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Marion Wilson, Last Suppers, http://marion-wilson.squarespace.com/last-suppers/
Mircea Cantor, “Underestimated Consequences” (2011) (courtesy Mircea Cantor and Yvon Lambert) (© image courtesy Mircea Cantor and Galerie Simon Lee, London, photo by Todd White)
http://www.pipandpop.com.au/
Christine Chin – NOSTRIL MILL
Meret Oppenheim, “L’Ecureuil” (1969), collection A.L’H., Genève (© ADAGP, Paris 2014) (photo by Annik Wetter)
Allison Baker – “Cast Cream” 2015
Nari Ward, “TranStranger Café” (2012) (courtesy the artist and Galleria Continua San Gimignano / Beijing / Les Moulins) (© photo Nari Ward)
Subodh Gupta, “Curry 2 (3)” (2005), collection privée (© Photo Art & Public, Cabinet PH, Genève) (photo by Imari Kalkkinen)
Ernesto Neto, “Variation on Color Seed Space Time Love” (2009) (courtesy Galerie Bob Van Orsouw, Zurich, © courtesy Ernesto Neto) (photo by Gard A. Frantzsen)
Miralda and Dorothée Selz, “Traiteurs Coloristes” (1968), collection Mina et Jacques Charles (© ADAGP-Paris 2014) (photo by Nicolas Fussler)
Carmen Alvarado, Sweet Surrender, 2003, chocolate
Irianna Kanellopoulou, “Bite me” (2012) moulded, handbuilt & hand painted Belgian chocolate, cocoa butter, food grade colouring – 8 pieces, dimensions variable
Janine Antoni’s “Lick and Lather”
Susanna Strati, Wreath (2012), communion wafers, copper, paper, silk thread, ink, graphite, pigment, shellac, 120 x 120 x 23cm
Mylyn Nguyen, “Polar bear is moving” (2013) hand-carved sugar cubes, found object, 18 x 20 x 8cm
Bill Burns – Chocolate Hand Grenades
Judith Klausner, “Oreo Cameo #10” (2011) Oreo sandwich cookie, stand, 5 x 5 x .5cm
Felix Gonzalez-Torres – “Untitled” (Portrait of Ross in L.A.)
Stefano Cagol – “Rat Game” (2008)
Sarah Lucas, “Au Naturel” (1994) Mattress, water bucket, melons, oranges and cucumber 84 x 168 x 145 cm
Stephen Shanabrook – Project Morge Chocolates: Evisceration of Waited Moments (1993-94), impressions from wounds cast in dark chocolate, colored foils.
Jessica Stockholder “Fat Form and Hairy: Sardine Can Peeling” (1994)
refrigerators, paint, green tarp, aircraft cables, sweaters, garbage cans, pillows, concrete, wool, Styrofoam, building materials, green lights, electric cable, and plexi glass
Dimensions:Exists between two gallery spaces. The ceiling is 20′ high in the first gallery and 15′ high in the second.
Liz Hickok’s Jello mold model of San Francisco
Wolfgang Laib “Milkstone” (1975)
Daniel Spoerri, “Kichka’s Breakfast I” 1960
Daniel Spoerri “Tableaux-Pièges”. Dirty, greasy crockery, cutlery, tablecloths and glassware were glued to the tabletop; leftovers were lacquered and returned to their places. Spoerri turned the tabletops on their sides and displayed them as wall-hanging assemblages he called Fallenbilder or snare-pictures. (http://glasstire.com/2011/03/02/the-ten-list-food-and-art/)
Dieter Roth. Literature Sausage (Literaturwurst). 1969, published 1961–70
Between 1961 and 1970 Roth created about fifty “literature sausages.” To make each sausage Roth followed a traditional recipe, but with one crucial twist: where the recipe called for ground pork, veal, or beef, he substituted a ground-up book or magazine. Roth mixed the ground-up texts with fat, gelatin, water, and spices before stuffing them into sausage casings. The source materials included work by authors and periodicals that the artist either envied or despised; they run the gamut from lowbrow illustrated tabloids to well-regarded contemporary German novels to the works of Karl Marx and the influential philosopher Georg Wilhelm Friedrich Hegel.
Dieter Roth, Selbstturm (Self Tower), 1994/2013, chocolate casts, glass, steel.
Best Use of Soda Pop: Cola Project by He Xiangyu
In the main foyer of 4A Centre for Contemporary Asian Art in Sydney, Australia a lumpy mound of a black rock-like substance dominated the space during He Xiangyu’s Cola Project. The substance was boiled down cola drink, a process developed by Xiangyu in 2008. With his team of factory workers, he “cooked” thousands of litres over a span of a year to create the crystal forms resembling coal. The work focuses on the materiality of Coca-Cola rather than the pervasiveness of the corporate identity of the product. —M.F.