 60" x 48",
Alinda Anderson Art Projects, Potomac, MD, USA

ART

AAF-NYC-2016

The Affordable Art Fair NYC

(Coverage continued, issue #3)

Pedro Bonnin, Oil on Canvas, 40.5" x 40.5",
JoANNE ARTMAN GALLERY, NYC

Barbara Van Den Berg,
photographic portrait series, ed of 30,
c-print, Public House of Art,
Amsterdam, Netherlands

VeeBee, "Marilyn, 2016, glass, spray paint, stencil,
19.7 x 19.7 in., Lilac Gallery, New York

Byung Chul-Woo, "Seeing", ink and acrylic paint on canvas,
Young Art Gallery, Seoul, Korea

Byung Chul-Woo, "Seeing",detail, ink and acrylic paint on canvas,
Young Art Gallery, Seoul, Korea

Miguel Vallinas Prieto,
"Second Skins Retrato Numero 39" series,
Archival Phtographic Print with matte coating, ed of 50,
Van Rensburg Galleries, Hong Kong

Miguel Vallinas Prieto,
"Second Skins Retrato Numero 39" series,
Archival Phtographic Print
with matte coating, ed of 50,
Van Rensburg Galleries, Hong Kong

George Nemethy, Sailing series,
Oil on Canvas Board, 4 x 4 inches, Lilac Gallery, New York City

Heather Amistad,
"Blue Sweater" (cropped) 2015,
Dye Sublimation print, ed. of 10,
Sugarlift Gallery, Brooklyn, NY

Joel Odesser, "Vibrant Crowd III, 13 x 39 in.,
Arteria Gallery, Bromont, Canada

Kal Mansur, Valkyrie Series, 2016, Acrylic Construction,wall hung art,
32 x 32 inches, Reference- Contemporary, Toronto, Canada

Lehlogonolo Mashaba, "Fragmented figure II-II"
Etching 25.5" high, Vula Amehlo Art Development,
Johannesburg, South Africa

Lorraine Pritchard, "Literal Space #2, 2013, Ink on washi paper,
Beaux-arts des Ameriques, Montreal, Canada

Eoghan Bridge, "Love is in the Air",
Ceramic, Unique, 24" high,
Linda Blackstone Gallery
London, UK

Ludwig Favre, "Versailles", ARTSTAR.com, NYC

Nguyen Bach Dan, ink on paper, Vietnamese Contemporary Fine Art, NYC

Ryan Schude
“Pool Party”
from the series Tableau, 38×61″ ed. 5, Eye Buy Art Gallery
Toronto, Canada

Ryan Schude
Tableau series,
38×61″ ed. 5,, Eye Buy Art Gallery
Toronto, Canada

Remo Bianchedi, Oil on Cardboard,
Misc sizes, 1995, Soraya Cartategui Gallery,
Madrid Spain & NYC

Richard Heeps (photographer), Mounted Silver C-Prints made from Negatives,
in a darkroom, each an ed. of 50, Bleach Box Gallery, London UK

Rory Coyne, "Po Pables", Oil on Linen, 28" x 22",
Alinda Anderson Art Projects, Potomac, MD

Rory Coyne, "Po Pables", (pencil) graphite on maple, study for painting,
Alinda Anderson Art Projects, Potomac, MD

Ryan Callanan, "Zen Trooper" 2015,
Copper patina sculpture, ed of 25, 31 x 32 x 20 cm,
Tag Fine Arts, London, UK

Nathalie Cohen, "Gouttes d'eau horizon, 2015,
39x59 inches, kinetic art, digital prin on acrylic, ed of 8, Galerie Envie d'Art

Nathalie Cohen, detail
"Gouttes d'eau horizon, 2015
Galerie Envie d'Art

Oliver Warden, "Untitled Box 2.0", 2010,
Installation with people inside and a push button outside for on/off
to see past mirrored surface and to see the person inside,
also has video surveillance camera inside and a monitor at a different location
where people can watch from the vantage of the person on the interior.

Oliver Warden, "Untitled Box 2.0", 2010,
Special AAF Installation

Victor Spinelli,
"Sub Aqua",
2/5, 36 x 55 "
Photograph,
coated in polymer, printed on canvas,
mounted on wood,
Artspace Gallery, NYC

Victor Spinelli, "Sub Aqua", detail,
Photograph coated in polymer on canvas mounted on wood,
Artspace Gallery, NYC

Valay Shend, "Blue Teddy Bear" edition of 30,
14.7" high, metal sculpture,
Public House of ART, Amsterdam, Netherlands

(Source: All photos were taken with with the permission of the galleries and the AAF management.)

FOOD

Cucumber, Tomato and Crab Salad

Deli-made crab salads with giant chunks of celery, too much mayo and the entire package of imitation crab just dumped into the mix - it can definitely be improved upon. This homemade version is easy to make and you will never go back to the deli!

Ingredients

1 English cucumber, diced

3 Cloves Garlic, diced

1/4 cup Green Onions, diced

2 Fresh Tomatoes, diced

1/2 cup Mayonnaise

16 ozs of real or imitation Crab Meat, chopped or shredded into relatively small pieces.

Preparation

Dice all of the fresh produce

Chop or shred the crab into small pieces The imitation crab works fine in this dish (you can use fresh cooked or canned crab meat).

Mix all ingredients in a large bowl combining with the mayonnaise.
Chill and serve.

(source:natashaskitchen.com)

Until later,

Jack

ARTSnFOOD is an online magazine dedicated to providing artists and collectors around the world with highlights of current art exhibitions, and to encourage all readers to invest in and participate in "The Joy of Art"® and culture. All rights reserved. All Concepts, Original Art, Text & Photographs in this posting (which are not credited) are © Copyright 2016 Jack A. Atkinson under all International intellectual property and copyright laws. All gallery, event, museum, fair or festival photographs were taken with permission. Images © individual artists, fabricators, respective owners or assignees.

Maroesjka Lavigne, "White Rhino, Namibia" 2015, Robert Mann Gallery

ART:

AIPAD

The Photography Show 2016

The longest-running and foremost fair dedicated to the photographic medium.

AIPAD-NY 2016 celebrated the 36th edition of their famous Photo Art Fair.

AIPAD was once again held at the Park Avenue Armory, which is the venue of choice for most of the smaller, upscale art fairs, giving easy access for New York City's Upper East Side crowd.

AIPAD stands for the Association of International Photography Art Dealers and this show is the world’s best, longest-running exhibition dedicated to photography.

Eighty-six of the world’s leading fine-art-photography galleries presented a wide range of the highest quality contemporary, modern, and 19th-century photographs as well as some photo-based art, videos, mixed-media works and new-media artworks.

Catherine Edelman, president of AIPAD and director of the Catherine Edelman Gallery, said: “AIPAD attracts the largest group of collectors interested in photography in the U.S. They rely on AIPAD for exposure to the most talented artists working in photography today as well as important photography from all time periods.”

Alexey Titarenko, "Crowd 1, St. Petersburg", 1992
Nailya Alexander Gallery,
(not for sale)

Erwin Blumenfeld, "Doe Eye, Jean Patchett",
Vogue, New York, January 1, 1950,
inkjet print on Hahnemuhle paper, 29 3/8 ' x 22 3/4",
Edwynn Houk Gallery, New York & Zurich

Joel-Peter Witkin,
"La Giovanissima, Paris" 2007,
Etherton Gallery

August Sander, "Girl in Fairground Caravan" 1926, Danziger Gallery

Brigitte Carnochan, "Nude with Camellia", 1997
Hand painted gelatin silver print,
14 1/2 in. square, Verve Gallery of Photography,
Santa Fe, NM

Dawid," P-Shadow, #3320", 1989,
silver gelatin print,
Grundemark Nilsson Gallery, Stockholm

Dawid, "Shadow", 1989,
silver gelatin print,
Grundemark Nilsson Gallery,
Stockholm

Christopher Makos, "Portraits of an Era", Polaroid Collage,
Fahey / Klein Gallery Los Angeles

Danny Lyon, Etherton Gallery, Tucson, AZ

Bill Brandt, "Nude, Campden Hill (with mirror)" 1952,
vintage gelatin silver print, 9 x 7.7 inches, James Hyman Gallery

Ellen Carey, "Dings & Shadows" 2013, Chromogenic print (unique),
24 x 20 inches, M + B gallery, Los Angeles

Evelyn Hofer,
"Andy Warhol (in his studio with Elvis Presley print), New York, 1962"
gelatin silver print, 16 x 20 inches,
Danziger Gallery, NYC

Frederic Brenner, "The Weinfeld Family", 2009, 30 × 40 in,
Howard Greenberg Gallery, NYC

Hellen Van Meene, "Untitled" 2014, C-Print, ed. of 10, Yancey Richardson Gallery, NYC

Hellen Van Meene, "Untitled" 2015, C-Print, ed. of 10, Yancey Richardson Gallery, NYC

Jacqueline Hassink,
"Genko-an 3 Northwest Kyoto 9", June 2009,
Benrubi Gallery

Jacqueline Hassink,
"Temple", June 2009,
Benrubi Gallery

Jeffery Milstein,
"NYC 40, Museum of Natural History" 2015,
Benrubi Gallery

Jeffrey Milstein, "NYC 33, Statue of Liberty", 2015, Kopeikin Gallery

Jeffrey Milstein, "NYC, Coney Island", 2015, Kopeikin Gallery

Jen Davis, "First Burn", 2015,
Lee Marks Fine Art, Winchester, MA

Jen Davis, "Untitled No.39", 2010, Lee Marks Fine Art, Winchester, MA

Jen Davis, "Untitled No.63", 2015, Lee Marks Fine Art, Winchester, MA

Jimmy Nelson, "XXII 467, Yangshou Cormorants, China", 2005,
C-Print, 24 3/8" x 29 1/8", ed of 9,
Bryce Wolkowitz Gallery

Judith Stenneken, "Untitled" 2013, Galerie f 5.6

Judith Stenneken, "Untitled" 2015, Galerie f 5.6

Kahn & Selesnick, "Melora", 2013, Jackson Fine Art

Klea McKenna, "Web Study #31" 2015, gelatin silver photo gram,
(unique) 24 x 20 inches, Von Lintel Gallery, Los Angeles

Kurt Markus, "Bogner, New York", 1993
VERVE, Gallery of Photography

Man Ray (1890 - 1976)" Quartet", 1917,
15 1/2 x 11 1/2 inches,
Bruce Silverstein Gallery, NYC

Manuel Alvarez Bravo, "The Daydream" 1931,
gelatin silver print, 10" x 8",
Throckmorton Fine Art, New York

Mario Algaze, "Earretas",
Guatemala, 1979, Gelatin silver Print, 14" x 11",
Throckmorton Fine Art, New York

Michael O'Neill, "13th and Hudson, 3", Rick Weter Fine Art

Mona Kuhn, 2014,
"AD7272. from the Acido Dorado Series"
C-Print, 40 x 30 in. ed of 8,
Jackson Fine Art, Atlanta, GA

Nickolas Muray, 1939,
"Frida Kahlo with Magenta Rebozo, 'Classic'",
Color Carbon Print, 20" x 16",
Throckmorton Fine Art, NYC

Niko Luma, "Adaptation of Guernica (1937)", 2015, Bryce Wolkowitz Gallery

Norman Seeff,
"Mick Jagger, 'Mick Saluting', Los Angeles"
Fahey/Klein Gallery

Patrick Demarchelier,
"Karlie Kloss, New York, 2014,
“I have that one second,
the moment she forgets about the camera,
when I can make someone relax
and become her real self.
That is the moment I want to capture,”
Staley-Wise Gallery, New York

Philip-Lorca diCorcia, "Major Tom, 20 years old, Kansas City..." ClampArt

Slim Aarons, "Sea Drive, 1967"
Kevin McClory takes his wife Bobo Segrist and their family
for a drive in an 'amphicar' across the harbour at Nassau, Bahamas, C-Print, 40 x 60 inches, ed of 150, Staley-Wise Gallery NYC

Stephen Wilkes,
"Day to Night, Campanile di San Marco, Venice"
2016, ed of 12,Bryce Wolkowitz Gallery

The Family Acid,
"Sunny Silver man, January 1979",
archival pigment print, 16 x 20 in,
Benrubi Gallery, NYC

Watcher VII, 2011,
Aluminum, FR-4, polyethylene,
custom electronics, LCDs
ed. of 3,
Bryce Wolkowitz Gallery, NYC

“Bert Stern, "Marilyn Monroe (Blue Roses) 1962, Staley-Wise Gallery”

(Source: Images are © individual artists, fabricators, respective owners or assignees. All photos in this article have been used with with the permission of the galleries and the AIPAD Art Fair Press Department.)

FOOD:

Broiled Salmon

• Preheat the oven's broiler until hot, and if possible set the rack about 6 inches from heat source.

• Line a broiler pan with aluminum foil and spray or coat the foil lightly with oil.

• Season the fresh salmon with salt and pepper, chopped garlic and some melted butter.

• Place the salmon skin side up on the foil.

• Place a few pats of butter on top of the skin and some chopped garlic.

• Broil the fish in the oven for 3 minutes

• Remove pan and flip fish over.

• Broil for 1 to 3 minutes longer, watching carefully (all ovens are different)

• Remove the pan and cut through the fillet to see if the doneness is to your liking. (I like my fresh fish to have a slightly sashimi quality.... Put the fish back in if it is not done to your liking, but pull it out every minute, so you do not overcook the fish.

• Cut into servings, and sprinkle a little more butter and add some fresh chopped chives to the top for garnish.

• Serve immediately.

Until later,

Jack

Robert & Shana Parkeharrison, "Logic of Spring", pigment print, ed of 7, Edelman Gallery

ART:

AIPAD

The Photography Show 2016

(continued)

AIPAD-NY 2016 36th edition / Photo Art Fair.

AIPAD stands for the Association of International Photography Art Dealers and this show is the world’s best, longest-running exhibition dedicated to photography.

