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DETROIT — This Thanksgiving you should pay attention to the texture of your food, how you use your tongue to lash out and taste your food, and how you digest your food. Why? Isn’t that kind of creepy? Um, yes, it is kind of creepy, and lusting over your food may upset your family members’ stomachs. But Brooklyn-based sculptor Martha Friedman is preoccupied with food and digestion, and she creates awesome food art, proving there is some real artistic value in food lust. Maybe you should leave it to the experts though.
Friedman creates sculptures that are jovial, yet with her sculptures she is still able to explore a deeper subtext that challenges and delights the viewer. She explores her personal narrative of everyday objects and everyday perceptions having a different, sometimes surprising and alternative meaning.
Here’s a good example — she may create a large half eaten waffle to start a dialogue about the viewer’s relationship with the food. She highlights the viewer’s internal digestive process by making the viewer come face to face with it. She also adds a sexual element to some of her work. We all eat, and at times people have a strange pseudo-sexual relationship with their food — pay attention to the groans and sweat during Thanksgiving dinner followed by the post-coital triumphant nap.
Martha’s imagery captivates viewers because of its size and its novel context and arrangement. Her most successful works (and probably most disquieting) employ an enlarged cow tongue. You see all of the details of a protruding tongue as it delicately balances an olive or as it peeks under a black tarp. With this work she escapes criticism that her work merely pays homage to Claes Oldenburg. There is nothing pop about Martha’s tongues.
So here is a selection of her sculptures for you to enjoy – this is your foreplay before you attack that sexy Turkey.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…