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2023 Best Modern Gifts for Chefs, Cooks, and the Culinary Curious

2023 Best Modern Gifts for Chefs, Cooks, and the Culinary Curious

Whether you’re shopping for the aspiring home chef, the seasoned gastronome, or the culinary explorer always seeking the next kitchen adventure, our carefully selected list promises to elevate their epicurean experience. From innovative gadgets to posh ingredients, each of the gifts on this list not only inspires creativity in the kitchen but also adds a touch of design sophistication to any culinary space. Delight the food enthusiasts in your life with these thoughtfully chosen gift items that go beyond the ordinary and celebrate the artistry of cooking.

There are those who are determined to perfect their knife skills… and then there are those who seek perfection period. Winner of the iF Design Award in 2021, The Ritter Piatto 5 manual food slicer combines solid traditional craftsmanship with modern technological know-how. It is operated by a smooth-running crank with a beech wood handle and does not require external power allowing it to be used anywhere. Thanks to highly functional materials and its timeless design, the slicer fits into practically every environment. It is equipped with a guide bracket for better results when slicing large and hard-to-cut pieces. Once the food is sliced, it drops onto the bamboo board provided for this purpose. Four suction cups ensure non-slip safety.

side by side image of a yellow mesh bag of oysters on left and a glass bottle with green label holding vinaigrette

The Hog Island Oyster Club Box comes with a mix of Hog Island oysters and specially curated oysters from sustainable growers delivered to their door. Their first box will include a shucking knife, shucking gloves, and Chef-curated recipes! After you place your gift subscription order, they’ll email you a digital gift certificate so you can share your gift with the giftee whenever the time is right.

The cherry on top of this gift is adding Noma Project’s Forager’s Vinaigrette, perfect with shallots for a mignonette to remember. The blackcurrant wood oil, is harvested from blackcurrant branches when they are young, tender and vibrant green with chlorophyll and blend them into a bright and aromatic oil. The Wild Rose Vinegar is made from fragrant wild rose petals, foraged by hand and blended in an incredibly high concentration to create a delicate, balanced, and floral vinegar. Forager’s Vinaigrette is also delicious for salads, grilled vegetables, and as a marinade for raw seafood in a ceviche.

montage image of knife and kitchen tools next to a bright red confetti cutting board

Ideal for curious young chefs eager to help in the kitchen, the Le Petit Chef collection is a beginner knife set designed to safely teach kids cutting and peeling skills they’ll use their whole lives! This trio keeps safety top of mind for little hands with a knife that features a rounded tip and educational ring to help position the fingers and prevent the hand from slipping onto the blade. Another finger ring on the peeler teaches kids to have a more secure grip, allowing safe peeling. The tools are all made with stainless steel blades and beech wood handles. These real kitchen tools are sharp – adult supervision is recommended when using the Le Petit Chef products. Combine the Opinel trio with Fredericks and Mae’s exclusive cutting boards inspired by Modernist painting’s bold colors and lush tones.

book cover with soft yellow background with overlapped words in various colors

For any aspiring chef or lover of food, Massimo Bottura is an icon. Imagine sharing the story and recipes of Casa Maria Luigia, Massimo Bottura and Lara Gilmore’s idyllic guest house, set in the heart of the Italian countryside. Casa Maria Luigia offers exquisite food, as well as amazing art, intriguing design objects, beautiful interiors, and an impressive collection of cars and motorcycles. Through illuminating texts, simple recipes, and evocative images, this book captures the extraordinary experience of staying at Casa Maria Luigia. The book features 85 recipes for dishes and drinks served at Casa Maria Luigia to make at home, including jams and preserves, cakes and pastries, frittatas and focaccias, salads, and drinks, as well as a selection of fish, meat, and vegetable dishes.

photo montage of a butter container, block and package of seaweed butter, and a section of butter with a butter knife

Let’s face it, butter makes it all better! But not all butters are created equal. And then there are flavored butters, like seaweed, or Espelette. Give the gift of exquisite butter from Le Beurre Bordier in a beautifully designed glass container by Ferm Living, made from 100% recycled glass. The gift is made complete with ButterUp, the best thing to happen to your breakfast since sliced bread. A special knife designed to turn a hard brick of butter into sumptuous, spreadable ribbons. Its form was perfected by self-proclaimed “butter enthusiasts” who prototyped a plethora of models before finally settling on a design that features a wide blade with built-in grater for maximum butter-to-bread surface area. Spread the love to your foodie friends.

down shot of long wooden oval fruit bowl with fruit held inside

Nothing is more satisfying than returning home and laying out your farmer’s market bounty. Here is the container my family uses to hold the fruits and vegetables in a single straight line while we start planning our week’s menus. The elongated oval shape is reminiscent of an old-fashioned racetrack. It’s made of one single piece of slightly curved beech wood and designed by Ron Gilad, for Danese Milano.