Adam Jahiel, "Night Sky. Willow Creek Ranch, Kaycee WY"
Platinum print, ed. of 15, signed recto, Danziger Gallery

Ansel Adams, "Aspens, Northern New Mexico" 1958,
gelatin silver print, c. 1962-63,
signed recto, Richard Moore Photographs

Arno Rafael Minkkinen, "Fosters Pond II" 1989, gelatin silver print, ed of 25, Edelman Gallery

Christian Cravo, "The Masai, Wildebeest Migration at Mara Crossing" 2012, Platinum print, signed verso, Grundemark Nilsson Gallery, Stockholm, Sweden

(detail) Christopher Makos - Part of a photo collage of 81 sx70
Polaroids of Andy Warhol's social circle. 1975-1984,
Archival Pigment Print, ed. of 15, signed and numbered verso, Fahey/Klein Gallery

Corey Arnold, "Double Tree" 2016, archival pigment print, ed. of 3, signed verso,
Charles A. Hartman Fine Art

Dorothea Lange, "Plantation owner,
Mississippi Delta, near Clarksdale, Mississippi" 1936,
gelatin silver print c 1936,
Lange's FSA credit stamp, caption and negative number in pencil on verso,
Richard Moore Photographs

Hendrik Kerstens,"Red Turban, 2015",
signature on label, ed. of 5,
Danziger Gallery

Inge Morath, "From the series "Masquerades",
1959-63, vintage gelatin silver print, signed recto,
Danziger Gallery

Inge Morath,
"From the series 'Masquerades'", 1959-63,
vintage gelatin silver print, signed recto,
Danziger Gallery,

Karen Knorr, "Sikander's Entrance, Chandra Mahal, Jaipur City, Pigment print,
(AP1) from an ed. of 5,
Danziger Gallery

Lucien Clergue, "Dressed in Light, Santa Barbara, CA"
Gelatin Silver Print, signed recto and verso,
Grundemark Nilsson Gallery, Stockholm, Sweden

Lucien Clergue, "Nu Zebre, NYC"
Gelatin Silver Print, signed recto and verso,
Grundemark Nilsson Gallery, Stockholm, Sweden

Matthew Pillsbury, "Dinosaur, American Museum of Natural History, NYC",
archival pigment ink print, sighed dated and numbered on label affixed verso, ed. of 6,
Benrubi Gallery

Paul Fusco, "RFK Funeral Train" 1968,
C-Print, signed and titled verso,
Danziger Gallery

Peter Sekaer, "New Orleans - Irish Channel, St. Thomas & Felicity Streets" 1938,
gelatin silver print, c. 1938, Richard Moore Photographs

Peter Sekaer, "Untitled" (US Housing Authority project) 1938, gelatin silver print,
c. 1938, housing project the D.C.area. Richard Moore Photographs

Roger Steffens and the Family Acit,
"Wild Horse Encounter, 1978", archival pigment print,
signed, titled, dated and numbered on label affixed verso, Ed. of 8,
Benrubi Gallery

Steve Schapiro, "Andy Warhol, Edie Sedgwick and Entourage New York 1965",
gelatin silver print, ed. of 10, signed verso, Fahey Klein Gallery

Alex Majoli, Scene #0880, Brazzaville, Congo, Scene at a trains station" 2013,
archival pigment print, (2016), Howard Greenberg Gallery

W. Eugene Smith,
"The Walk To Paradise Garden" 1946,
gelatin Silver print, c. 1960s,
Signed and titled in pencil on mount recto,
Richard Moore Photographs

(Source: Images are © individual artists, fabricators, respective owners or assignees. All photos in this article were photographed at the fair by ARTSnFOOD staff and have been used with with the permission of the galleries and the AIPAD Art Fair Press Department.)

FOOD:

Eggplant Rollatini

Ingredients

4 medium eggplants

Salt and pepper

1/4 cup olive oil

1 10-oz. box frozen chopped spinach, thawed, squeezed dry

3 cups part-skim ricotta

3 cloves garlic, minced

2 large eggs, beaten

1 1/2 cups shredded part-skim mozzarella

3/4 cup grated Parmesan

1 24-oz. jar marinara sauce

Directions

Slice ends off eggplants. Cut eggplants lengthwise into 1/4-inch-thick slices, discarding peel-covered ends. You should get roughly 16 slices total. Lay slices on a rimmed baking sheet and sprinkle both sides liberally with salt. Let stand for 15 minutes, then rinse salt off under cold running water and pat slices dry.

Preheat oven to 400ºF. Brush both sides of eggplant slices with olive oil and place in single layers on 2 baking sheets. Roast for 15 minutes, until tender, turning eggplant slices over halfway through. Let cool on sheets on wire racks until cool enough to handle.

In a large bowl, combine spinach, ricotta, garlic, eggs, 1/2 cup mozzarella and 1/2 cup Parmesan. Season with 1 tsp. salt and 1/2 tsp. pepper. Mist a 9-by-13-inch baking dish with cooking spray. Spread 1/2 cup of sauce over bottom of dish. Divide ricotta mixture among eggplant slices, using about 1/3 cup for each, spreading it down the center. Roll up slices and place seam-side down in baking dish. Top with remaining sauce and sprinkle with remaining mozzarella and Parmesan.

Cover baking dish with foil and bake for 30 minutes. Remove foil and bake until browned and bubbling, about 15 minutes longer. Let cool for 10 minutes before serving.

(Source: myrecipes.com)

Until later,

Jack

A tombstone bearing Donald Trump’s name suddenly appeared early one morning in NYC's Central Park. Recently the NYC police and the secret service
tracked down the artist behind the illegal installation.
The artist states it's important to note the stone bears no death date,
because this was intended as a cautionary comment
regarding Trumps potential legacy.

ART

"Trump Headstone"

Artwork in Central Park

Was a Mystery...

Now Solved!

This article was first published online by WND.

Excerpts from that original story are used with permission

and were written by Cheryl Chumley.

A tombstone bearing Donald Trump's name surfaced in Central Park. After weeks of mystery, police in New York City have finally identified the man who placed the tombstone in Central Park that bore presumptive Republican presidential nominee Donald Trump's name.

Artist Brian Andrew Whiteley

Artist Brian A. Whiteley, 33, told “The New York Times” in an interview arranged by a publicist, he had bought the stone and placed it in the park because he was simply "trying to remind Donald what type of legacy he's leaving behind."

The tombstone appeared in Central Park in March, on the heels of a rally to protest the billionaire businessman's political ascension. The artist's installation of the grave headstone was first posted by “The Gothamist” on Twitter. The artwork includes an image of the Christian cross and Trump's birth year, 1946, along with the text: "TRUMP, DONALD J., Made America Hate Again."

Police were at first puzzled by the stone, which weighs-in at 420 pounds. Who was behind this and how had they placed it in the park. The authorities got their answers when they tracked down the identity of the artist. A story in “The Gothamist” about the stone, included an interview with the "anonymous artist”, but it also showed several photographs of the stone being created at a local business, which they were able to identify and interview the owner.

The artist found out the police knew and turned himself in. Police and the Secret Service interrogated Whiteley for many hours, but did not charge him with any crime. The Trump campaign has not commented.

Meanwhile, the stone is in a police storage facility in the Bronx. The artist is hoping to have it returned, so he can exhibit the piece in either New York or Washington, D.C.

Until later,

Jack

Pouran Jinchi, The Third Line Gallery, Dubai

Pouran Jinchi is an Iranian-born, New York artist who borrows from her home culture's traditions of literature and calligraphy to pursue her own aesthetic investigations. Having been trained in calligraphy, she finds the relation between words and forms, natural or non-objective, deeply intertwined. In Pouran's recent work, viewers will appreciate her increasingly detailed focus on the form of language as subject matter.

Pouran’s work often employs a mixture of calligraphy and abstract expressionism that intertwines Islamic geometry, Iranian traditions and contemporary aesthetics, with a unique lyricism. Pouran's early paintings were large scale and heavily layered abstractions, whose flowing lines of saturated color and rolling waves of calligraphy brought to life the form as well as the content of the text to which she was responding. With successive series, Pouran narrowed her focus to single words, repeated over and over to create the very object they signified, or aesthetics distilled from a single letter, emphasizing the building block of language and thought.

ART:

FRIEZE ART FAIR

2016 Edition

More than 200 international galleries brought together the world’s most exciting emerging and established contemporary artists to New York City. Below is an overview of galleries represented in the huge Frieze exhibition tent.

Frieze returned to Randall’s Island for the fifth time May 5 to May 8, 2016. This marks the 25th anniversary of Frieze as an organization and 2016 its the first year with Victoria Siddall at the helm as director of Frieze, New York.

This issue is an overview listing all of the galleries and showing a few teaser artworks as we ran through the fair for the first time. Our next issue will be dedicated to a close look at artists, galleries, images, titles and media - all examined in detail.

GALLERIES FEATURED IN THE TENT

303 Gallery, New York
A Gentil Carioca, Rio De Janeiro
Miguel Abreu Gallery, New York
Acquavella Galleries, New York
Galería Juana de Aizpuru, Madrid
Altman Siegel, San Francisco
Art: Concept, Paris
Alfonso Artiaco, Naples
Galería Elba Benítez, Madrid
Peter Blum Gallery, New York
Blum & Poe, Los Angeles
Boers-Li Gallery, Beijing
Marianne Boesky Gallery, New York
Tanya Bonakdar Gallery, New York
The Box, Los Angeles
The Breeder, Athens
Broadway 1602, New York
Gavin Brown’s enterprise, New York
Buchholz, Berlin
Shane Campbell Gallery, Chicago
Canada, New York
Galerie Gisela Capitain, Cologne
Casa Triângulo, São Paulo
Casas Riegner, Bogotá
Cheim & Read, New York
James Cohan, New York
Contemporary Fine Arts, Berlin
Galleria Continua, San Gimignano
Corbett vs. Dempsey, Chicago
Pilar Corrias Gallery, London
Galleria Raffaella Cortese, Milan
CRG Gallery, New York
Galerie Chantal Crousel, Paris
Thomas Dane Gallery, London
Massimo De Carlo, Milan
Elizabeth Dee, New York
dépendance, Brussels
Galerie Eigen + Art, Berlin
Galerie Frank Elbaz, Paris
Derek Eller Gallery, New York
Henrique Faria, New York
Foksal Gallery Foundation, Warsaw
Galeria Fortes Vilaça, São Paulo
Marc Foxx Gallery, Los Angeles
Foxy Production, New York
Fredericks & Freiser, New York
Carl Freedman Gallery, London
Stephen Friedman Gallery, London
Frith Street Gallery, London
Gagosian Gallery, New York
Goodman Gallery, Johannesburg
Marian Goodman Gallery, New York
Alexander Gray Associates, New York
Grimm, Amsterdam
Hauser & Wirth, New York
Herald St, London
Galerie Max Hetzler, Berlin
Xavier Hufkens, Brussels
Gallery Hyundai, Seoul
Ibid., London
Taka Ishii Gallery, Tokyo
Rodolphe Janssen, Brussels
Casey Kaplan, New York
Galleri Magnus Karlsson, Stockholm
Karma, New York
Paul Kasmin Gallery, New York
Sean Kelly , New York
Kerlin Gallery, Dublin
Anton Kern Gallery, New York
Galerie Peter Kilchmann, Zurich
Tina Kim Gallery, New York
König Galerie, Berlin
David Kordansky Gallery, Los Angeles
Tomio Koyama Gallery, Tokyo
Andrew Kreps Gallery, New York
Kukje Gallery, Seoul
Lehmann Maupin, New York
Galerie Lelong, New York
Lisson Gallery, London
Kate MacGarry, London
Matthew Marks Gallery, New York
Fergus McCaffrey, New York
Galerie Greta Meert, Brussels
Mendes Wood DM, São Paulo
Galerie kamel mennour, Paris
Victoria Miro, London
Mitchell-Innes & Nash, New York
The Modern Institute, Glasgow
MOT International, London
Taro Nasu, Tokyo
Nature Morte, New Delhi
David Nolan Gallery, New York
Galleria Lorcan O’Neill, Rome
Galerie Nathalie Obadia, Paris
Overduin & Co., Los Angeles
P.P.O.W, New York
Pace, New York
Maureen Paley, London
Peres Projects, Berlin
Galerie Perrotin, New York
Galerija Gregor Podnar, Berlin
Simon Preston Gallery, New York
Project 88, Mumbai
Rampa, Istanbul
Almine Rech Gallery, Paris
Regen Projects, Los Angeles
Galerie Thaddaeus Ropac, Paris
Andrea Rosen Gallery, New York
Salon 94, New York
Esther Schipper / Johnen Galerie, Berlin
Sfeir-Semler, Beirut
Jack Shainman Gallery, New York
Shanghart Gallery, Shanghai
Sikkema Jenkins & Co., New York
Skarstedt, New York
Sommer Contemporary Art, Tel Aviv
Sperone Westwater, New York
Sprüth Magers, Berlin
Standard (Oslo), Oslo
Craig F. Starr Gallery, New York
Stevenson, Cape Town
Timothy Taylor, London
The Third Line, Dubai
Vermelho, São Paulo
Susanne Vielmetter Los Angeles Projects, Los Angeles
Galleri Nicolai Wallner, Copenhagen
White Columns, New York
White Cube, London
Wilkinson, London
Galerie Jocelyn Wolff, Paris
Zeno X Gallery, Antwerp
David Zwirner, New York

GALLERIES IN THE FOCUS SECTON

Chi-Wen Gallery, Taipei
Clearing, New York
Lisa Cooley, New York
Gallery Isabelle van den Eynde, Dubai
James Fuentes, New York
hunt kastner, Prague
Instituto De Vision, Bogotá
Ivan Gallery, Bucharest
Kraupa-Tuskany Zeidler, Berlin
Le Guern Gallery, Warsaw
David Lewis, New York
Josh Lilley, London
Limoncello, London
lokal_30, Warsaw
Maisterravalbuena, Madrid
Martos Gallery, New York
Misako & Rosen, Tokyo
mor charpentier, Paris
Murias Centeno, Lisbon
Night Gallery, Los Angeles
Ratio 3, San Francisco
Seventeen, London
Tif Sigfrids, Los Angeles
Société, Berlin
Simone Subal Gallery, New York
Sultana, Paris
Supportico Lopez, Berlin
Take Ninagawa, Tokyo
Travesia Cuatro, Madrid
Triple V, Paris
Rachel Uffner Gallery, New York
Kate Werble Gallery, New York

