3D

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Marion Wilson, Last Suppers, http://marion-wilson.squarespace.com/last-suppers/

garlic

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

Christine Chin – NOSTRIL MILL

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Meret Oppenheim, “L’Ecureuil” (1969), collection A.L’H., Genève (© ADAGP, Paris 2014) (photo by Annik Wetter)


Allison Baker – “Cast Cream” 2015

cups

Nari Ward, “TranStranger Café” (2012) (courtesy the artist and Galleria Continua San Gimignano / Beijing / Les Moulins) (© photo Nari Ward)

steel

 

Subodh Gupta, “Curry 2 (3)” (2005), collection privée (© Photo Art & Public, Cabinet PH, Genève) (photo by Imari Kalkkinen)

color

 

Ernesto Neto, “Variation on Color Seed Space Time Love” (2009) (courtesy Galerie Bob Van Orsouw, Zurich, © courtesy Ernesto Neto) (photo by Gard A. Frantzsen)

bread

 

Miralda and Dorothée Selz, “Traiteurs Coloristes” (1968), collection Mina et Jacques Charles (© ADAGP-Paris 2014) (photo by Nicolas Fussler)

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Carmen Alvarado, Sweet Surrender, 2003, chocolate

Irianna-Kanellopoulou-Bite-me

Irianna Kanellopoulou, “Bite me” (2012) moulded, handbuilt & hand painted Belgian chocolate, cocoa butter, food grade colouring – 8 pieces, dimensions variable

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Janine Antoni’s “Lick and Lather”

Susanna-Strati-Wreath

Susanna StratiWreath (2012), communion wafers, copper, paper, silk thread, ink, graphite, pigment, shellac, 120 x 120 x 23cm

Mylyn-Nguyen-Polar-bear-is-moving

Mylyn Nguyen, “Polar bear is moving” (2013) hand-carved sugar cubes, found object, 18 x 20 x 8cm

Bill Burns - Chocolate Hand Grenades

Bill Burns – Chocolate Hand Grenades

Judith-Klausner-Oreo-Cameo-10

Judith Klausner, “Oreo Cameo #10” (2011) Oreo sandwich cookie, stand, 5 x 5 x .5cm

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Felix Gonzalez-Torres – “Untitled” (Portrait of Ross in L.A.)

Stefano Cagol - Rat Game

Stefano Cagol – “Rat Game” (2008)

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Sarah Lucas, “Au Naturel” (1994) Mattress, water bucket, melons, oranges and cucumber 84 x 168 x 145 cm

morgue

Stephen Shanabrook – Project Morge Chocolates: Evisceration of Waited Moments (1993-94), impressions from wounds cast in dark chocolate, colored foils.

Jessica stockholder refrigerator installations
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.

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Liz Hickok’s Jello mold model of San Francisco

milk on marble
Wolfgang Laib “Milkstone” (1975)

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Daniel Spoerri, "Kichka's Breakfast I" 1960

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/)

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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.

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Dieter Roth, Selbstturm (Self Tower), 1994/2013, chocolate casts, glass, steel.

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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.