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Eat At The AGW

(WINDSOR, ON) – The Art Gallery of Windsor has announced the Spring-Summer exhibition featuring The Sandwich Project (Part Two) comprised of five unique exhibitions.

Andy Warhol: Printed Food Matter, Andy Warhol: EAT, IAIN BAXTER&: &WICHTIME, The Contemporary Sandwich Shop, and Still Life: ‘Food’ for the Eye, Mind and Body, The Sandwich Project offers timely perspectives through which to experience and understand the meaning and symbolism embedded within art and the economics of food.

Andy Warhol: Printed Food Matter

In this exhibition, the iconic American pop artist’s prints of “space” fruit, grapes, beef, fish, dishware, and soda labels from the 1970s and 1980s offer an important framework for new and timely conversations. These include the sociopolitical consequences of food in relation to commercialization, consumption, and commodification in visual and consumer culture.

Through a commitment to repetition, images of food, animals, icons, brand names, and slogans, Warhol created a visual language through which to critique the effects of mass cultural production. Organized by the AGW, this exhibition is the first solo exhibition of Warhol’s work to be presented at the Art Gallery of Windsor.

Andy Warhol: EAT

EAT (1964) is a black-and-white, single shot, 45-minute silent film which frames and exploits the banality of eating. Developed in collaboration with the American pop artist Robert Indiana, Warhol created a narrative in which Indiana slowly eats a single mushroom in what is now labeled a, “Warholian minimalist classic.”

Although tempted with a decadent buffet of food in his studio-turned-film set, a famished Indiana was only permitted to eat, very slowly, the one item. Bordering on an act of voyeurism, the film instigates conversations surrounding desire and sexuality in avant-garde cinema.

Through repeated acts of eating, chewing, and digesting, Warhol flirted with the kinds of pleasure inherent within food through a seductive study of eating a mushroom.

The Contemporary Sandwich Shop

Showcasing eight contemporary artists, including Elizabeth Buset, Chloe Wise, Kari Cholnoky, Aaron Moran, Shelley Niro, Sarah Beck, Rhonda Weppler, and Lynn Donoghue, The Contemporary Sandwich Shop considers the consumption and commodification of food through the lens of the contemporary consumer.

Whether through painting, sculpture, or photography, the artists contemplate the ways in which the economics of food inform the experience of meat, salt, preservatives, fast food, and food naming. By reflecting on consumption, desirability, perception, and naming, in relation to food, the artists appropriate material practices as vehicles to challenge contemporary ideologies about the food industry at large.


IAIN BAXTER&’s photographs in this exhibition explore commercial relationships between art and food through bread.

While an artist-in-residence in Rennes, France, in 2008, the Windsor-based conceptual artist collaborated with a local bakery to create custom shaped and themed loaves of bread. However, in performative acts with the bread, such as surfing on an oversized baguette or golfing with a bread-covered golf club, BAXTER& proposes new functions for what is one of the most popular food items in the world; bread.

By transcending the many connotations which are associated with bread, albeit economic, ethnographic, cultural, or religious connotations, the artist singles out the inherent sociability of bread and pokes fun at its universality.

Still Life: ‘Food’ for the Eye, Mind and Body

By expanding the framework for determining the Still Life, this exhibition investigates how the objects depicted refer to sociological, historical, economic, or life-style values embodied within the everyday.

For thousands of years, images of food have existed as an art form in numerous cultures. Within some ancient cultures, graphic renderings of food provided for the deceased symbolized the nutritional sources which would be needed to sustain the spirit in the after-life.

Throughout its pictorial history, food has served as a symbol and metaphor in multiple contexts. Drawn from the Art Gallery of Windsor’s collection, this selection of works from the nineteenth to the twenty-first centuries offers the viewer food for thought, demonstrating how the still life tradition has been reconsidered as an expressive visual form in a variety of media.

The AGW’s Fridays Live! on June 1 was the official launch for the Spring-Summer installations.

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