GALLERIES IN THE FRAME SECTON

80m2 Livia Benavides, Lima Rita Ponce de León
Christian Andersen, Copenhagen Julia Haller
Antenna Space, Shanghai Li Ming
blank, Cape Town Igshaan Adams
Clifton Benevento, New York Gina Beavers
Freedman Fitzpatrick, Los Angeles Phillip Zach
Frutta, Rome Stephen Felton
High Art, Paris Valerie Keane
Hannah Hoffman, Los Angeles Zorrilla
Jeanine Hofland, Amsterdam Hannah Perry
Jan Kaps, Cologne Patricia L Boyd
Galeria Jaqueline Martins, São Paulo Débora Bolsoni
Mathew, Berlin Cooper Jacoby
Night Club, Chicago Gordon Hall
Eli Ping Frances Perkins, New York Rochelle Goldberg
Regards, Chicago Nick Bastis
Truth And Consequences, Geneva Daniel Dewar & Grégory Gicquel
Leo Xu Projects, Shanghai Liu Shiyuan

GALLERIES IN THE SPOTLIGHT SECTON

Aicon Gallery, New York S.H. Raza
Anglim Gilbert Gallery, San Francisco David Ireland
Galeria Raquel Arnaud, São Paulo Sergio Camargo
Baró Galeria, São Paulo Felipe Ehrenberg
Galerie Hervé Bize, Nancy François Morellet
espaivisor, Valencia Lea Lublin
Garth Greenan Gallery, New York Ralph Humphrey
Hales, London Frank Bowling
Pippy Houldsworth Gallery, London Mary Kelly
Gallery Hyundai, Seoul Kim Whanki
Jhaveri Contemporary, Mumbai Zahoor ul Akhlaq
Gallery Luisotti, Santa Monica John Divola
P420, Bologna Milan Grygar Parafin, London Nancy Holt
Franklin Parrasch Gallery, New York Joe Goode
Galeria Nara Roesler, São Paulo Abraham Palatnik
Richard Saltoun, London Robert Filliou
Galerie Barbara Thumm, Berlin Jo Baer
Van Doren Waxter, New York Alan Shields
Venus, New York H. C. Westermann

Until later,

Jack

Yoyoi Kusama, "The Moment of Regeneration" 2004,
55 parts of sewn fabric, urethane, wood, paint, Victoria Miro Gallery

ART:
FRIEZE ART FAIR
NYC 2016
This issue of ARTSnFOOD is dedicated to taking a closer look at "THE ART", the artists, the galleries, and the new approaches found at FRIEZE ART FAIR, NYC - 2016! Enjoy!

Alex Da Corte, inflatable balloon at the North entrance to the Frieze Art Fair tent.
(photo courtesy of Frieze Art Fair)

The many Gallery Booths unite the art world under one tent.

The Frieze Art Fair's huge tent along the East River, NYC.
(photo courtesy of Frieze Art Fair)

Inside the Frieze Tent

Maurizio Cattelan
special project "Donkey and Chadelier"
celebrating Daniel Newburg Gallery

John Giorno, various MEEMS on rainbow backgrounds, 2016, Elizabeth Dee Gallery

Theaster Gates, "Ground Rules (black Line)", 2015,
wood flooring, 96 1/2 x 240 inches, White Cube London / Hong Kong

Scott Myles, "Thank You" unique screenprint on aluminum, The Breeder Gallery, Athens

Damien Hirst, "spin painting",
Gagosian Gallery, NY, LA, London, Paris, Rome, Geneva, Athens, Hong Kong

Richard Pettibone, "Marcel Duchamp,
"Bicycle Wheel, 1913", 1965,
wooden stool, bicycle wheel rim and fork,
52 1/2" tall,
Craig F. Starr Gallery,
5 East 73rd Street, NYC

Pink/Blue, Gagosian Gallery, NY, LA, London, Paris, Rome, Geneva, Athens, Hong Kong

Octopus Sculpture, Massimo De Carlo: Milan, London, Hong Kong

Joe Bradley, "Cap'n America" 2007,
vinyl on wood, 100 x 36 in.,
White Cube Gallery UK

Joe Bradley, "Cap'n America" 2007, detail,
vinyl over wood, 100 x 36 in.,
White Cube Gallery UK

Joyce Pensato, "Who Ate the Mouse" 2016,
enamel and metallic paint on canvas, 86 x 90 inches, Lisson Gallery

Damien Hirst, "Mini Dot Painting",
Gagosian Gallery, NY, LA, London, Paris, Rome, Geneva, Athens, Hong Kong

Jac Leirner, "120 cords" (handmade), 2014, plastic, nylon and fabric, overview of wall

Jac Leirner, "120 cords" (detail)

Jac Leirner, "120 cords" (handmade), 2014, plastic, nylon and fabric

Damien Hirst, "Black Sheep with golden Horns", 2009, Gagosian Gallery, NY, LA, London, Paris, Rome, Geneva, Athens, Hong Kong

Damien Hirst, "Black Sheep with golden Horns", 2009, detail,
Gagosian Gallery,
NY, LA, London, Paris, Rome, Geneva, Athens, Hong Kong

Damien Hirst, "Fish", Gagosian Gallery, NY, LA, London, Paris, Rome, Geneva, Athens, Hong Kong

Damien Hirst, "R&F Handmade Paints (Oil Paints)
2015, Sign paint on canvas, 68 x 44 inches,
White Cube Gallery, London - Hong Kong

Damien Hirst, "Lascaux Gouache", 2015,
Sign Paint, household paint and varnish on canvas, 24 x 24 inches,
White Cube Gallery, London - Hong Kong

Antony Gormley, "Small Bend", 2014,
Cast Iron, 12 x 18 11/16, x 12 3/16 inches,
White Cube London - Hong Kong

Gego, "Sin titulo", 1964,
Ink on paper, 10.5 x 7 inches, Lisson Gallery

Haroon Mirza, "Light work XXIV", 2016 2 metre LED tape square, two sides blue, two sides amber, blue and amber wire framing half the square meeting at a single point, 88 x 88 inches, Lisson Gallery

Haroon Mirza, "Light work XXIV", 2016
detail lights & wire, Lisson Gallery

Haroon Mirza, "Light work XXIV", 2016
detail: wires, Lisson Gallery

Julian Opie, "Man with Felt Hat",
vinyl on wooden stretchers, 75 1/2 x 62 1/2 inches, Lisson Gallery

Los Caprinteros, "Duo de Congas", melting drums, 2015, Galerie Peter Kilchmann, Zurich.

Yves Klein, "Untitled Blue Monochrome" 1959, Dry pigment and synthetic resin on linen mounted on panel, 11 5/8" x 25 5/8 inches, Dominique Lévy Gallery, New York, London, Geneva

Yves Klein, "Untitled Blue Monochrome"
detail of surface and corner
Dominique Lévy Gallery, New York, London, Geneva

Cornelia Parker, "A side of England", Frith Street Gallery
(photo courtesy of Frieze Art Fair)

Performance Art at Frieze
(photo courtesy of Frieze Art Fair)

Media Room Installation
(photo courtesy of Frieze Art Fair)

Marta Minujin, "Laberinto Minujinda" 1985,
Acrylic on canvas, 70 15/16 x 29 11/16 inches,
Henrique Faria Fine Art, NY
(photo courtesy of gallery)

Jiri David, "Allen Ginsberg", from the series Hidden Image, 1994 - 1995,
15 7/10 x 11 4/5 inches, Le Guern Gallery
(photo courtesy of gallery)

Jiri David, "Jeff Koons", from the series Hidden Image, 1994 - 1995,
15 7/10 x 11 4/5 inches, Le Guern Gallery
(photo courtesy of gallery)

Leonhard Hurzlmeier, "Untitled (Gelber Linienkopf auf Grun) 2015,
Oil on paper, Rachel Uffner Gallery
(photo courtesy of gallery)

Marta Minujin, "Laberinto Minujinda" 1985,
Acrylic on canvas,
70 15/16 x 29 11/16 inches,
Henrique Faria Fine Art, NY
(photo courtesy of gallery)

Xu Zhen / Madeln, "Hercules (front); Marsyas (middle), Marathon Boy (back) ", 2016, fiberglass reinforced concrete with marble grains, marble, steel, canvas, oil paint, glue, at ShanghART

Xu Zhen / Madeln, "Marathon Boy; Hercules; Marsyas", 2016,
detail at ShanghART

(Source: Except where noted, all photos were taken by ARTSnFOOD staff, on location, with permission of the Frieze Fair Management and the various galleries.)

FOOD:

Seafood &

Chicken Sausage

Étouffée

By Jack A. Atkinson

Seafood and Chicken Sausage Étouffée. When I get the urge to cook, my “go-to-recipe” for a good meal at home or for company is étouffée (pronounced: ay-too-fay). I usually have the ingredients in the pantry, fridge and freezer. It’s a classic Cajun/Creole/South Louisiana treat. Étouffée simply means “smothered” in French, and in South Louisiana, étouffée is best known when combined with crawfish (ie: crawfish étouffée). I personally don’t like crawfish, but I love making the concoction with shrimp, any seafood or sausage.

When I want to be 'VERY FANCY" I add a light roux, but either way, this easy recipe is all it takes to make any food délicieusement étouffée, (deliciously smothered)!

Dice two medium white onions.
Dice one large green pepper.
Dice the center portion of a celery bunch
(I trim off the tops and the base - rinse and dice the rest.)
I sometimes add about 6 thinly-sliced baby carrots.
-Sauté all of the above in some olive oil,
until they are fully cooked and the onions/pepper just start to brown.
(This is where I would add the light coffee-colored roux,
but it tastes great without it.)

Add some diced tomatoes (you can also use a good pre-made Marinara sauce). About 15 - 16 ozs.
Simmer for 15 minutes, on low heat, to sweeten the tomatoes.
Add to taste: salt + pepper + cajun seasoning for heat and add a few pats of butter (makes the sauce richer).

I cook any additional foods separately. (ie: 1 lb, Boiled Med to Lg shell on shrimp in water and Old Bay Seasoning) - take out with a strainer, when all pink on both sides, slightly under-cooked is ok (it continues to cook some). Cool, shell & cut into two or three chunks per shrimp, then add to the sauce.

The étouffée is now ready to be served over rice, or as is.
The longer the shrimp (or other additions) meld in the sauce, the better everything tastes.

This can be kept overnight and re-heated to serve to guests or family. (makes about 4 decent servings - recipe can be doubled.)

This dish only takes 30 to 45 minutes to prep and cook (an hour at the most, depending on what you cook to add in) BUT it's so much better than anything you can order in!

(Source: Original Recipe from The Atkinson Family Recipe Book)

Until later,

Jack

ART:
Issue #3
FRIEZE ART FAIR
NYC 2016
More art from this years Frieze Art Fair: the art, the artists, and the new approaches! These works are the cutting edge of art NOW, in 2016, and they are a sampling from galleries located in all of the major art centers of the world.

--lmine Rech Gallery, Paris, Brussels, London

Alfredo Jaar, "I Can't Go On. I'll Go On. 2016, Neon, ed of 36 + 6 ap,
Galerie Lelong, NYC, Paris

Carsten Holler, Massimo de Carlo, Milan, London, Hong Kong

Daniel Silver, "Sandy" 2016 BB4 Adel Rootstein mannequin,
Statuario marble, steel, palster, scrim, Firth Street Gallery

David Kordansky Gallery, Los Angeles

Dice on music sheet, Hauser & Wirth, Zurich, London, New York, Somerset, Los Angeles

Eddie Martinez, ed. of 100

Anne Collier, ed. of 100

Karl Holmqvist, ed. of 100

Katherine Bernhardt, ed. of 100

Ged Quinn, "I Am a Dream of My Soul", 2010
Stephen Friedman Gallery, London

Ged Ged Quinn, "The Rule of Grace", 2016, Oil on linen, Stephen Friedman Gallery

Ged Ged Quinn, "The Rule of Grace", 2016, Oil on linen, Stephen Friedman Gallery detail

Jim Hodges, "Untitled (When we collide)" 2001,
ceramic light sockets and light bulbs mounted on wood and metal panel,
Stephen Friedman Gallery

John Armleder, Massimo de Carlo, Milan, London, Hong Kong

John Armleder, (detail)
Massimo de Carlo, Milan, London, Hong Kong

John Armleder, (detail 2)
Massimo de Carlo, Milan, London, Hong Kong

Fiona Banner, "Verses Versus 2012" Graphite on paper, Frith Street Gallery

John Riddy, "New York 2015", Archival pigment print, ed. of 5, Frith Street Gallery

Mary Reid Kelley, "Priapus Agonistes" 2013, Pilar Corrias Gallery, London

Mary Reid Kelley, mask from "Priapus Agonistes" 2013,
Pilar Corrias Gallery, London

Mary Reid Kelley, mask from "Priapus Agonistes" 2013, Pilar Corrias Gallery, London

Massimo de Carlo, Milan, London, Hong Kong1

sculpture at Massimo de Carlo, Milan, London, Hong Kong

Matt Connors, ed. of 100

Matthew Marks Gallery, New York, Los Angeles

Mouse detail, Matthew Marks Gallery

Matthew Monahan,
Massimo de Carlo, Milan, London, Hong Kong

Peter Halley, "Regression", 2015, Florescent Acrylic and Roll-a-Texture on canvas, Sommer Contermporary Art

Roni Horn, "Untitled", Solid cast glass with as-cast surfaces with oculus, Hauser & Wirth

RxArt bags

RxArt Puzzles designed by Yayoi Kusama, Dan Colen and Terry Richardson,
all procees go to pediatric hospitals

Words on the Wall at Galerie Greta Meert, Brussels

Vik Muniz, "Seated Boy, after Georges Seurat (Charcoal), Traces 2016,
Charcoal drawing over archival pigment print, ed. of 10, Sikkema Jenkins & Co. detail

detail, Vik Muniz, "Seated Boy, after Georges Seurat (Charcoal),
Traces 2016, Charcoal drawing over archival pigment print, ed. of 10,
Sikkema Jenkins & Co. detail

Walter Oltmann, "child skull II" 2015, Woven 1mm aluminium wire, Goodman Gallery, Johannesburg, Cape Town

Detail for 3/d metal mesh drawing

Walton Ford, Schatten, 2016, watercolor, gouache and ink on paper, 60 x 80 inches,
Paul Kasmin Gallery, NYC

Wayne Gonzales, "Tarmac, JFK, New York City" 2015, acrylic on canvas, Stephen Friedman Gallery

Detail of brush work for art above by Wayne Gonzales,
"Tarmac, JFK, New York City" 2015,
acrylic on canvas, Stephen Friedman Gallery

William Kentridge, Ink on pre-printed pages,
Marian Goodman Gallery

detail, William Kentridge, Ink on pre-printed pages

William Kentridge, wall sculpture,
Marian Goodman Gallery

William Kentridge, ink drawing, Marian Goodman Gallery

FOOD:

Roasted celery root,

with blanched cabbage,
celery leaves, and

savory cashew cream

then sprinkled with
ground dried black lime

This Roasted Celery Root dish is "roll-your-eyes-back" good!

