Sunday, April 30, 2017

Special FOOD issue: Chocolate Cloud Cake

FOOD
Chocolate Cloud Cake
Mmmmmmm

Just made this cake, and WOW what a neat experience it was to eat.
The cake is made in a spring form pan and forms a thin crust on top, 
but the interior of the cake, when warm, is somewhere between chocolate mousse and cotton candy in texture. It literally melts in your mouth. This dessert also must have the whipped cream on top of each serving, for the correct flavor. 

On a 1 to 10 scale it would rank it at 6 or 7 in difficulty to make, but was well worth it as a dessert experience!

I say you should make this for your next impress-the-guests-meal or gathering!
We loved it!

(After a day in the fridge the dessert turned into a dense chocolate pie, but microwaved back to a decent texture, BUT the hot-out-of-the-oven with whipped-cream-on-top version will make your eyes roll back into your head, it cannot be beat!)


Chocolate Cloud Cake
Makes one 8” single layer cake
Serves 8-12

Cake:
8 ounces best-quality bittersweet or semisweet chocolate, coarsely chopped
½ cup (1 stick) unsalted butter, cut into pieces, softened
6 large eggs, 2 whole, 4 separated
1 cup sugar
2 tablespoons cognac or Grand Marnier (optional)
Grated zest of 1 orange (optional)

Whipped Cream Topping:
1 ½ cups heavy cream, well chilled
3 tablespoons confectioners’ sugar
1 teaspoon pure vanilla extract

Unsweetened cocoa powder, for sprinkling

1.  CAKE:  Preheat the oven to 350 degrees F.  Line the bottom of an 8 inch spring form pan with a round of wax paper (I used parchment paper): do not butter the paper.  Melt the chocolate in a double boiler set over hot water.  Remove from the heat and which in the butter until melted, set aside.

2.  In a bowl, whisk the 2 whole eggs and the 4 egg yolks with ½ cup of the sugar just until blended.  Whisk in the warm chocolate mixture.  Whisk in the optional cognac or Grand Marnier and the optional orange zest.

3.  In another bowl, with an electric mixer, beat the 4 egg whites until foamy.  Gradually add the remaining ½ sugar and beat until the whites form soft mounds that hold their shape but are not quite stiff.  Stir about ¼ of the beaten egg whites into the chocolate mixture to lighten it; gently fold in the remaining whites.  Pour the battering the pan; smooth the top.

4.  Bake until the top of the cake is puffed and cracked and the center is no longer wobbly, usually 35-40 minute.  Do not overtake.

5.  Cool the cake in the pan on a wire rack; the cake will sink as it cools, forming a crater with high sides.

6.  WHIPPED CREAM TOPPING:  At serving time, whip the cream with the confectioners’ sugar and vanilla until not quite stiff.  With a spatula, carefully fill the crater of the cake with the whipped cream, pushing it gently to the edges.  Dust the top lightly with cocoa powder.  Run the tip of a knife around the edges of the cake; carefully remove the sides of the pan and serve.


(Source": Classic Home Desserts cook book, Richard Sax, author.)


Until later, 
Jack

ARTSnFOOD is an online magazine dedicated to providing artists and collectors around the world with highlights of current art exhibitions, and to encourage all readers to invest in and participate in “The Joy of Art”® and culture. All Right Reserved. All concepts, original art, text & photography, which are not otherwise credited, are © copyright 2017 by Jack A. Atkinson, under all international, intellectual property and copyright laws. All gallery event museum, fair or festival photographs were taken with permission. All images of artworks are © individual artists, fabricators, respective owners or assignees.

Wednesday, April 26, 2017

Top-Tier Art Transforms the Midtown Hudson Piers of New York City!

PIER 94 jutting out into the Hudson River
is located along the West Side Highway near 54th Street, NYC.


ART
"THE ART PIERS"
of New York City

The Midtown Piers along the West Side Highway of New York City are rather ugly with their industrial exteriors. They were built to accommodate all of the trans-Atlantic passenger ships and Caribbean cruise ships, which still uses some of the piers weekly. These unusual long and narrow spaces have become the Pop-Up Art Fair venues of choice for some of the best fine art for sale in the world. Multi-millions of dollars of artworks are displayed in these unlikely galleries during several long weekends every year. 

The Armory Show is the largest big-league, long-term art fair to embrace the piers as their venue. The Armory Show, which specializes in showing the best art created by living artists (Contemporary Art), has steadily grown adding a second pier with mostly 20th Century Art (Modern Art), and a third pier with showing lesser known, emerging artists in solo shows called VOLTA. 

Below we show some of the art in all three piers from the past Armory Show Week.



