Sep 13, 2018 | By Sarah Owen
Jan 04, 2018
By Sara Radin
A group of emerging curators and artists are elevating food to a fine art form.
Food artists create tactile, cheeky and clever work that tells stories and calls attention to current sociopolitical issues in a way that is fresh and unexpected. Selected from a WGSN Insight report on this emerging trend, here are four key artists and curators that should be on your radar.
Emma Orlow is an artist, curator and writer who looks for ways to “meld the art world with food”. As a student at NYU, she created her own major titled “Food Art as Body Politics”. She brings her innovative ideas to life by working with chefs, supper clubs and art spaces on various projects. She also sees food as a deeply personal medium for self-reflection.
In November 2017, Orlow launched Scratch ‘n Sniff Studio with collaborator Serena Hovnanian. The conceptual project had its launch event, Edible Art Benefit, at Urban Outfitters’ Space Ninety8 in Brooklyn, New York. Featuring edible art installations, the event raised money for a Puerto Rico-based sustainable eating non-profit.
LAZY MOM is a collaborative art project by window dresser Phyllis Ma and prop stylist Josie Keefe. Together, the New York-based duo create food-centric photography and animations for the internet, exhibitions and commissions. They have released several videos and print publications, and have created special projects for brands such as Ace Hotel, Refinery 29 and Giphy.
MOLD is a print magazine and online editorial platform that covers emerging ideas across food innovation and explores “how design can transform our food futures”. Its founder, LinYee Yuan, is now raising funds via Kickstarter’s Drip platform for MOLD TV, “a new documentary series about the people who are crafting the flavours and ingredients of the future”. The platform has 34k followers on Instagram.
Artist Jen Monroe is the founder of Bad Taste, “a Brooklyn-based project committed to exploring new ways of thinking about food and consumption, approaching food as fantasy and as a transportive medium”. In 2017, Monroe hosted monochromatic colour dinner parties exploring “food aestheticisation”, in which each meal was arranged around a certain colour. She aimed to bring some of the romance back to eating by making the entire experience “like a painting”. Tables were decorated with edible still life, and there was a performative element that included a live figure model, classical musicians and a dancer.
For more insight, subscribers can access the full report here.
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