It is a combination of the roasted celery root mixed with blanched cabbage leaves and small fresh celery leaves served on a base of savory cashew cream, then sprinkled with crushed dried black lime.

Roasted Celery Root:

INGREDIENTS

4 lbs about 3 celery root (sometimes called celeriac)
1/3 cup vegetable oil
2 teaspoons salt

DIRECTIONS

Preheat oven to 425°F
Trim and peel celery root and cut into 1-inch pieces.
In a large roasting pan toss celery root with oil and salt and roast in middle of oven 30 minutes.
Stir celery root and reduce temperature to 375°F
Roast celery root, stirring after the 30 minutes, 1 hour more

The Celery Root is served with blanched cabbage leaves and some fresh celery leaves all with a savory cashew cream as a base. Then sprinkled with tangy black lime.

Savory (or sweet) Cashew Cream

INGREDIENTS:

1 cup (150 g) raw cashews
1/2 – 3/4 cup (125 – 190 ml) filtered water (add more water according to consistency desired)
Savory Cashew Cream
Juice of 1/2 lemon
1/2 tsp. sea salt
1/2 tsp apple cider vinegar (optional)
1 garlic clove (optional)
1 tbsp olive oil (optional)
Sweet Cashew Cream
2-4 tbsp honey or pure maple syrup
1/2 tsp vanilla extract

DIRECTIONS:

Soak the cashews in filtered water for 3 hrs or more then strain.
Add the cashews and fresh filtered water to the blender or food processor and blend until smooth.
Add remaining ingredients depending on whether you were making a sweet or savory cream, then blend until smooth.
Savory Cashew Cream can be used as a pizza topping, to a healthy pasta dish, over vegetables, baked dishes, casseroles, healthy Mexican meals, as a salad dressing (this can be thinned down with extra olive oil) or anywhere were you may have added a savory creamy sauce!
Sweet Cashew Cream can be drizzled over fruit and healthy desserts

Dried Black Lime

Dried lime (also known as: black lime;is a lime that has lost its water content, usually after having spent a majority of their drying time in the sun. They are used whole, sliced or ground, as a spice in Middle Eastern dishes.

Blanched Cabbage

• Simple blanched cabbage process:

• Pierce the core of your fresh cabbage, tough outer leaves removed, with a two-pronged fork.

• Get a big pot. Fill the pot up half way with water. Bring the water to a boil. Salt the water.

• Place a colander over a sheet pan next to the stove.

• Place the head of cabbage in the water with the fork and turn it all around to blanch the outer leaves. As the cabbage softens (a minute or two), lift the head from the water. Let the water run out of it. Use a paring knife to cut away the outer leaves over the colander, leaving them in the colander to drain.

• Place the cabbage back into the boiling water and repeat, cutting off all of the layers of leaves until you’ve reached the core of the cabbage where the leaves are too small and curly to use.

• There will be about 20 leaves, some will be bright green, others yellow, all are good to serve.

(Source: Original Recipe from The Atkinson Family Recipe Book)

Until later,

Jack

ART

Make Your Own Photo Essay,

Take The All American

Summer Road Trip!

IT'S SUMMER VACATION TIME!
Below is a list of landmarks and cultural institutions you can visit in all *48 contiguous United States + D.C., while you take the All American Summer Road Trip! The map was created to show the most economical way (time and distance) to see the USA* in your Chevrolet, SUV or Tesla.

This is a trip to do when you're young and have few responsibilities, or when you retire and have a brand new R.V., or if you've just been laid off from work, have a severance package and lots of free time on your hands... or just throw up your hands and say "I'm doing this!" Another option is to simply pick one part of the US you want to explore, use this map then research a highway link to form a loop so you can have a wonderful weekend, one or two week road trip!

The greatest pleasure of traveling by car is seeing America at ground level - all of the interesting stuff you've been missing by flying overhead at 30,000 feet! This is a true American Journey, a trip and an education of a lifetime !

"Oh, the photo-ops you will stumble upon, on the highways and back roads of America!"

A landscape photo example: for a photo essay.
This one was taken from the passenger's side of the car, while cruising down the highway!
Photo © Copyright 2016 Jack A. Atkinson

Of course there are no rules to this road trip, start from your favorite state!

1. Grand Canyon, AZ • Museum: (Phoenix): Children’s Museum of Phoenix

2. Bryce Canyon National Park, UT• Museum: (Salt Lake City): The Leonardo

3. Craters of the Moon National Monument, ID • Museum: (Cedar Rapids): Cedar Rapids Museum of Art

4. Yellowstone National Park, WY • Museum: (Jackson): National Museum of Wildlife Art

5. Pikes Peak, CO • Museum: (Denver): Clyfford Still Museum

6. Carlsbad Caverns National Park, NM • Museum: (Santa Fe): Georgia O’Keeffe Museum

7. The Alamo, TX • Museum: (Dallas): Frontiers of Flight Museum

8. The Platt Historic District, OK • Museum: (Oklahoma City): American Banjo Museum

9. Toltec Mounds, AR • Museum: (Bentonville): Crystal Bridges Museum of American Art - one of the best American Art Museums in the USA! Crystal (bridges.org)

10. Elvis Presley’s Graceland, TN • Museum: (Memphis): Metal Museum

11. Vicksburg National Military Park, MS • Museum: (Meridian): Jimmie Rodgers Museum

12. French Quarter, New Orleans, LA • Museum: (New Orleans): Degas House

13. USS Alabama, AL • Museum: (Mobile): History Museum of Mobile

14. Cape Canaveral Air Force Station, FL • Museum: (Miami): Pérez Art Museum Miami

15. Okefenokee Swamp Park, GA • Museum: (Macon): Museum of Arts & Science

16. Fort Sumter National Monument, SC • Museum: (Myrtle Beach): Encounters: U.F.O. Experience

17. Lost World Caverns, WV • Museum: (Charleston): Clay Center for the Arts & Sciences

18. Wright Brothers National Memorial Visitor Center, NC • Museum: (Raleigh): North Carolina Museum of Art

19. Mount Vernon, VA • Museum: (Brattleboro): Brattleboro Museum & Art Center

20. White House, Washington, DC • Museum: (DC): National Gallery of Art (nga.gov)

21. Colonial Annapolis Historic District, MD • Museum: (Baltimore): Geppi’s Entertainment Museum

22. New Castle Historic District, DE • Museum: (Dover): Biggs Museum of American Art

23. Cape May Historic District, NJ • Museum: (Asbury Park): Silver Ball Museum

24. Liberty Bell, PA • Museum: (Philadelphia): Woodmere Art Museum

25. The Freedom Tower observatory deck, NY • Museum: (New York): National Museum of Mathematics& The Metropolitan Museum of Art NYC (MetMuseum.org)

26. The Mark Twain House & Museum, CT • Museum: (Greenwich): Bruce Museum

27. The Breakers, RI • Museum: (Pawtucket): Rhode Island Music Hall of Fame

28. USS Constitution, MA • Museum: (Boston): ICA Boston

29. Acadia National Park, ME • Museum: (Waterville): Colby Museum of Art

30. Mount Washington Hotel, NH • Museum: (Dover): The Children’s Museum of New Hampshire

31. Shelburne Farms, VT • Museum: (Brattleboro): Brattleboro Museum & Art Center

32. Fox Theater, Detroit, MI • Museum: (East Lansing): Eli and Edythe Broad Art Museum

33. Spring Grove Cemetery, OH • Museum: (Cincinnati): American Sign Museum

34. Mammoth Cave National Park, KY • Museum: (Petersburg): Creation Museum

35. West Baden Springs Hotel, IN • Museum: (Indianapolis): Children’s Museum of Indianapolis

36. Abraham Lincoln’s Home, IL • Museum: (Chicago): National Museum of Mexican Art& Art Institute of Chicago (artic.edu)

37. Gateway Arch, MO • Museum: (Kansas City): American Jazz Museum

38. C. W. Parker Carousel Museum, KS • Museum: (Hutchinson): Strataca Kansas Underground Salt Museum (Hays) The Sternberg Museum, dinosaurs! (sternberg.fhsu.edu)

39. Terrace Hill Governor’s Mansion, IA • Museum: (Cedar Rapids): Cedar Rapids Museum of Art

40. Taliesin, WI • Museum: (Middleton): National Mustard Museum

41. Fort Snelling, MN • Museum: (Minneapolis): The Museum of Russian Art

42. Ashfall Fossil Bed, NE • Museum: (Hastings): Hastings Museum

43. Mount Rushmore, SD • Museum: (Rapid City): Museum of Geology

44. Fort Union Trading Post, ND • Museum: (Fargo): Plains Art Museum

45. Glacier National Park, MT • Museum: (Helena): Holter Museum of Art

46. Hanford Site, WA • Museum: (Seattle): Frye Museum

47. Columbia River Highway, OR • Museum: (Eugene): University of Oregon Museum of Natural and Cultural History

48. San Francisco Cable Cars, n. CA • Museum: (San Jose): The Tech Museum of Innovation

49. San Andreas Fault, s. CA • Museum: Orange County Museum of Art (ocma.net)

50. Hoover Dam, NV • Museum: (Las Vegas): The Neon Museum

Feel free to SHARE this interesting road trip with everyone!
http://artsnfood.blogspot.com/2016/06/make-your-own-photo-essay-on-your-all.html

(Source: Discovery)

FOOD

Paté Maison

Paté makes a great casual snack when served with toast points and a bottle of wine.

Ingredients:

1/2 lb of chicken or turkey, cut into 1 inch pieces

1/2 lb of bacon, cut into 1 inch pieces

1 clove garlic, cut in half

1 shallot, cut in half

1/4 lb smoked ham, cut into 1 inch pieces

salt

freshly ground pepper

1 egg

tiny pinch of ground cinnamon

1 tablespoon Congnac or other good-quality brandy

1 bay leaf

Directions:

PREHEAT AN OVEN to 400º F. In a food processor fitted with the metal blade, combine the poultry, bacon, garlic and shallot and process until minced. Add the ham, salt and pepper to taste, egg, cinnamon and bandy and process until the ham is finely chopped.

TRANSFER TO A RECTANGULAR TERRINE.

or a loaf pan with a w-cup capacity, packing it in firmly. Smooth the top with a rubber spatula and press the bay leaf gently into the meat mixture. Bake, uncovered, until the paté has pulled away from the sides of the dish and the top is nicely browned, about 45 minutes.

REMOVE FROM THE OVEN, let cool, cover and refrigerate for 1 day to allow the flavos to develop. Cut into slices and serve.

(Source: "Celebrating the Pleasures of Cooking" by Chuck Williams)

Until later,

Jack

ART

Frank Lloyd Wright’s

Bachman Wilson House

Relocated and Reconstructed

as an Architectural Exhibit at

Crystal Bridges

Crystal Bridges Museum, founded and created by Alice Walton, has bought and moved Frank Lloyd Wright’s Bachman Wilson House (c.1954), originally located in Somerset County, N.J. to a plot of land adjacent to the museum in Arkansas. It is so easily accessible, it works as an architectural exhibition of the museum.

Crystal Bridges'
Creator and Founder Alice Walton

Rendering: Frank Lloyd Wright’s Bachman Wilson House

Crystal Bridges Museum of American Art
is located in the North West Arkansas
town of Bentonville.
There are major interstate highways
and a busy International Airport
within a few miles of the museum's site.

Before the house was purchased by the museum, the three-bedroom, 2,000-square-foot-house had been besieged by flooding from New Jersey's Millstone River. In many ways Crystal Bridges Museum saved the structure from ruin. The museum sent curators and workmen to disassemble and catalog each piece of the house, then shipped it by truck 1000 miles cross-country and rebuilt the structure, mostly using Wright's specifications, in Bentonville, Arkansas.

The whole process is reminescient of the time The Metropolitan Museum of Art did the same with the ancient Egyptian "Temple of Dendur", saving it from being flooded in Egypt, then transporting it half way around the world and reassembling it at their institution in New York City. A heroic alliance of engineering knowledge, money and respect for cultural and art history.

The Bachman Wilson House was originally commissioned by Abraham Wilson, a research chemist turned patent lawyer and his wife, Gloria Bachman, who had met Wright when he was working on the Guggenheim Museum in New York. The last owners in New Jersey, architects and designers Lawrence and Sharon Tarantino, bought the house in 1988 and spent years faithfully restoring it. To their dismay, repeated flooding and water damage forced them to seek a savior who was willing to buy the home and move it to a suitable location.

Crystal Bridges Museum completed the painstaking project in 2015 and the home, in shiny like-new condition, is now one of the many highlights of visiting the museum.

Editor's Note: If you have not yet made Crystal Bridges a destination for your travels, you should. In this publication's opinion, Crystal Bridges is the most complete American Art experience in the entire United States!

(Source: All photos in this article are the property of and under the © Copyright of The Crystal Bridges Museum of American Art. They were used in this article for educational purposes only. Text referenced information from Crystal Bridges Website and from information reported in The New York Times and other online resources.)

FOOD

Mushroom Chicken Schnitzel

Chicken Cutlets served with a Mushroom Sauce

(From the Atkinson Family Cookbook)

This dish started from a craving for Stroganoff, but the mushroom sauce was the real draw, so we ended up making a chicken version of Rahm Schnitzel (basically Wiener Schnitzel - substituting chicken for veal) with a wonderful mushroom sauce. This entrée is delicious and fun to cook.

INGREDIENTS

• 2 chicken cutlets

butterflied chicken breasts, pound between plastic wrap until 1/4 “.

Note: with the size of today’s chicken breasts today, I think one breast, sliced in-two horizontally, then pounded flat is about right!

• 1 cup lemon juice

• salt & pepper

* 2 eggs (+ 2 Tbs water)

• 1/4 cup flour (approx.)

