bread table
Image by Brooklyn Museum
Brooklyn Ball 2010
On the menu this evening is a series of edible food installations by Jennifer Rubell entitled Icons. These installations were inspired by a handful of seminal works by some of the most iconic artists of the twentieth century, all in some way depictions of the act of making art: Vito Acconci’s Seedbed (1972); Marcel Duchamp’s Fountain (1917); Bruce Nauman’s Ten Heads Circle/Up and Down (1990); Paul McCarthy’s Painter (1995); Jackson Pollock’s One: Number 31 (1950); Joseph Beuys’ How to Explain Pictures to a Dead Hare (1965); and Andy Warhol’s Self-Portrait (1986).
Rubell asks you to engage in a simultaneously creative and destructive act, continually altering the physicality of each installation by touching, drinking, and eating it. You can and must interact with these installations in order to have a meal.
The project as a whole functions on many different levels: not only as a meal but also as a commentary on performance, self-portraiture, and art making; as a meeting place between the ephemeral and the monumental; as an exploration of ways to engage art history through a medium virtually absent from it; as a catalyst for a working interaction between viewers, objects, and the Museum; and as a questioning of the boundary between art and all that exists to support it.
melting cheese heads
Image by Brooklyn Museum
Brooklyn Ball 2010
On the menu this evening is a series of edible food installations by Jennifer Rubell entitled Icons. These installations were inspired by a handful of seminal works by some of the most iconic artists of the twentieth century, all in some way depictions of the act of making art: Vito Acconci’s Seedbed (1972); Marcel Duchamp’s Fountain (1917); Bruce Nauman’s Ten Heads Circle/Up and Down (1990); Paul McCarthy’s Painter (1995); Jackson Pollock’s One: Number 31 (1950); Joseph Beuys’ How to Explain Pictures to a Dead Hare (1965); and Andy Warhol’s Self-Portrait (1986).
Rubell asks you to engage in a simultaneously creative and destructive act, continually altering the physicality of each installation by touching, drinking, and eating it. You can and must interact with these installations in order to have a meal.
The project as a whole functions on many different levels: not only as a meal but also as a commentary on performance, self-portraiture, and art making; as a meeting place between the ephemeral and the monumental; as an exploration of ways to engage art history through a medium virtually absent from it; as a catalyst for a working interaction between viewers, objects, and the Museum; and as a questioning of the boundary between art and all that exists to support it.
champagne
Image by Brooklyn Museum
Brooklyn Ball 2010
On the menu this evening is a series of edible food installations by Jennifer Rubell entitled Icons. These installations were inspired by a handful of seminal works by some of the most iconic artists of the twentieth century, all in some way depictions of the act of making art: Vito Acconci’s Seedbed (1972); Marcel Duchamp’s Fountain (1917); Bruce Nauman’s Ten Heads Circle/Up and Down (1990); Paul McCarthy’s Painter (1995); Jackson Pollock’s One: Number 31 (1950); Joseph Beuys’ How to Explain Pictures to a Dead Hare (1965); and Andy Warhol’s Self-Portrait (1986).
Rubell asks you to engage in a simultaneously creative and destructive act, continually altering the physicality of each installation by touching, drinking, and eating it. You can and must interact with these installations in order to have a meal.
The project as a whole functions on many different levels: not only as a meal but also as a commentary on performance, self-portraiture, and art making; as a meeting place between the ephemeral and the monumental; as an exploration of ways to engage art history through a medium virtually absent from it; as a catalyst for a working interaction between viewers, objects, and the Museum; and as a questioning of the boundary between art and all that exists to support it.
salad
Image by Brooklyn Museum
Brooklyn Ball 2010
On the menu this evening is a series of edible food installations by Jennifer Rubell entitled Icons. These installations were inspired by a handful of seminal works by some of the most iconic artists of the twentieth century, all in some way depictions of the act of making art: Vito Acconci’s Seedbed (1972); Marcel Duchamp’s Fountain (1917); Bruce Nauman’s Ten Heads Circle/Up and Down (1990); Paul McCarthy’s Painter (1995); Jackson Pollock’s One: Number 31 (1950); Joseph Beuys’ How to Explain Pictures to a Dead Hare (1965); and Andy Warhol’s Self-Portrait (1986).
Rubell asks you to engage in a simultaneously creative and destructive act, continually altering the physicality of each installation by touching, drinking, and eating it. You can and must interact with these installations in order to have a meal.
The project as a whole functions on many different levels: not only as a meal but also as a commentary on performance, self-portraiture, and art making; as a meeting place between the ephemeral and the monumental; as an exploration of ways to engage art history through a medium virtually absent from it; as a catalyst for a working interaction between viewers, objects, and the Museum; and as a questioning of the boundary between art and all that exists to support it.
meat table
Image by Brooklyn Museum
Brooklyn Ball 2010
On the menu this evening is a series of edible food installations by Jennifer Rubell entitled Icons. These installations were inspired by a handful of seminal works by some of the most iconic artists of the twentieth century, all in some way depictions of the act of making art: Vito Acconci’s Seedbed (1972); Marcel Duchamp’s Fountain (1917); Bruce Nauman’s Ten Heads Circle/Up and Down (1990); Paul McCarthy’s Painter (1995); Jackson Pollock’s One: Number 31 (1950); Joseph Beuys’ How to Explain Pictures to a Dead Hare (1965); and Andy Warhol’s Self-Portrait (1986).
Rubell asks you to engage in a simultaneously creative and destructive act, continually altering the physicality of each installation by touching, drinking, and eating it. You can and must interact with these installations in order to have a meal.
The project as a whole functions on many different levels: not only as a meal but also as a commentary on performance, self-portraiture, and art making; as a meeting place between the ephemeral and the monumental; as an exploration of ways to engage art history through a medium virtually absent from it; as a catalyst for a working interaction between viewers, objects, and the Museum; and as a questioning of the boundary between art and all that exists to support it.
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