Artist Tom Otterness' Sculpture
at Marlborough Gallery 

Artist Tom Otterness' Sculpture
at 
Marlborough Gallery 

Artist Tom Otterness' Sculpture
at Marlborough Gallery 

An interesting painting placed beside
the connecting staircase between two piers.
(artist, title and gallery not posted)
Andrew Ohanesian, "take a number",
cast bronze with photo etched patina, Perogi, NY

Antony Gormley, "Contain" 2015,
cast iron, ed. of 5, Sean Kelly, NY

Maha Malluh, "Food for Thought" 2017,
Welded chinco dishes tower,
Galerie Krinzlinger Vienna

Martha Jungwirth, "Untitled" 2016 Oil on paper on canvas,
Galerie Krinzinger Vienna, Galerie Krinzinger, Vienna

Zhang Ding "Devouring Time" - Dinnerware-F, 2017
stainless steel & 24k gold plate, edtion of 2, Galerie Krinzinger, Vienna

Until later, 
Jack

ARTSnFOOD is an online magazine dedicated to providing artists and collectors around the world with highlights of current art exhibitions, and to encourage all readers to invest in and participate in “The Joy of Art”® and culture. All Right Reserved. All concepts, original art, text & photography, which are not otherwise credited, are © copyright 2017 by Jack A. Atkinson, under all international, intellectual property and copyright laws. All gallery event museum, fair or festival photographs were taken with permission. All images of artworks are © individual artists, fabricators, respective owners or assignee.

THE ALT RIGHT TAKES ON ART!?! IS MODERN and CONTEMPORARY ART BAD?

Editorial Opinion:

I have one strong focus in my life, enjoying all forms of the arts and specifically the visual arts. To put this opinion in perspective, I have supported Obama and the Clintons. I also have an extreme fondness for our founding fathers, especially Thomas Jefferson and I voted for George H.W. Bush's first term. I believe the best governments operate from the center and I consider myself a left leaning centrist!

I have friends who live at the core of the new alt-right constituency. Many of these friends believe the current Republican administration can do no wrong, even as the administration steps on other American's toes, and they seem to be true masters at creating chaos. In a recent nightly news report, when asked about how he can operate surrounded by chaos, Donald Trump's response was, "I am the storm!" That explains everything.

It is very upsetting to think America's Republican Congressional Majority may decide to eliminate all cultural, arts and humanities funding! This myopic decision would negatively impact the museums, cultural and educational institutions of America's heartland the most, where private funding is scarce! All who work in the arts feel as if we have been thrown under the bus with this budget proposal, but we also feel the pain of many other American interest groups whose voices are no longer being heard. This administration has ushered in an era of "Business First" (it often feels like "Ego First") more than "America First." There is a disconnect between many things President Trump says and the actions he takes - like saying he wants to protect our water supplies and our environment, yet proposes to defund or eliminate the EPA.

Back to art. A conservative friend sent me an article, today where the author believes art should be "regulated" or "graded" as to what art should be anointed as good and what art should be considered as bad. To me, the author's own words answered his question:
"... why do we have to be victims of all this bad taste? We don’t. By the art we patronize... or purchase at galleries, we can make our opinions not only known but felt. An art gallery, after all, is a business like any other. If the product doesn’t sell, it won’t be made.... And we can advocate the teaching of classical art appreciation in our schools. Let’s celebrate what we know is good and ignore what we know is not."

Today, classical art appreciation "is taught" at the university level, and all galleries only present the art they display. 
Nobody is forcing anyone to buy art they do not like! The patrons who like the art, buy it and the patrons who don't like an art show, buy something else! There are many paintings in the classical realistic style being painted every year, there are plenty of pretty photographs being taken and offered for sale, and there is no lack of "beautiful art" being made in every medium, today. Classical art is still appreciated and the market for it is robust. Also available in the art market is contemporary conceptual art and art that pushes the envelope of acceptance. Public funding for edgy art is a debate we should have, but there is no reason to eliminate any form of art, simply to help people who don't understand it, feel less uncomfortable! 

I see a tremendous amount of art, and 80% of all the art I see, I personally dislike! That is true of almost everyone with an opinion about art. The rub comes with the fact that the 80% of unappreciated art varies for every single person - in the rotation, someone ends up liking every work of art presented. So exactly whose 80% of unappreciated art should we discard? Art cannot be controlled, if we want it to stay relevant. 

Yes, I ONLY LIKE THE ART I LIKE. So let's agree to allow me to be me and I will let you be you, then we will all be happy! There is no harm in having different opinions about art!

This concept of a selected group of people determining what art is considered "good" or "bad", goes against the concept of an ever-evolving culture and creativity itself. The early Egyptians imposed rules on their art and for 3,000 years there was no real progress or change in their art or designs.

Please let's allow the art market to shake itself out. With the test of time, the cream will always rise to the top and any flash-in-the-pan artworks will naturally fade away.

- Jack Atkinson 
Editor & Publisher ARTSnFOOD


(THE ALTERNATIVE OPINION)
"WHY IS MODERN ART SO BAD?
Let's demand classical standards for the art world.