• 1 cup panko bread crumbs

• 1/4 cup veg. oil + 1/2 stick butter

* sliced lemons for serving

* Standard mushroom and onion cream sauce, like stroganoff but no meat.

DIRECTIONS

For Sauce

• Make the mushroom and onion cream sauce (no meat) like you do for Stroganoff. Place in a serving dish and set aside or refrigerate.

For Cutlets

* In a glass baking dish marinate the flattened cutlets in lemon juice for 1 hour.

(cover with plastic wrap)

* Pat them dry with paper towels

• Season them with salt and pepper on both sides

• Prepare the breading dishes:

#1) 2 eggs whisked with 2 Tbs water

#2) flour covering the bottom of a pan

#3) bread crumbs covering the bottom of a pan

• Dip the seasoned cutlets into the egg, then the flour (shake off the excess), then the bread crumbs (shake off the excess).

• Place them on a cookie sheet, cover with plastic wrap and refrigerate for at least 20 minutes.

• Heat the butter and oil in a large skillet.

• Cook each cutlet for 3 to 4 minutes per side until brown, turn over using tongs. (We did 4 min on 1st side, then 2 on second side, removed and made a small slice in thickest part, to check for doneness - 2nd one cooked a little faster. Ours plumped up while cooking. Cooking time depends on how thin your cutlets are pounded.)

Serve

• Serve the (chicken) Schnitzel immediately, with lemon wedges and the warm mushroom sauce. (Sauce can be served poured over the cutlets or on the side.)

(Source: The Atkinson Family Cookbook)

Until later,

Jack

Christina's World

Painting by Andrew Wyeth,1948

permanent collection: Museum of Modern Art, NYC

Egg Tempera on Gessoed Panel

ART

Taking a Very

Close Look at

Andrew Wyeth's

Christina's World

at MoMA

Christina's World is a 1948 painting by American painter Andrew Wyeth, and is one of the best-known American paintings of the middle 20th century. It depicts a woman, Anna Christina Olson, crawling across a treeless field, looking toward a gray house, a barn and various other outbuildings on the horizon.

This egg tempera work is done in a sub-style of realistic art, historians refer to as magic realism and the painting currently is on display at MoMA in New York City in the 2nd floor hallway leading to the main escalators, as a part of their permanent collection.

Christina's World was first exhibited at the Macbeth Gallery in Manhattan in 1948. Although it received little attention from critics at the time, the painting was quickly bought by Alfred Barr, the founding director of MoMA, for $1,800. Barr promoted the painting at MoMA and it gradually grew in popularity over the years. Today, it is considered an icon of American art and is rarely loaned out by the museum.

The woman in the painting is intended to represent Anna Christina Olson (May 1893 – January 1968). She suffered from a genetic neuropathy, so crawling was the way she moved around naturally. Wyeth was inspired to create the painting when he saw her crawling across a field while he was watching from a window in the house. Andrew Wyeth had a summer home in the area and was friends with the Olsons. He used her and her younger brother as the subjects of several paintings. Although Christina Olson was the inspiration and the subject of this painting, she was not the primary model — Wyeth's wife Betsy posed as the torso for the painting. Olson was 55 at the time Wyeth created this painting.

The house depicted in the painting is known as the Olson House, and is located in Cushing, Maine. It is open to the public and operated by the Farnsworth Art Museum. It is a National Historic Landmark and has been restored to match its appearance in the painting.Wyeth used his artistic license in the painting to improve the composition and gave more separation between the house and the barn on the left than is true of the real house and he changed the lay of the land to add drama.

Editor's Note:

When I look at a painting I get as close as the museum allows so that I may intently study how the artwork was created. In this case I wanted to see how the layers of paint and the many individual hairline brush strokes make-up this painting, along with the colors used and how they were juxtaposed to each other for effect. Egg tempera was the painting medium of choice before oil paint was invented. Wyeth was a master of this old medium which uses egg yolks mixed with pigment. People have said there were always egg shells everywhere while Andrew Wyeth was painting.

• Now let's take a "Close Look" at Andy Wyeth's technique for his famous painting: "Christina's World", c. 1948.

First let's look at how he painted the figure, Christina.

Christina at the lower left of the painting is why this work is so mysterious and magical. In reality, this is a true depiction of Christina Olson's life, as she crawled instead of walked. She suffered from a rare crippling form of genetic neuropathy.

Christina's wind-blown hair. (enlargement below)

Christina's hair is very believably rendered as it is tossed about by the wind.

Christina's out of proportion left hand is shown gripping the ground, while her right hand is diminutive and shrunken. The individual blades of tall yellow/brown grass were painted with individual strokes of the brush,
one at a time.
(enlargement below)

Christina's unusually large left hand was possibly caused by that hand being her main source of propulsion.

Christina's wrinkled elbow and a detail of her belt.

Christina's dress, lower legs and shoes + grass detail. (enlargement below)

There is a presence in Christina's legs and shoes that is almost photographic,
and from an artist's point of view, you feel her body weight interacting with the ground.

Next, let's look at how he painted the barn and a flock of birds.

The Olson barn is isolated from the house, at the top of a mowed field
and we can barely see the flock of birds flying around it.

The barn sits convincingly attached to the earth, just below the horizon line,
and we can sense the age and texture of the wooden building.

This detail is a quite small area on the actual painting. Although our photo is not entirely sharp, one can still understand the quick, mostly blurred, brush strokes depicting birds.

Finally, let's look at how he painted the Olson House and some details in the grass.

The Olson House

Detail of the weathered and unpainted Olson House.

Detail of the out-buildings and side yard (enlargement below)

The Olson house's out-buildings, with laundry hanging on the line.
Notice how many individual strokes make up every part of this painting.
This is partly due to the technique needed for the Egg Tempera medium, it dries very quickly.

Field, (enlargement below)

Layers of yellows and brown strokes make up the grassy fields.

Ruts in the field (enlargement below)

The ruts are very realistic upon inspection.

Christina's World

Andrew Wyeth,1948

Museum of Modern Art, NYC

Egg Tempera on Gessoed Panel

(Source: Photos were taken by ARTSnFOOD staff, with the permission of the museum + some photos were supplied by MoMA. The text was adapted from the reference source, Wikipedia)

FOOD

A New Take

on Vichyssoise

Make it into a Savory Ice Cream!

Vichyssoise

The original recipe (below) for vichyssoise is from Chef Louis Diat, the Ritz Carlton chef who created it first. Vichyssoise will also work as a base for savory ice cream.

Vichyssoise (original recipe)

Ingredients
4 leeks (white parts)
1 medium onion
2 ounces sweet butter
5 medium potatoes
1 quart water or chicken broth
1 tablespoon salt
2 cups milk
2 cups medium cream (half & half)
1 cup heavy cream
Chopped chives (fresh)

Directions
Finely slice the white parts of the leeks and the onion, and brown very lightly in sweet butter, then add the potatoes, also sliced finely. Add water or broth and salt. Boil 35 to 40 minutes. Crush and rub through a fine strainer. Return to heat and add 2 cups of milk and 2 cups of medium cream (half & half). Season to taste and bring to a boil. Cool and then rub again through a fine strainer.
1) When soup is cold add the heavy cream. Chill and serve, garnished with chopped chives.
OR
2) When soup is cold, stir in the heavy cream and put the mixture into an ice cream freezer. Allow the vichyssoise to churn until it forms a rich, creamy, ice cream. Scoop onto plates or bowls, garnish with chopped chives and serve!

------------------

Vichyssoise
(an easy, less time consuming recipe)

Ingredients

• 2 1/2 cups finely diced raw potatoes

• 4 tablespoons butter

• 6 leeks, cleaned and cut into 1 inch pieces

• 3 cups chicken broth

• 1 teaspoon salt

• 1/2 teaspoon freshly ground black pepper

• Dash of nutmeg

• 2 cups or heavy cream

• Chives (fresh)

Directions

Cook the potatoes in salted water to cover until just tender. Melt the butter in a skillet and cook the leeks gently, tossing them lightly, for a few minutes. Add the chicken broth and bring to a boil. Lower the heat and simmer the leeks until tender. Add the potatoes to the leeks and the broth and season to taste with salt, pepper and nutmeg. Put this mixture into a blender. (Caution: be careful when pouring hot liquid into a blender, the blender must be in the off position and fill only half way. Also be careful to watch for steam when removing the lid.) You will need to blend the soup in more than one batch - for one minute or until smooth. Put into the fridge to cool. When cool, stir in the heavy cream and put the mixture into an ice cream freezer. Allow the vichyssoise to churn until it forms the consistency of ice cream.
Scoop the savory ice cream onto plates or bowls, garnish with chives and serve!
A very different way to serve a savory cold soup!!!

(Source: A combination of recipes; Savory Vichyssoise Ice Cream from the Atkinson Family Cookbook, based on the original vichyssoise recipe from Time Life's Classic French Cooking,; the quick leek and potato vichyssoise from Epicurus.com)

Until later,

Jack

A Douglas Coupland De-recognize Photographic Portrait.

ART

Douglas Coupland

featured artist at the
ARMORY SHOW
NYC 2016

Canadian Douglas Coupland is the author of many non-fiction books & novels and currently is the visual artist in residence at the Google Cultural Institute in Paris, France, among many other impressive resume listings in the publishing world and the art world. Coupland was one of the featured artists at the Armory Show, 2016 - with an installation booth set up at the entrance to the art fair.

Signs on the wall at Douglas Coupland's installation at the entrance to the Armory Show art fair.

"DE-RECOGNIZED SELFIES as ART" - Douglas Coupland's program at the Amory Show was to "de-recognize photographic portraiture" self-portraits or otherwise!

When we all look in the mirror, we look differently than when we see our image in a photograph. Selfies are changing this phenomenon. Today with smart-phone technology we are seeing so many photos of ourselves that we are actually re-wiring our brains to recognize and understand what we look like to the rest of the world.

WHAT'S NEXT?
Douglas Coupland speaking on his installation, a
four minute talk at the Armory Show, 2016.

Some of the books Coupland
has authored.

More images from his De-recognize Photo Art Installation Project at the ARMORY Show, 2016, inspired by the current popularity of selfies:

Douglas Coupland's De-recognize Photographic Portrait

De-recognize Photographic Portrait

(Source: All photos taken with permission by ARTSnFOOD staff at the Armory Show)

WHAT’S NEXT? SHORT TALKS ABOUT THE FUTURE from The Armory Show on Vimeo.
LIKE, SWIPE AND DOUBLE TAP: VISUAL CRITICISM IN THE DIGITAL AGE from The Armory Show on Vimeo.

FOOD
Brandy Milk Punch

INGREDIENTS
2 ounces of Brandy
1 ounce of Simple Syrup
1/2 teaspoon pure vanilla extract
1 1/2 ounces half and half (cream)
Freshly grated nutmeg (for garnish)

INSTRUCTIONS
Combine all of the ingredients in a cocktail shaker with ice and shake vigorously.
Strain into a rocks glass filled with ice.
Garnish with a light dusting of freshly grated nutmeg.
Serve immediately.

Until later,

Jack

Detail of art installation: "Yellow Sphere",
medium: translucent plex & steel wires, 220 cm diameter
by artist Lulio le Parc

EDITOR'S NOTE: In our ART 2 section, the subject matter of Spencer Tunick’s art photos is the nude figure. These images may be inappropriate for some sensibilities and for some work and family situations. Please do not scroll down to view this article if art photographs of male and female nudity, in all shapes and sizes, will offend you, your coworkers, your family, etc.- Thank you.

ART 1

Looking inside

“The Mind of an Artist!”

For the most part, artists and creative people make their work alone. So "self-talk" is generally the only conversation going on in the studio!

• From art critic Jerry Saltz:

“While artists stare at the blank paper/canvas they say their mantra: I Can't Draw. I'm A Fake. I Can't Schmooze. What I'm Doing Doesn't Matter. I'm Poor. I’m doomed because I Did Not Go To The Right Schools. No One Cares About My Work. I'm Not Original…” Sound familiar to any artists you know?

• The Creative Process

as it unfolds in the mind of an artist:

1) This is going to be awesome!

2) Making this “work” is a bit tricky.

3) This is crap!

4) I am crap!

5) Hold on, it’s is starting to work again - I may be OK.

6) WOW, THIS IS AWESOME! I AM AWESOME!

• Make It Work

One of my instructors in art school said:

“As soon as you make a single mark on your paper or canvas, whatever you paid for those materials has now vanished, you have ruined it and it's worthless! As an artist, your job - using your talent, is to make that paper/canvas worth at least as much as what you paid for the materials and hopefully MUCH, MUCH MORE!”

- Jack Atkinson

• The Power of a Schedule

Productive artists do not wait for motivation and inspiration to strike, but simply set a schedule for working on a consistent basis - easy to say, but hard to do.

• The Power of a
Place to Work
Research studies on willpower and motivation back up the statement: “If you waste resources trying to decide when or where to work, you’ll impede your capacity to do the work.”

ART 2

Photographer Spencer Tunick

turns thousands of nude bodies

into environmental sculptures,
then takes his pictures.

Photographer Spencer Tunick's request for volunteers never fails to attract thousands who want to participate in his mass photos of humans gathered together, completely in the buff.

Each participant has a different reason for being involved. Whether wanting to accept or celebrate their (youthful or aging) bodies or just to experience a once-in-a-lifetime experience, that all participants say is "freeing", with nothing to hide and all of your physical imperfections exposed to the world in broad daylight. In these mass nude photographs the anxiety of being nude is diminished as the crowd disrobes, and distinctions between bodies begin to be barely distinguishable and certainly insignificant.

His latest project was at the opening of the Republican National Convention in Cleveland where 100 women gathered naked in a field across from the convention center. The project rejects the sexualization and objectification of the female nude figure. Instead, Tunick’s images present the nude as something naturally empowering, courageous and his work is a collaborative effort.

(Source: All photographs and the source for the text was first published by the huffington post and authored by Priscilla Frank. Please go to their link (below) for the complete story, more details and more photographs. http://www.huffingtonpost.com/entry/100-women-just-got-naked-together-at-the-republican-national-convention_us_578cc902e4b0867123e1bf86 )

Spencer Tunick at Mexico City's Zocalo square on May 6, 2007.

Spencer Tunick at Mexico City's Zocalo square on May 6, 2007. A record 18,000 people took off their clothes.

