Art
A New Show in L.A. Will Explore the Combination of Art and Fine Dining in the Islamic World
From birthday cakes to Thanksgiving turkeys to Fourth of July barbecues, food and its attendant rituals bring friends and family together in a way nothing else can. The universality of that tradition will be on display in a new show at the Los Angeles County Museum of Art, Dining With the Sultan: The Fine Art of Feasting, which examines Islamic art through a culinary lens.
“It’s a food-oriented culture,” says Linda Komaroff, LACMA’s curator and department head for art of the Middle East and a specialist in Islamic work, who organized the show, which runs from December 17 to August 4 and then travels to the Detroit Institute of Arts. “So many tablewares were produced, and they survived in enormous quantities.”
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As the invocation of sultans suggests, this is an exploration of the highest-end items, made for the palaces of the privileged. The 250 objects and artworks—dating from the 8th to the 19th centuries—come from LACMA’s collection as well as from institutions around the world; the show also features a contemporary commissioned work, an animated multimedia installation by Sadik Kwaish Alfraji, A Thread of Light Between My Mother’s Fingers and Heaven.
The ruling elites in far-flung societies ate well, indeed—just look at the Indian food container encrusted in gold, emeralds, and rubies from the late 17th century or the delicately molded green glassware from Iran dating back a thousand years. A Turkish tavern scene from the 18th century rendered in an illuminated manuscript has a palpable bonhomie, and an entire reception room from 18th-century Damascus is being installed, too, with cornices that depict the baklava that was almost certainly served to guests.
Komaroff has been making it her mission to expose viewers to the beauties of her field, as with her 2011-12 predecessor show, Gifts of the Sultan: The Arts of Giving at the Islamic Courts. Her latest magnum opus came out of her own blind spots. She knew about the techniques, materials, and other facets of the objects in her care, but not the anthropological details. “We know it’s a bottle, but for what?” says Komaroff. “What goes in this beautifully decorated bowl, which we now only see when it’s empty? It made me curious.”
A blue-and-white bowl from 17th-century Iran, for example, has an inscription from Persian poetry comparing the yellow hue of muzaffar (a sweetish rice-and-saffron preparation) to a sunset; research now has convinced Komaroff that the vessel was likely used for serving the dish itself.
The show’s catalog has an unusually playful structure for a scholarly publication: It’s organized in sections called Courses, beginning with Starters. It even contains recipes, in case you feel like making a chickpea broth once served in 10th-century Baghdad or a chicken-filled pastry from the Ottoman Empire circa 1865.
Whether or not your own banquet table features beautifully decorated communal bowls—as was typical at a sultan’s feasts—Komaroff is confident the topic has a good chance of being relevant and inviting for everyone. “For most people, the exposure to a new culture is through food,” she says.
Perhaps most convincingly, the exhibition has had a particular effect on its own creator, who is not much of a kitchen denizen herself. “I’m not really a big food person,” Komaroff admits. “But everything in this exhibition makes me hungry.”
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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