Photo By Gail
You might recall reading a bit about NYC’s newest selfie-farm, Candytopia, in this post, so I’ll skip the formal introduction and just get to the part where I found this Pink Refrigerator Case in their gift shop, which holds reusable bottles of Candytopia-branded water that sell for just $2 (“Two Dollars!”). Totally worth it.
All Photos By Gail
With single-use plastics on the way out, one consumer item that will be most-impacted by the need for alternative packaging is something we use every day: Water. Most everyone carries their own portable water bottle when they’re on-the-go these days, but when you’re away from a source for refilling that bottle, the need to buy ‘bottled’ water remains. It’s exciting to see how manufacturers will meet the demand for sustainable consumer packaging going forward, and one company that’s definitely blazing the trail is JUST Water, a product that I was introduced to at the recent BDNY Hospitality Industry show at Javits Center. Continue reading Product Review: Just Water, Sustainably Sourced from the First Drop!
Photo By Gail
The forms of Agnes Pelton’s Sea Change (1931) channel the movement and energy of water, which the artist regarded as a metaphor for the ebb and flow of human thought. Created the year she left Long Island for the Southern California desert, Sea Change can be understood as a meditation on personal transitions; however, Pelton refused such specific readings of her art. Influenced by modern Theosophy, an esoteric blend of religion and philosophy, as well as the mysticism of the American Symbolist painters, Pelton believed that art channels the universal energies of the natural world through color and light, which are experienced rather than purely seen. She described color as “active,” likening it to a voice or “vibration” that is ideally perceived like “the fragrance of a flower [which] fills the consciousness with the essence of its life.”
Photographed in the Whitney Museum of American Art in NYC.
All Photos By Gail
Felix Gonzales-Torres (1957 – 1996) ever-generous artworks invite viewers to participate in them — by eating candy from a gleaming pile of sweets making up one of his works, for example, or removing a poster from an endlessly replaceable stack of paper. Yet despite their decisive ephemerality, these works are imbued with both personal and political undertones. While invoking the allegedly content-free vocabulary of minimalism, Gonzalez-Torres nonetheless subtly hints at possible meanings through parenthetical subtitles he assigned to each untitled work.
The luminous, blue-beaded curtain Untitled (Water) evokes images of an aquatic landscape but also dreams of travel and escape. The strings of faceted, blue plastic beads have as their source the humble curtains often found in bodegas, but when stretched across the expanse of the entrance-way, the shimmering strands resemble a waterfall. Installed in the lobby of the Brooklyn Museum, Untitled (Water), 1995, serves as a threshold, a place of passage, marking off the activity of the street from the theater of the exhibition.
Water, Detail
Photo Courtesy of WAT-AAH Blogspot
This very colorful mural by renowned street artist turned fine artist Kenny Scharf adorns one side of a building located near the corner of Lafayette and Prince Street in SOHO. The 50-foot high abstract painting is part of the Taking Back the Streets campaign from WAT-AAH bottled water to promote the popularity of drinking water among children and teens. Find out more about the campaign at This Link.