Spencer Tunick in front of the Gaasbeek's Castle on July 9, 2011.

Spencer Tunick in the northern Portuguese village of Santa Maria da Feira on September 13, 2003.

Spencer Tunick in downtown Munich on June 23, 2012.

Spencer Tunick in front of the Sydney Opera House on March 1, 2010.

Spencer Tunick a three-dimensional body sculpture at the Museum Kunst Palast in Duesseldorf on August 6, 2006.

Spencer Tunick at San Sebastian's Kursaal auditorium on April 22, 2006.

Spencer Tunick in a vineyard of Pouilly-Fuisse in Fuisse on October 3, 2009.

Spencer Tunick at the Ernst Happel soccer stadium in Vienna on May 11, 2008.

Spencer Tunick in downtown Munich on June 23, 2012.

Spencer Tunick in front of the Sydney Opera House on March 1, 2010.

Spencer Tunick in the Europarking building in Amsterdam on June 3, 2007.

Spencer Tunick in the northern Belgian city of Bruges on May 7, 2005.

Spencer Tunick on the Aletsch glacier on August 18, 2007 a Greenpeace campaign highlighting climate change.

Spencer Tunick pillow fight in front of the Gaasbeek's Castle on July 9, 2011.

Spencer Tunick Saatchi Gallery in London on April 15, 2003.

Spencer Tunick at RNC shoot. Photo credit Huffington Post / Lindsey Byrnes, July 17, 2016. LINK:

http://www.huffingtonpost.com/entry/100-women-just-got-naked-together-at-the-republican-national-convention_us_578cc902e4b0867123e1bf86

Detail of a production still from Spencer Tunick's shoot at the RNC.
Photo credit: Huffington Post / Lindsey Byrnes, July 17, 2016. LINK:

http://www.huffingtonpost.com/entry/100-women-just-got-naked-together-at-the-republican-national-convention_us_578cc902e4b0867123e1bf86

(Source: All photographs and the source for the text was first published by the huffington post, the RNC story was authored by Priscilla Frank. Please go to their site, {link below} for the complete story, more details and more photographs. http://www.huffingtonpost.com/entry/100-women-just-got-naked-together-at-the-republican-national-convention_us_578cc902e4b0867123e1bf86 )

FOOD

Oven Baked

Zucchini Chips

INGREDIENTS

1 (large) zucchini, cut into 1/8" - 1/4" slices

1/3 cup whole grain breadcrumbs, optional Panko

1/4 cup finely grated Parmesan cheese, reduced fat

1/4 teaspoon black pepper

Kosher or sea salt to taste

1/8 teaspoon garlic powder

1/8 teaspoon cayenne pepper

3 tablespoons low-fat milk

DIRECTIONS

Thinly slice the zucchini with a mandolin slicer. Mix all dry ingredients together, except zucchini. Dip slices in the milk then dump them into a gallon size bag filled with the dry seasoning, shake to coat, dump onto a cookie sheet, bake at 425F until crispy brown.
Serve warm or at room temperature.

Until later,

Jack

A Native American Brave
(detail of marble sculpture)
Artist: Randolph Rogers 1825-1892
title: "Atala and Chactas" c. 1854

ART

At Crystal Bridges Museum of American Art a new exhibit, titled "Changing Perspectives of Native Americans", shows how the American Indians were portrayed by European and early Euro-American artists.

Currently in one of Crystal Bridges' museum galleries there are artworks which reflect the world's shifting attitudes toward American Indians during the 1800s (the 19th century).

Artist: Randolph Rogers 1825-1892
title: "Atala and Chactas" c. 1854

(Detail of female figure)
Artist: Randolph Rogers 1825-1892
title: "Atala and Chactas" c. 1854

Artist: George Winter, title: "Ten Potawatomi Chiefs", c. 1837

Artist: Charles Bird King, title: "Portrait of Croushing Eagle"

Artist: Charles Bird King, title: "Portrait of Ottoe Half Chief"

Artist: Charles Bird King, title: "Portrait of John Ridge"

Artist: Cyrus Edwin Dallin, Title: "On the Warpath"

Artist: Edmonia Lewis, Title: "The Old Arrow Maker"

Artist: Edward Sheriff Curtis, Title: "Chief Hector - Assiniboin"

Artist: Edward Sheriff Curtis, Title: "Lodge of the Horn Society - Blood"

Artist: Edward Sheriff Curtis , title: "On the Shores of Nootka"

Artist: Albert Bierstadt, title:"Indians Fishing"

Artist: Worthington Whittredge,
title: "Twilight on the Plains, Platte River, Colorado" c. 1866-1867

Artist: George de Forest Brush, Title: "The Indian and the Lily"

Artist: Henry Kirke Brown,
title: "The Choosing of the Arrow"

Artist: George Winter, Title: "Eight Potawatomi Natives"

Artist: George Catlin, title: "Indian Encampment" c. 1852-1868

Artist: Thomas Cole, title: "Landscape with Indian" c. 1826

Artist: James Wooldridge, Title: "Indians of Virginia"

Detail of "Indians of Virginia" - Artist: James Wooldridge

(Source: Photos taken with permission of Crystal Bridges Museum by ARTSnFOOD staff. Text / wall plaque descriptions, by Crystal Bridges museum's staff.)

Food

Parmesan-Roasted

Cauliflower

Ingredients

1 head cauliflower
1 sliced medium onion
4 thyme sprigs
4 unpeeled garlic cloves
3 tablespoons olive oil
Kosher salt
Freshly ground black pepper
1/2 cup grated Parmesan

Directions

• Preheat oven to 425°F. Cut 1 head cauliflower into florets;

• Toss on a large rimmed baking sheet with 1 sliced medium onion, 4 thyme sprigs, 4 unpeeled garlic cloves, and 3 tablespoons olive oil;

• Season with kosher salt and freshly ground black pepper.

• Roast, tossing occasionally, until almost tender, 35-40 minutes.

• Sprinkle with 1/2 cup grated Parmesan, toss to combine, and roast until cauliflower is tender, 10-12 minutes longer.

(Source: the Atkinson Family Cookbook,)

Until later,

Jack

("Cedar Drawing" by Jack A. Atkinson, Ink & Brush on Arches Paper)

I STOPPED MAKING ART

DURING

"ADOLESCENCE

POSTURING" -

THINKING

I WAS NO GOOD &

I WAS EMBARRASSED

TO BE AN ARTIST!

AS AN ADULT,

I LONG FOR THE

LOVE I LOST.

Editor's Note:

This issue has been adapted from The Painters Keys blog.

"Finding Yourself Again" which was first published on July 2, 2004.

Here the text has been edited and altered

to change the emphasis from

writing and writers, to art and artists.

(For the referenced original, go top painterskeys.com 7-2-2004.)

The Letter:

I grew up in an environment that did not stimulate creative development. Nevertheless, in adolescence I was a prolific artist. But suddenly I stopped. I remember thinking that the art I created wasn’t any good, and that I shouldn’t draw or paint any more. I put everything I had produced into the garbage. I don’t know why. Now ten years have passed and I haven’t painted, drawn or created any art since my decision to quit.

What I find curious is that I still remember the pleasure making art gave to me, and being frequently in a state of ‘flow.’ I would like to recapture that same pleasure, the creativity that I had, and begin drawing and painting again. I don’t know exactly where to start and don’t have a clue if I’m on the right path.

Any suggestions?

The Reply:

Thanks for that. In order to rekindle your love and perhaps your proficiency you have to understand what went on. In your teenage innocence you wrote because "it gave you joy". Then your restrictive environment kicked in and gave you the excuse to stop. You destroyed your stuff because your discipline was external. You must now internalize your discipline. Actually, this adolescent action-reaction is commonplace. While many flames are permanently snuffed, they need not be.

Some folks figure it out and end up “loving” again.

Here’s how they do it:

• Allocate an hour for art every single day.

• Do whatever holds your interest or takes your fancy.

• If you can’t think of anything to draw or paint, create something anyway.

Rely on your natural wisdom, trust yourself and follow your instincts.

• Do ART for no other reason than to give yourself joy.

• In your spare time look at the art of others you admire.

• When painting or drawing... scraping and repainting... erasing and redrawing... when you think you’re finally getting it right, STOP and get a clean canvas or paper, then make the work you have now clearly envisioned, one-time, cleanly and directly.

• Share your efforts only with trusted friends.

• Look for the gleams of a personal style, when you notice it, double down "THERE", your signature style is developing", go in that direction.

• Fall in love with your process, the grind of working at your craft.

• Photograph, Document and Archive your work as you go. You will never regret being able to see how it has progressed.

• Give the above process some honest effort - for at least a six week period.

• You will find "LOVE" again!

___________

• “Success is nothing more than a few simple disciplines, practiced every day, while failure is simply a few errors in judgment, repeated every day.” -Jim Rohn

• “We find our freedom along the guiding lines of discipline.” -Yehudi Menuhin

• (ART) “Writing has laws of perspective, of light and shade just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.” -Truman Capote

• “Artistically I am still a child with a whole life ahead of me to discover and create. I want something, but I won’t know what it is until I succeed in doing it.” -Alberto Giacometti

(Source: The Painter’s Keys blog, published by Robert Genn and Sara Phina, go to: painterskeys.com July 2, 2004)

FOOD

Crispy Potato, Onion, and Mushroom Rosti

This vegan dish is crispy and golden brown on the outside, yet creamy and tender in the middle with the rich flavor of sautéed onions and mushrooms.

Note: For best results, cut potatoes into 1/16th-inch matchsticks (by hand, on a mandoline, using the large holes of a box grater, or the large shredding disk of a food processor).

(Makes one 10-inch pie-like rösti, serving 2 to 4 people)

INGREDIENTS

5 tablespoons olive oil
3 medium russet potatoes (about 1 pound) rinsed and cut into 1/16th-inch matchsticks or grated (see note above)
1 medium onion, finely sliced (about 1 cup)
4 ounces button mushrooms, finely sliced
2 cloves, grated on a microplane grater
1 teaspoon picked fresh thyme leaves
Kosher salt and freshly ground black pepper

DIRECTIONS

• Spread potatoes on a large microwave-safe plate and microwave on high heat until hot all the way through and softened but still slightly crunchy, about 5 minutes.

• Meanwhile, heat 1 tablespoon oil in a 10-inch well seasoned cast iron or nonstick skillet over medium-high heat until shimmering. Add onions and mushrooms and cook, stirring and tossing occasionally, until softened and starting to brown, about 8 minutes. Add garlic and thyme and cook, stirring frequently, until fragrant, about 30 seconds. Season to taste with salt and pepper. Transfer to a small bowl and wipe out skillet.

• Heat 2 tablespoons oil in skillet over medium heat until shimmering. Add half of potatoes and press into bottom of the pan with a rubber spatula. Season with salt and pepper. Spread onion/mushroom mixture evenly over the potatoes and top with remaining potatoes. Press down into an even disk shape using a rubber spatula. Season top with salt and pepper.

• Cook, swirling and shaking pan occasionally until deep golden brown and crisp on the first side, about 7 minutes. Carefully slide rösti to a large plate. Set another plate on top of it upside down, grip the edges, and invert the whole thing so the rösti is now cooked-side-up. Heat remaining two tablespoons oil in the skillet and slide rösti back in. Continue cooking, swirling and shaking pan occasionally until deep golden brown and crisp on the second side, about 7 minutes longer. Slide rösti to a cutting board. Serve immediately with a side of vegan aioli.

(Source: seriouseats.com)

Until later,

Jack

The iconic image of "Marilyn" by Andy Warhol

ART

MARILYN MONROE

AN ICONIC IMAGE in

CONTEMPORARY ART

Marilyn Monroe has become as much a part of the art scene as the contemporary art stars who are featured at major art galleries and art auctions. As a "Madonna figure", a beautiful symbol of the perfect female body, as a model for photographers in the 1950s & 60s, or just as a contemporary image of fame and stardom, Marilyn's image has grown to become a major player in art today!

Artists are drawn to Marilyn Monroe images.

Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962) was an American actress and model. Famous for playing "dumb blonde" characters, she became one of the most popular sex symbols of the 1950s, emblematic of the era's attitudes towards sexuality. She continues to be considered a major popular culture icon.

There are hundreds of thousands of art images using Marilyn as the subject.
It's like: "Oh, here's a Marilyn technique no-one has thought of yet!?!"

Born and raised in Los Angeles, Monroe spent most of her childhood in foster homes and an orphanage and married for the first time at the age of sixteen. While working in a factory as part of the WWII war effort in 1944, she met a photographer and began a successful pin-up modeling career. The work led to film contracts. After a series of minor film roles, she signed a contract with Fox in 1951. Over the next two years, she became a popular actress with roles in several comedies, including As Young as You Feel and Monkey Business, and in the dramas Clash by Night and Don't Bother to Knock. Monroe posed for nude photos before becoming a star, but rather than damaging her career, that story increased interest in her films.

By 1953, Monroe was one of the most bankable Hollywood stars, with leading roles in three films: the noir Niagra, which focused on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a "dumb blonde". Although she played a significant role in the creation and management of her public image throughout her career, she was disappointed at being typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project, but returned to star in one of the biggest box office successes of her career, The Seven Year Itch (1955). When the studio was still reluctant to change her contract, Monroe founded a film production company in late 1954, Marilyn Monroe Productions (MMP). She dedicated 1955 to building her company and began studying method acting at the Actors Studio. In late 1955, Fox awarded her a new contract, which gave her more control and a larger salary. After a critically acclaimed performance in Bus Stop (1956) and acting in the first independent production of MMP, The Prince and the Showgirl (1957), she won a Golden Globe for Best Actress for Some Like It Hot (1959). Her last completed film was the drama The Misfits (1961).

Monroe's troubled private life received much attention. She struggled with addiction, depression, and anxiety. She had two highly publicized marriages, to baseball player Joe DiMaggio and playwright Arthur Miller, which both ended in divorce. She died at the age of 36 from an overdose of barbiturates at her home in Los Angeles on August 5, 1962. Although the death was ruled a suicide, conspiracy theories still surround the details of her death.

(Source: Text adapted from Wikipedia - Photos from many online sites.)

FOOD

Dinner Party Seafood Pasta

At a recent dinner party, we served this seafood spaghetti. It was so fresh and very much enjoyed by all!

