The entremets are the delight of the feast. The display that comes “between the dishes” and prompts gasps and exchanged glances and laughter on the way to realization.
The Material Collective has sponsored a session at the 48th International Congress on Medieval Studies in Kalamazoo, and is well-represented in other sessions. Here are the details.
Although I find all of the food images in the Régime du corps to be extremely charming, there is something about this depiction of fromages that continues to delight and intrigue me.
My grandfather collected miniature books. Unfortunately, due to a stroke that robbed him of most of his speech before I was born and family tensions with his second wife, I never got to talk to him about his collection.
For me, Vik Muniz offers a model of what the Material Collective should strive to be. He transforms the stuff of life—even the dirty, messy, seemingly banal substances—into beautiful and moving things.
Naoshima quickened my sensitivity to materials, to surfaces, to the things I come to contact.
Since her death, I’ve come to understand the importance my mother put on things.
I’m sure many people (especially art historians) may have had the feeling that a painting has haunted their life, but people tell me that my case may be exceptional.
I recently had the enjoyable opportunity to see two rather visceral exhibitions, back to flayed back.
In trying to pin down Hammond Castle, to wrestle it into some kind of scholarly order, I am finding that I don’t really care about authenticity, and clearly neither did Hammond.