Posted in Ancient World, Exhibitions and Installations, J. Paul Getty Museum

What Did Byzantine Food Taste Like?

Spoons with Inscriptions / Byzantine
Image courtesy of and © Benaki Museum, Athens, 2013

In the kitchen with the Byzantines. More»

Also tagged , , , , , , 11 Responses
Posted in Behind the Scenes, J. Paul Getty Museum

Great Literature Inspires Culinary Creations for “Selected Shorts”

Pea tendrils with scallop / Getty Restaurant
Spring on a plate: Pea tendrils over scallop pays humorous homage to Lydia Davis's story "Letter to a Frozen Peas Manufacturer"

Two of life’s pleasures come together this weekend: stories and food. More»

Also tagged , , , , , , Leave a comment
Posted in Behind the Scenes, Getty Center

Traditional English Recipes with a California Flair

Spotted Dick at the Restaurant at the Getty Center
A contemporary spin on Spotted Dick, the traditional English pudding made with dried fruit. Here it's served with fruit compote and a creamy almond custard

Our chefs share their 21st-century updates on traditional English favorites. More»

Also tagged , , , , , Leave a comment
Posted in Art, Behind the Scenes, Exhibitions and Installations

Korean Cooking, the Authentic Fusion Way

Korean cooking at the Getty

Getty chef Mayet Cristobal worked with volunteers from the Korean Cultural Center to create an authentic-fusion menu. More»

Also tagged , , , , , , Leave a comment
Posted in Getty Villa, J. Paul Getty Museum

At the Roman Table: Fish Sauce, Sausage-Stuffed Pig, and Good Conversation

Sally Grainger with porcellum hortolanum at the serving table for At the Roman Table at the Getty Villa

On a recent midsummer’s evening, the Getty hosted a program called At the Roman Table: A Culinary Adventure at the Getty Villa. The event drew 160 guests on each of two balmy evenings to Malibu, where we enjoyed a banquet… More»

Also tagged , , , , , , 1 Response
Posted in Behind the Scenes, Exhibitions and Installations

“Paris: Life & Luxury”—In Culinary Form

Mayet Cristobal in the kitchen of the Restaurant at the Getty Center

Paris in the mid-18th century was a time of invention in the culinary arts. Food was an integral part of the fashion and culture of this bustling city. Haute cuisine has its foundations in this time and place. So for… More»

Also tagged , , , , 12 Responses
Posted in Education, Exhibitions and Installations, Getty Villa

Cook Your Own Aztec Feast

Guacamole with a dash of lime
Guacamole with a dash of lime

Mexican cooking as we know and love it in the U.S.—moles, carne asada, burritos, cafe con leche, loads of melty cheese—would have been unrecognizable to the Aztecs. They didn’t have cows, pigs, sugar, cheese, butter, cinnamon, or wheat. They did,… More»

Also tagged , , , , , , Leave a comment
Posted in Art, Education, Getty Center, J. Paul Getty Museum, Sculpture and Decorative Arts

Eating with the Elite: A Culinary Tour of the Machine d’Argent

La Machine D'Argent, François-Thomas Germain, French, 1754

This spring the Museum is offering a feast of tours and courses about food in art. Nancy Real and Lilit Sadoyan, two gallery teachers, agreed to give me a taste. We went straight to the magnificent Machine d’argent by François-Thomas… More»

Also tagged , , , , , , , , Leave a comment
Posted in Art, Getty Center, J. Paul Getty Museum, Photographs, Film, and Video

Picturing Food: A New Social Art?

Untitled from the series British Food, Martin Parr, 1995. © Martin Parr/Magnum Photos

Drop your fork! I need to take a picture! Perhaps you’ve heard this exclamation, followed by the snap of a camera, while dining at a restaurant or sitting down to a home-cooked meal. Maybe you have even said it yourself,… More»

Also tagged , , , , , , , , , , , , , 1 Response
  • Facebook

  • Twitter

  • Tumblr

    • photo from Tumblr

      William Pope.L

      Tell us a bit about how and why you became an artist.

      I used to blame my being an artist on my grandmother, but that was my younger self looking for a scapegoat. At one point in undergrad, I had a moment, a crisis where I thought it was my job to save my family and the best way to that was to be a commercial artist—but I had to let go of that. Truth be told, being an artist is something I choose every day. Of course, maybe I choose art because I’m afraid of theater—too much memorizing and being in the moment and shit.

      A lot of your work deals with racial issues—perceptions of “blackness,” “whiteness,” the absurdity of racial prejudices, the violence of it. Why do you address race in your work? Do you think art can be an agent of change?

      I address race in my work ‘cause day-to-day in our country it addresses me. Yes, art can change the world but so can Disney—so there is that. I think the real question is not can art change the world, but can art be changed by the world? Would we allow this?

      Humor, with a touch of the absurd, seems to be an important component in your artistic practice. What role does humor play in your work?

      I like to use humor in my work ‘cause it answers/deals with questions in ways that are very unique. Humor answers questions with an immediacy and creates a productive amnesia of the moment in the receiver—but then the wave recedes, the world floods back in with its pain, confusions, and crush but the humor remains like a perfume or an echo or a kiss inside beneath one’s skin.

      More: Artist William Pope.L on Humor, Race, and God

      From top: Obi Sunt (Production Image from the making of Obi Sunt), 2015, William Pope.L. Courtesy of the Artist © Pope.L; Gans-Nelson fight, from the album ‘Incident to the Gans-Nelson fight’ (Page 40-3), Goldfield, NV, September 3, 1906, William Pope.L. Courtesy of Steve Turner and the Artist; Tour People, 2005, William Pope.L. Courtesy of the Artist © Pope.L; Failure Drawing #301, NYU/Napkin, Rocket Crash, William Pope.L. Courtesy of the Artist © Pope.L.


  • Flickr