INGREDIENTS

3 large eggs, beaten until yellow
1/2 cup finely grated Pecorino Romano cheese (or Parmesan Cheese)
1 package (16oz) of Angel Hair Spaghetti
3/4 stick of salted butter, cut into 1/4" knobs
Fresh Ground Pepper & Ground Sea Salt
Dried Basil

SPAGHETTI DIRECTIONS

In a medium bowl, beat the eggs the mix in the grated cheese.
In a large pot of salted boiling water (as salty as the sea), cook the spaghetti al dente. Drain, reserving some of the cooking water.
In a large bowl, toss the HOT pasta with the butter plus the egg mixture, (the hot pasta will cook the eggs to some degree). If the pasta is still a bit stiff add reserved pasta water one tablespoon at a time. Toss the pasta until coated in a creamy, cheesy sauce.
Season with pepper to taste, add salt if needed.
Serve the pasta on plates.

SEAFOOD DIRECTIONS

Cook Shrimp, Lobster, and Sea Scallops separately in the manner you like best.
Add some of each of these shellfish to the top of each plate of finished spaghetti

PLATING

Sprinkle the platted seafood pasta lightly with dried or chopped fresh basel.
Serve, passing more grated cheese at the table.

(Source: Atkinson Family Cookbook)

Until later,

Jack

ART

"A Mid-American

Road Trip"

Photo Essay

by Jack A. Atkinson

As summer comes to an end, most Americans have done some sort of recreation, taken some time off from work, or gone on a vacation, to recharge their batteries and to attach a memory to the 2016 summer season. ARTSnFOOD's editor / publisher Jack A. Atkinson shows some of his snaps from the mid-American road trip, he and his wife took last month.

(Presented here as "Untitled" Art Photography, without captions.)

FOOD

The Pros and Cons

of Eating-Out or

Pre-Packaged Meals

Cooking Meals at Home!?!

With the price of eating-out being so high, including taxes and gratuity, one would think all of us would be cooking at home for every meal, but that's not the case in today’s modern world.

Here are the Pros and Cons of a home-cook meal vs eating-out or settling for a pre-packaged, microwavable meal. There will not be a verdict here, except for consideration regarding how this impacts the quality of our lives. ARTSnFOOD thinks this subject is worth discussing, since cooking at home is often our last option!

PROS of Eating-Out and Pre-Packaged Meals!

# 1) It's faster! The world moves quickly, we all seem to be constantly going and doing. By taking advantage of eating-out and pre-packaged meals, our time is spent only on eating, not on food preparation or clean-up. This is the #1 reason most people are eating-out or buying microwaveable meals at the store.

# 2) Cost! Fast-food restaurants can be an inexpensive choice and we always have an idea of what we are going to order, before we even walk through the fast-food door. The biggest changes in diets around the world and in the USA have come as a result of fast-food chains. Each diner knows what is available on the menu for each chain and their offerings are consistent almost everywhere! We humans have a bias toward consistency, especially with our food. Few people enjoy experimentation when they just want something to eat.

# 3) Life is easier! Eating-out is all about service - none of the hassles, just the eating. We can decide at a moments notice "I want to eat!" and you can! Either go to the drive-through window, or take a seat inside, then let someone else do all of the work, including the wait-service in more formal restaurants.

# 4) Microwaveable Food is Fast & Easy! Pre-packaged foods offer a similar convenience as fast food restaurants, except we go to our freezer to pull out a meal. Simply remove the packaging, punch a hole in the plastic film and a few minutes later we have a meal in its own disposable dish.

CONS of Eating-Out and Pre-Packaged Meals!

# 1) EATING OUT AND PRE-PACKAGED FOODS CAN BE EXPENSIVE! When we go out to eat, we realize we are paying others to do much of the work for us. But think of how expensive eating-out is, vs eating at home. The difference is like comparing buying items for wholesale prices vs buying them at retail, plus in sit down restaurants we must pay for table service (gratuity), in addition to the cost of the food.

# 2 through #100) WE ARE NOT IN CONTROL: The nutritional value of the food and the calorie count, fat, carbs, sugars, salt, and flavor are left-up to someone else, usually it’s left-up to corporate executives with a PROFIT MOTIVE as their only purpose for offering us the food.

This business emphasis based on convincing us to spend our money on their food, in that moment, and their desire to have us come back for more food another day, means they use hooks like "fat", "salt", "sugar" and "rich calorie counts" to make us love their food. This does not take into account their choice of drinks (sweet or with alcohol) offered. All of these tools generally contribute to a poor diet.

# 101 through #1000) Microwaveable Pre-Packaged Foods: Let's be honest, these meals taste horrible!

PROS of Cooking Our Meals at Home!

#1) WE ARE IN CONTROL: At home we are in control of every aspect of what we put into our bodies: the fat, salt, sugar, calories and the nutritional content of our meals.

#2) INEXPENSIVE! The price of a meal at a restaurant can be expensive, especially if you add in drinks, tax and tip. Think about a meal where you fed your family at a sit-down restaurant, for that same price you could have eaten three meals a day for several days. Eating at home is eating at wholesale prices!

#3) HEALTH COMES FIRST! Since our motive is to make the best life possible for ourselves and our family, we are focused on the proper aspects of eating: flavor, nutrition, cost and health concerns are taken into consideration. We decide what is best for us, vs the restaurant's profit motive figuring into the meal we are eating, even if the food is unhealthy.

CONS of Cooking Our Meals at Home!

#1) - Time and Effort are the Concerns: There are many steps involved in creating a nutritious and tasty meal at home and those steps take time, work and planning.

Working-out creates a healthier body, working at a job provides for our needs and working to create good, nutritional and tasty meals all have a consistent element: WORK! Like everything worthwhile, it takes work and time for a good result.

All of this work is often over-looked by those who are gathered just long enough to eat a meal. Please “THANK” whom-ever is preparing the food!

———————————————

THE PROCESS OF COOKING A MEAL AT HOME.

#1) Planning the meal. All food starts as a thought process - first as to what we want to eat, then as a list of what we need to buy. Sometimes these are formal decisions, but often they are made in the grocery store as we shop.

#2) Shopping for the food. All cooking at home starts with buying the food at the store or delivered to your door, via online shopping.

#3) Putting away the food for healthy storage until we are ready to cook.

#4) Gathering the knowledge: Knowing how to prepare a certain meal, from experience, a cook book or other instruction.

#5) PREPARATION: Preparing the food before you cook it. Organizing the ingredients, chopping, slicing, marinating, rinsing/cleaning the food, pulling out the cooking utensils needed to prepare and cook the meal.

#6) COOKING THE MEAL. Often it takes planning if three or four elements need to be ready at the same moment when preparing a balanced meal. Cooking can take 10 minutes or several hours depending on what is to be served.

#7) DINING AT HOME! This is the fun part of the eating experience and dining at home has many benefits that have been proven over the centuries. It provides time for conversation and being together, often the evening meal is the only time a couple or family are gathered together. THIS COULD BE THE MOST IMPORTANT REASON TO COOK AT HOME.

#8) CLEANING UP THE DISHES! The dishes and silverware must be cleaned. Even if you have a dishwasher, rinsing off food, loading and unloading and putting in the soap, plus the proper adjustment of the dishwasher is the least appreciated work we do, when cooking at home.

#9) CLEANING-UP THE COOKING AREAS AND THE TABLE. Everywhere there was preparation and cooking, some clean-up can take quite a bit of work.

#10) PUTTING EVERYTHING AWAY FOR THE NEXT COOKED MEAL. The final stage of a meal is putting away all of the dishes, pots, pans and utensils, so we will be ready for the next meal, again this takes real time and effort.

THE BEST THING WE CAN DO FOR OUR HEALTH IS TO TAKE CONTROL OF THE NUTRITION WE PUT INTO OUR BODIES! Cooking at home allows us to know exactly what we are eating (how much fat, salt, sugar and calories) and it allows us to control the flavors we crave and enjoy!

A good trainer will always tell us: “Nobody can out-train a poor diet!” So if we want “The Good Life”, we must cook at home! It takes extra effort, but the benefits can improve your health, improve your wealth and improve your relationships!

COOKING AT HOME
CAN BE ONE OF

THE MOST IMPORTANT SECRETS

FOR FINDING HAPPINESS

IN LIFE!

Remember, appreciation is in order and everyone in a family benefits from good home cooked meals.

(Source: Orginal text by ARTSnFOOD.)

Until later,

Jack

SPECIAL

EDITORIAL

ISSUE:

One Man's

POINT-OF-VIEW

ON ETHNICITY

by Editor/Publisher
Jack A. Atkinson

(From time to time, ARTSnFOOD publishes editorialized content. This point-of-view is specifically one person's opinion and we recognize many differing opinions exist. This post will be up for a short period before it is moved into the archives. Then ARTSnFOOD will return to its focus on "The Joy of Art.")

A "DEEP-THOUGHTS" DAY

I have decided that ethnicity (race) is not really about skin color and other physical features, but is mostly about the geography of our heritage, our traditions and all of the unique cultural influences which define us!

For my whole life there seems to have been a constant discussion about ethnicity in America. The current ethnic discussions are about immigration status - somehow focused only on Hispanics from Mexico, plus the Black Lives Matter movement - with so many questionable shootings making the news.

My original position on ethnicity, as an adult, was to be “color blind.” I though it was a good point-of-view and the correct way to associate with ethnically diverse friends. Very quickly I found out, everybody strongly wanted me to recognize their ethnicity as a part of their identity and to never be "color blind!"

I have now pivoted my point-of-view to think ethnicity is less about physical features (skin tone, distinct features, etc.) and more about how our heritage, our histories and the culture we were raised in defines us. It’s how we relate to our extended family and it’s what we rally around when an offense occurs.

Scientifically and genetically, there are only minuscule differences between all humans. Our ethnicities are controlled by only 3 to 6 genes out of the 25,000 genes making-up the human genome. Somehow each of us is unique within those 3 to 6 genes, but we must remember genetically we are 99.999% alike.

Our ethnicity is passed down to us through the cultures of our geographic linage: from many generations in a specific place; our religions; our foods; our language, and our dialects with-in that language; how we were raised; and our cultural identity. These influences have created our ethnicity.

As adults we learn to accept change: in the world around us, in our lives, in how we think, and in how we act.
So I ask:
Can we stop thinking about ethnicity simply as physical traits and start focusing on the interesting and diverse cultures represented by the word race?
Can we stop stepping on each others cultural toes?
Do we understand each other’s problems from the other perspective?
Can we find respectful solutions to problems where ethnicity is involved?

Keeping in mind, we are all human, 99.999% alike genetically and we share these places we call home!

- Jack A. Atkinson

Until later,

Jack

Limestone metope with battle scene.
Greek, Hellenistic period, late 3rd-mid-2nd century b.c.

ART
Antiquities:
Art & Design
during and after
Alexander the Great
(From the Met Museum of Art NYC Exhibition:
Pergamon and the Hellenistic Kingdoms
of the Ancient World)

The Hellenistic Age that followed the conquests of Alexander the Great witnessed unprecedented cultural exchange and a burst of creative activity. After Alexander's death in 323 B.C., his generals, known as the Diadochi (Successors), divided his vast empire, which stretched from Greece and Asia Minor through Egypt and the Near East to the Indus River Valley, into multiple new kingdoms. Over the next three centuries, the concentration of wealth and power in these kingdoms fostered an unparalleled growth in the arts, while the melding of traditions led to new standards and conventions in style. Hellenistic royalty were major patrons of the arts and sciences, and formed the first great libraries, art collections, and museums. It was primarily through the Hellenistic kingdoms and illustrious city-states such as Athens that ancient Greek art was transmitted to the Romans.

The Acropolis of Pergamon

This above graphic shows a photograph of the ancient Greek Acropolis and citadel of Pergamon: "Today" and with an overlay drawing, then a digital recreation painting of what it was like at "Pergamon while it flourished."

(Pergamon Panorama, by Yadegar Asisi for Met Museum NYC)

The only known ancient illustration of the famous altar to Zeus and Athena

that was once considered one of the wonders of the ancient world.

Roman Medal, Severan period, a.d. 193-211

(Above) Bronze medal with image of the Pergamon Altar

This bronze medallion is part of a series of coins that celebrated the city of Pergamon in the Roman period. The reverse side represents the Great Altar with a central vaulted element on a high podium accessible by a wide staircase and flanked by two porticoes. Although miniature in scale, it is the only known ancient illustration of the famous altar to Zeus and Athena that was once considered one of the wonders of the ancient world.

Alexander astride Bucephalos

Roman, Late Republican or Early Imperial period,

second half of the 1st century b.c.;

a copy of the Greek bronze statue c. 320-300 b.c.

(Above) Bronze small statue of Alexander astride Bucephalos

This dynamic sculpture is thought to be a miniature copy of the statue of Alexander in the life-size equestrian group made by Lysippos commemorating the Macedonian horsemen of Alexander’s elite cavalry who fell during battle of the Granikos against the Persians in 334 b.c. The original monument featured twenty-five men on horseback and was set up in the sanctuary of Zeus at Diaon on the slopes of Mount Olympus.

Philetairos of Pergamon

Philetairos of Pergamon
(Roman, late 1st centry B.C. copy of a Greek state of c. 250 B.C.)

Philetairos of Pergamon

(Above) Marble herm of Philetairos of Pergamon

A Roman copy of a full thengy Greek State, thisportrait depicts Philetairos, the founder of Attalid dynasty that governed Pergamon from 282 to 133 B.C. The thick neck and powerful jaw emphasize his role as a military commander, while the intent gaze of his deep-set eyes speaks to the shrewd maneuverings of an unlikely dynast who secured power by retaining an immense treasury on the citadel of Pergamon.

Greek Funerary Vase

Greek Funerary Vase,

Terracotta, Late Classical period,

last quarter of the 4th century b.c.

Found in the cemetery of Amphipolis.

(Above) Terra-cotta hydra with cover

In Greece, hydra traditionally contained water but often also ashes. The scene depicted here is the Amazonomachy, the mythological battle between the Greeks and the Amazons. The Amazons were warrior women believed to reside far to the northeast of the Greek heartland. Amazonomachies became popular after the Greek defeat of Persia in the Persian Wars (490-479 b.c.) providing a metaphor for the historic confrontation. The vase is extraordinary for its lead cover, dynamic composition, and superbly preserved polychromy and gilding.