By Robert Florczak for Prager University

“The Mona Lisa”... “The Pieta”... “The Girl with a Pearl Earring.” For a score of centuries, artists enriched Western society with their works of astonishing beauty. “The Night Watch”... “The Thinker”... “The Rocky Mountains.” Master after master, from Leonardo, to Rembrandt, to Bierstadt, produced works that inspired, uplifted, and deepened us. And they did this by demanding of themselves the highest standards of excellence, improving upon the work of each previous generation of masters, and continuing to aspire to the highest quality attainable. But something happened on the way to the 20th Century. The profound, the inspiring and the beautiful were replaced by the new, the different, and the ugly. Today the silly, the pointless, and the purely offensive are held up as the best of modern art. Michelangelo carved his “David” out of a rock. The Los Angeles County Museum of Art just offers us a rock, -- a rock -- all 340 tons of it. That’s how far standards have fallen. How did this happen? How did the thousand-year ascent towards artistic perfection and excellence die out? It didn’t. It was pushed out. Beginning in the late 19th century, a group dubbed The Impressionists rebelled against the French Academie des Beaux Arts and its demand for classical standards. Whatever their intentions, the new modernists sowed the seeds of aesthetic relativism -- the “beauty is in the eye of the beholder” mentality. Today everybody loves the Impressionists. And, as with most revolutions, the first generation or so produced work of genuine merit. Monet, Renoir, and Degas still maintained elements of disciplined design and execution, but with each new generation standards declined until there were no standards. All that was left was personal expression. The great art historian Jacob Rosenberg wrote that quality in art “is not merely a matter of personal opinion but to a high degree . . . objectively traceable.” But the idea of a universal standard of quality in art is now usually met with strong resistance if not open ridicule. “How can art be objectively measured?” I’m challenged. In responding, I simply point to the artistic results produced by universal standards compared to what is produced by relativism. The former gave the world “The Birth of Venus” and “The Dying Gaul,” while the latter has given us “The Holy Virgin Mary,” fashioned with cow dung and pornographic images, and “Petra,” the prize-winning sculpture of a policewoman squatting and urinating -- complete with a puddle of synthetic urine. Without aesthetic standards we have no way to determine quality or inferiority. Here’s a test.... I give to my students. Please analyze this Jackson Pollock painting and explain why it is good. It is only after they give very eloquent answers that I inform them that the painting is actually a close up of my studio apron. I don’t blame them; I would probably have done the same since it’s nearly impossible to differentiate between the two. “And who will determine quality?” is another challenge I’m given. If we are to be intellectually honest, we all know of situations where professional expertise is acknowledged and depended upon. Take figure skating in the Olympics, where artistic excellence is judged by experts in the field. Surely we would flinch at the contestant who indiscriminately threw himself across the ice and demanded that his routine be accepted as being as worthy of value as that of the most disciplined skater. Not only has the quality of art diminished, but also the subject matter has gone from the transcendent to the trashy. Where once artists applied their talents to scenes of substance and integrity from history, literature, religion, mythology, etc., many of today’s artists merely use their art to make statements, often for nothing more than shock value. Artists of the past also made statements at times, but never at the expense of the visual excellence of their work. It’s not only artists who are at fault; it is equally the fault of the so-called art community: the museum heads, gallery owners, and the critics who encourage and financially enable the production of this rubbish. It is they who champion graffiti and call it genius, promote the scatological and call it meaningful. It is they who, in reality, are the naked emperors of art, for who else would spend $10 million dollars on a rock and think it is art. But why do we have to be victims of all this bad taste? We don’t. By the art we patronize at museums or purchase at galleries, we can make our opinions not only known but felt. An art gallery, after all, is a business like any other. If the product doesn’t sell, it won’t be made. We can also support organizations like The Art Renewal Center that work to restore objective standards to the art world. And we can advocate the teaching of classical art appreciation in our schools. Let’s celebrate what we know is good and ignore what we know is not. By the way, the white background you see behind me (in the video) is not simply a white graphic backdrop. It is a pure white painting by noted artist Robert Rauschenberg at the San Francisco Museum of Modern Art.
- Robert Florczak"
Prager University

Until later, 
Jack

ARTSnFOOD is an online magazine dedicated to providing artists and collectors around the world with highlights of current art exhibitions, and to encourage all readers to invest in and participate in “The Joy of Art”® and culture. All Right Reserved. All concepts, original art, text & photography, which are not otherwise credited, are © copyright 2017 by Jack A. Atkinson, under all international, intellectual property and copyright laws. All gallery event museum, fair or festival photographs were taken with permission. All images of artworks are © individual artists, fabricators, respective owners or assignees.

Friday, April 14, 2017

More "Wandering" through the ARMORY SHOW - 2017


ART
"Wandering" 
through the 
ARMORY SHOW - 2017


The Amory Show is such a vast exhibition of contemporary art, that a review of it always takes several issues. 

Alas, sometimes the wall descriptions are so hard to find or non-existent as to make reporting on the artworks a real challenge. 

If ART IS A LANGUAGE OF ITS OWN!
Are captions important to the impact of the art? 


  
  






  



  










(CREDITS: All photos were taken with permission of the galleries and the Fair.)

Until later, 
Jack

ARTSnFOOD is an online magazine dedicated to providing artists and collectors around the world with highlights of current art exhibitions, and to encourage all readers to invest in and participate in “The Joy of Art”® and culture. All Right Reserved. All concepts, original art, text & photography, which are not otherwise credited, are © copyright 2017 by Jack A. Atkinson, under all international, intellectual property and copyright laws. All gallery event museum, fair or festival photographs were taken with permission. All images of artworks are © individual artists, fabricators, respective owners or assignees.