Monday, December 2, 2019


In the post-Warholian universe, a large part of the artist’s job involves pointing at things.  Another large part involves framing.  Of course, pointing is easier than framing and here I am in the Photographers’ Galley in London pointing at a 1992 photograph by Hannah Collins titled Sex 2, Plural/Wet.  

The wall text, which I’m standing in front of, has things to say about oysters’ similarity to female genitalia, which struck me as a tiny bit old hat.

The exhibition is rather good and is titled Feast for the Eyes – The Story of Food in Photography largely based on the book of the same name (or maybe it’s the other way round) which I reviewed for the Los Angeles Review of Books: here:

It’s strange, given my love of oysters, that the Hannah Collins image didn’t leap out at me from the book.  On the wall it’s amazing.  And let’s face it, it’s hard to photograph oysters well.

But this is something I go back and forth with.  Sometimes books seem the best way to look at and appreciate photographs, sometimes it seems you have to see them on a wall. 

Still, the one part of the exhibition that really needs to be seen in the flesh, or at least in glossy laminate, are these Weight Watchers cards:

 Over the years I’ve known quite a few people who’ve had success with Weight Watchers, and the system does apparently work for some people, including my own former GP.

Even so I can’t imagine anybody I know tackling the majority of the recipes on these cards, though I certainly do wish someone would tackle the Aspic-Glazed Lamb Loaf and invite me round.

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