Plate with Elephants
Greek, Hellenistic period, 3rd century b.c.
Discovered at the Necropolis of LeMacchie, Capena, chamber tomb #233, in 1917.

(Above) Terracotta plate with elephants

Exotic animals such as elephants were among the novelties that the Greeks encountered in the course of Alexander’s campaigns as far away as India. Here, the adult animal equipped for battle advances with a baby in tow. Recent research has shown that this and several other comparable scenes commemorate the defeat of the Greek general Pyrrhos by the Roman consul Marcus Curius Dentatus — and his elephants — at Beneventum (Italy) in 275 b.c.

The Darius Krater
(detail)

(Above) Terracotta volute-krater

(The Darius Krater)

Greek - South Italian, Apulian - Late Classical or Early Hellenistic period, c. 330-320 b.c.

Herakles

(Above) Heracles

Greek, Hellenistic Bronze 3rd century b.c.

Wreath with myrtle leaves.

(Above)
Wreath with myrtle leaves

Greek, Hellenistic, gold crown, 325-300 b.c., Greek, 7 1/2" diameter.

(Source: Photos by ARTSnFOOD staff and supplied by the Met Museum NYC, Text came from the Met Museum press dept. and the wall plaques next to each work of art at the exhibition. All photos twere aken with permission.)

FOOD
FALL for
MIXED-DRINKS

Old-Fashioned

Ingredients:
1 teaspoon granulated sugar
1 teaspoon water
Two dashes angostura bitters
One slice orange rind
2 ounces Canadian Club whiskey
Ice
One maraschino cherry

Preparation: In an old-fashioned glass, muddle the sugar, water, bitters, and orange rind together until the sugar has dissolved. Fill the glass with ice, add the whiskey, and garnish with the cherry. Serve with a cocktail straw.

Bloody Mary

Ingredients:
1-1/2 parts Grey Goose Original
3 parts Bloody Mary mix
1/2 parts lime juice

Preparation: Add all ingredients to a cocktail shaker filled with ice and shake vigorously. Strain into a chilled collins glass filled with ice and present with cocktail onions.

Dry Gin Martini

Ingredients:
2 parts Plymouth Gin
3/4 parts Dry vermouth*
One olive (optional, to garnish)
Lemon zest twist or pickled and green olive

Preparation: Shake ingredients with ice and pour into a very chilled cocktail glass. Garnish with either a lemon twist or an olive.

*Experiment with your quantities of gin and vermouth as desired—more vermouth makes a “wetter” drink; more gin dries it out.

J&B Sour

Ingredients:
50 ml J&B
20 ml lemon juice
20 ml sugar syrup
Half egg white (optional)
Dash Angostura bitters

Preparation: Add all ingredients, apart from the bitters, to a cocktail shaker. Fill with ice and shake hard. Strain into a 10-ounce tumbler filled with fresh ice. Add the dash of bitters and garnish with a lemon wedge.

Vodka Gimlet

Ingredients:
3 parts Stolichnaya 80
2 parts lime juice
1 part simple syrup

Preparation: Shake and pour into an ice-filled rocks glass. Garnish with lime.

Mai Tai

Ingredients:
1 part Bacardi Superior Rum
1 part Bacardi Gold Rum
1/2 part orange curaçao
4/5 part freshly squeezed lime juice
4/5 part orgeat syrup
Several cubes of ice
Scoop of ice
Tumbler
Hawthorne strainer
Fine Strainer

Preparation: Put all ingredients into a mixing glass, add ice, and mix well. Strain into a glass full of crushed ice. Garnish whit mint sprig and orange wedge.

(Source: Six Mad Men inspired cocktails, divinecaroline.com)

Until later,

Jack

Sunday, August 28, 2016

SPECIAL EDITORIAL ISSUE: A POINT-OF-VIEW ON ETHNICITY IN AMERICA

EDITORIAL:

by Editor/Publisher

Jack A. Atkinson

HAVING A "DEEP-THOUGHTS" DAY

I have now pivoted my point-of-view to think ethnicity is less about physical features (skin tone, distinct features, etc.) and more about how our heritage, our histories and the culture we were raised-in define us. It’s how we relate to our extended family and it’s what we rally around when an offense occurs.

Scientifically and genetically, there are only minuscule differences between all humans. Our ethnicities are controlled by only 3 to 6 genes out of the 25,000 genes making-up the human genome. Somehow each of us looks unique within those 3 to 6 genes, but we must remember genetically we are 99.999% alike.

As adults we learn to accept change: in the world around us, in our lives, in how we think, and in how we act.

So I ask:

• Can we stop thinking about ethnicity simply as physical traits and start focusing on the interesting and diverse cultures represented by the word race?

• Can we stop stepping on each others cultural toes?

• Do we understand each other’s problems from the other perspective?

• Can we find respectful solutions to problems where ethnicity is involved?

Keeping in mind we are all human, 99.999% alike genetically, and we share these places we call home!

- Jack A. Atkinson
editor & publisher of ARTSnFOOD magazine

Until later,

Jack

Stater of Mithridates VI Eupator (120-63 BC)

ART
Antiquities:
Alexander the Great
at the Met(continued)

Terracotta statuette of the Diadoumenos (youth tying a fillet around his head)

1st century b.c., Greek

Connoisseurship and the origins of the discipline of art history began in the Hellenistic period. Greek statues of the fifth century B.C., notably works by Polykleitos, Phidias, and others, were sought out and frequently replicated. The pose of the famous statue of the Diadoumenos by Polykleitos is recognizable in this statuette, but the slender, graceful forms conform to Late Hellenistic taste.

Although terracotta was one of the most abundantly available and inexpensive materials of sculptural production in antiquity, it was used to make miniature copies less widely than might be expected. Apparently, only a few centers of production concentrated on this sculptural genre, and those that did limited their choices of subject considerably. The Greek city of Smyrna on the west coast of Asia Minor was among the most important copying centers, and a number of large- and small-scale replicas or variations of well-known statuary types, from both the Classical and Hellenistic periods, were made there.

Bronze statuette of a veiled and masked dancer

Hellenistic, 3rd - 2nd century b.c.

The complex motion of this dancer is conveyed exclusively through the interaction of the body with several layers of dress. Over an undergarment that falls in deep folds and trails heavily, the figure wears a lightweight mantle, drawn tautly over her head and body by the pressure applied to it by her right arm, left hand, and right leg. Its substance is conveyed by the alternation of the tubular folds pushing through from below and the freely curling softness of the fringe. The woman's face is covered by the sheerest of veils, discernible at its edge below her hairline and at the cutouts for the eyes. Her extended right foot shows a laced slipper. This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity.

Bronze statue of Eros sleeping

Hellenistic period, 3rd - 2nd century b.c.

The Hellenistic period introduced the accurate characterization of age. Young children enjoyed great favor, whether in mythological form, as baby Herakles or Eros, or in genre scenes, playing with each other or with pets. This Eros, god of love, has been brought down to earth and disarmed, a conception considerably different from that of the powerful, often cruel, and capricious being so often addressed in Archaic poetry. One of the few bronze statues to have survived from antiquity, this figure of a plump baby in relaxed pose conveys a sense of the immediacy and naturalistic detail that the medium of bronze made possible. He is clearly based on firsthand observation. The support on which the god rests is a modern addition, but the work originally would have had a separate base, most likely of stone.

This statue is the finest example of its kind. Judging from the large number of extant replicas, the type was popular in Hellenistic and, especially, Roman times. In the Roman period, Sleeping Eros statues decorated villa gardens and fountains. Their function in the Hellenistic period is less clear. They may have been used as dedications within a sanctuary of Aphrodite or possibly may have been erected in a public park or private, even royal, garden.

Gold armband with Herakles knot

Pair of gold armbands

Glass situla (bucket) with silver handles

Medallion with relief bust of Athena

Statue of a youth

Statue of a female figure in archaistic style

Portrait of Pompey the Great

Grave Stele of an Enthroned Woman with an Attendant

Applique depicting the head of Pan

Gold diadem

Mosaic with street musicians

Calyx Krater, so-called "Borghese Vase"

Sleeping Hermaphrodite

Portrait of a Roman General from Tivoli

Portrait of a man from Delos

Cameo with portrait heads

Rhyton with centaur protome

Upper body of a queen

Statue of a triton, akroterion from the Great Altar

Panel 12 of the Telephos Frieze:

Herakles Discovers His Son Telephos

More information to come on Art & Design During the Time of Alexander the Great.

(Source: Photos by ARTSnFOOD staff and supplied by the Met Museum NYC, Any text came from the Met Museum press dept. and the wall plaques next to each work of art at the exhibition. All photos were taken with permission.)

FOOD:

Is good health,

a result of diet,
exercise or both?

(Source: )

Until later,

Jack

SPECIAL

EDITORIAL
ISSUE:

A Point of View
by Editor/Publisher

Jack A. Atkinson

(From time to time, ARTSnFOOD publishes editorialized content. This point-of-view is specifically one person's opinion and we recognize many differing opinions exist. This post may be up for a short period before it is moved into our archives. ARTSnFOOD's defining focus is on "The Joy of Art.")

"DEEP-THOUGHTS about Ethnicity"

I have decided that ethnicity (race) is less about skin color and other physical features and more about our geographic heritage and the external cultural influences which contributed in making us who we are.

For my entire life there seems to have been a constant discussion about ethnicity in America. My original position on ethnicity, as an adult, was to be color blind. I though it was an intelligent point-of-view and the correct way to associate with my ethnically diverse friends. Very quickly I found out, everybody strongly wanted me to recognize their ethnicity as a part of their identity and to never be color blind! They wanted me to recognize their ethnicity as a part of who they are and I needed to embrace them and see them completely.

I have now pivoted my point-of-view to think physical appearance (skin tone and other distinctive "ethnic" features) has little to do with what we consider "ethnicity" and who we are as individuals. Our physical appearance is a result of our family heritage, the many generations of relatives who form our genetic history. Ethnicity check boxes on surveys are created based on these family trees.

Scientifically and genetically, there are only minuscule differences between all human ethnicities. Our physical ethnic traits are controlled by only 3 to 6 genes out of the 25,000 genes making-up the human genome. Somehow each of us looks unique within those 3 to 6 genes, but we must remember all humans are genetically 99.99999% similar.

What society currently calls ethnicities are the genetics passed down to us from a geographic lineage many generations ago. We have certain traits simply because our ancient relatives lived in one specific, isolated location on this planet for many millennia, reproducing within the same gene pool. This created our unique skin colors and physical characteristics, but today's ethnicities seem to come from more recent influences. We are the cultural mores, traditions and religions passed down to us by last dozen or so generations of our families and our specific homogeneous social groups. (i.e.: Mayan descendants are now Hispanic or Latino and not Mayan.) The foods our immediate family, relatives and social group preferred, the common language and dialect we were taught at birth, and all traits and preferences our specific homogeneous group embraced create our current ethnicity. Think of how African-Americans, Latino-Americans, Asian-Americans, etc., when viewed as homogeneous groups, have lifestyles, interests and social bonds unique to their specific communities.

Social group influencers, whom we relate to and think of as our community, define our contemporary ethnicity more than our skin color, hair texture, eye shape does. In other words our ethnicity seems to be more about how our community shapes us (as we grow up) than our physical traits, determined by our genetic history. A 10th generation Ethnic-American is a very different person from his or her distant cousin recently born and raised in the same ancestral village of origin - even if the two share some of the same physical traits of "ethnicity", their cultural communities define them more than the physical traits do.

When it comes to ethnicity we must recognize people as individuals as well as being a part of one or more ethnic groups, taking into account their specific histories and cultural influences.

We are individual humans packaged in the visual genetics given to us from recent and long forgotten ancestors. Let's start understanding and accepting that our cultural history contributes greatly to each of us as an individual, but our physical ethnic traits have less and less to do with who we are as a person. "Race" has become a label.

All of my friends, from varied ethnic backgrounds, have unique cultural stories that are extremely interesting to me, and I want to hear them all. I want to learn how their cultural influences shaped their lives.

As adults we learn to accept change: in the world around us, in our lives, in how we think, in advances in technology, etc. I suggest we change our thinking about ethnicity:

• Can we stop thinking about ethnicity simply as physical traits and start focusing on the interesting and diverse cultures represented by the word "race"?

• Can we stop stepping on each others cultural toes?

• Can we try to understand each other’s problems from the other person's cultural perspective?

• Can we find respectful solutions to all problems where ethnicity or "race" is involved?

• Can we keep in mind all humans are 99.99999% alike (genetically speaking) and we also share these cities and towns we call home!

Ethnic and cultural diversity is the spice of life!

- Jack A. Atkinson

editor & publisher of ARTSnFOOD magazine

Until later,

Jack

Ingredients

Directions

Douglas Coupland

FOOD

Crispy Potato, Onion, and Mushroom Rosti

Dinner Party Seafood Pasta

SPAGHETTI DIRECTIONS

SEAFOOD DIRECTIONS

Cook Shrimp, Lobster, and Sea Scallops separately in the manner you like best.Add some of each of these shellfish to the top of each plate of finished spaghetti

PLATING

This above graphic shows a photograph of the ancient Greek Acropolis and citadel of Pergamon: "Today" and with an overlay drawing, then a digital recreation painting of what it was like at "Pergamon while it flourished."

(Pergamon Panorama, by Yadegar Asisi for Met Museum NYC)

Sunday, August 28, 2016

Terracotta statuette of the Diadoumenos (youth tying a fillet around his head)

Bronze statuette of a veiled and masked dancer

Hellenistic period, 3rd - 2nd century b.c.

Pair of gold armbands

Glass situla (bucket) with silver handles

Medallion with relief bust of Athena

Statue of a youth

Statue of a female figure in archaistic style

Portrait of Pompey the Great

Grave Stele of an Enthroned Woman with an Attendant

Applique depicting the head of Pan

Gold diadem

Mosaic with street musicians

Calyx Krater, so-called "Borghese Vase"

Sleeping Hermaphrodite

Portrait of a Roman General from Tivoli

Portrait of a man from Delos

Cameo with portrait heads

Rhyton with centaur protome

Upper body of a queen

Statue of a triton, akroterion from the Great Altar

Herakles Discovers His Son Telephos

Cook Shrimp, Lobster, and Sea Scallops separately in the manner you like best.
Add some of each of these shellfish to the top of each plate of finished spaghetti