A wooden twisted wall shelf designed to hold knives magnetically

Having your chef knives on display and at the ready is essential for so many aspiring chefs. This solid natural oak wood 2-in-1 shelf and magnetic board offer both functions united by a simple twist. The shelf comes in 3 versions: natural oak, smoked oak, and black oiled oak.

trio of wine bottles each with different colors and flavors with images on labels

Need a delicious bottle of wine that looks as interesting as it tastes? Well look no further. I had the pleasure of tasting with wine broker and former sommelier, Matt Ahern, founder of the Wonderland Project. With the help of pedigreed Sonoma grape growers, the Wonderland Project was born in 2010 to celebrate California. Each bottle is adorned with eye catching artwork commissioned by Cheyene Randall. From orange, rosé, and red, the tasting notes read like poetry, filled with details that transport you to the vineyard at harvest time.

speckled printed linen napkins stained with wine

Linens are the perfect base to any holiday table setting. But do we always need to buy new? My current obsession is Susan Holland’s vintage echo printed linens by PLUCK Collective in Miami. This collection brings new life to existing objects. From wine staining to marigold printing, I love how the prints reflect the random unpredictability of nature itself. Similar to how a well-worn marble countertop tells the story of your entertaining past, Pluck’s rich linen’s imperfections and texture make them as stunning as they are forgiving to inevitable party fouls or accidents.

stacked blue and white flat packages of Spanish ham

Carmen and Aaron grew up in parallel worlds, both raised in Spain by Chinese parents, both from families of hard-working entrepreneurs. As kids, they both ate Spanish and Chinese food, often combined together in delicious and inventive ways. Nearly 20 years ago, they moved to the US, where high-quality Spanish charcuterie was hard to find. And thus, Mercado Famous – an unbelievably special brand of quality Spanish meats – was born. The showstopper gift is the King of the Charcuterie, the centerpiece of the party, a whole Jamon from a free range, 100% Serrano pig, shipped whole for you to slice fresh. Grain fed and cured for over 18 months, it’s the finest and most prestigious ham in the world. Perfect for elite dining, holiday parties, and bold tapas menus. Serves 40.

Follow along so you don’t miss any of our 2023 Gift Guides this year!

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

TJ Girard is a sought-after food designer and creative consultant, celebrated for staging theatrical, interactive food + beverage experiences. She now resides in California where her creativity is solar powered! TJ writes the Design Milk column called Taste.

Photography book details the communities, people along the Ice Age Trail

Photography book details the communities, people along the Ice Age Trail

A new book by photojournalist Cameron Gillie documents the Ice Ace National Scenic Trail during his 1,200-mile journey across the Wisconsin landscape, visiting communities and people along the way.

“Around Wisco: Hiking the Ice Age Trail” is a 264-page book with a mixture of photojournalism and nature photography that details the landscapes left behind from the last ice age. Additionally, Gillie photographed the small towns he passed through, and the people that call Wisconsin home.

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Celebrate Native American Heritage Day with artist demonstrations

Celebrate Native American Heritage Day with artist demonstrations

Auburn, NY (Nov. 21, 2023) — The Schweinfurth Art Center is hosting artist Dan Hill (Cayuga Nation, Heron Clan) for live demonstrations of traditional Haudenosaunee Trade Silver Jewelry and wooden flutes on Saturday, Nov. 25, 2023. The event, which runs from 11 a.m. to 4 p.m., is free and open to the public.

Through storytelling, Hill will explain how the history and designs of his silverwork reflect Haudenosaunee creation stories; and how his flutes and music represent Haudenosaunee communication with and responsibilities to the natural world.

The event, part of the Schweinfurth’s Folk Arts Series and a celebration of Native American Heritage Day, is funded in part with a grant from the New York State Council on the Arts.

Included in Saturday’s free admission is access to tour the current exhibits, “Quilts=Art=Quilts 2023” and “Off Script and Unexpected,” a solo exhibition by sculptor Lee Hoag of Rochester. For more information, call the art center at 315-255-1553.

###

About the Schweinfurth

The Schweinfurth Memorial Art Center is a multi-arts center that opened in 1981 thanks to a bequest from Auburn-born architect Julius Schweinfurth. The art center’s programs include more than a dozen exhibitions each year and educational programs for children and adults, which feature local, national, and international artists. For more information, link to schweinfurthartcenter.org

For more information, contact:

Maria Welych, Marketing Director

Schweinfurth Art Center

315.255.1553 w. | 315.380.6472 m.

mwelych@schweinfurthartcenter.org

The Asian Cultural Council celebrates 60 artistic years

The Asian Cultural Council celebrates 60 artistic years
Manila Hotel’s Maynila has been the top social hall for Fil-American social and cultural events since the early 1900s and it proved to be the top choice to celebrate the Asian Cultural Council’s 60th anniversary with President Ferdinand Marcos Jr. and First Lady Liza Araneta-Marcos as special guests of honor.

British Art Market Federation Unveils New Economic Report

British Art Market Federation Unveils New Economic Report

Good morning. I am delighted to be with you today for the launch of the latest economic survey of the UK art market by Dr. Clare McAndrew.

Thank you to Anthony Browne for inviting me to join you and to say a few words.

Anthony regularly comes to brief the Secretary of State, our officials, and me on the state of the art market, and the challenges facing it – As well he should as the issue is an asset of huge national importance.

There’s the economic impact, of course – providing direct employment to tens of thousands of highly-skilled people, and supporting almost as many jobs again in the ancillary businesses which provide the specialist skills it draws on.

There’s the fiscal contribution of some £1.5 billion, and the great benefit to the Exchequer of being a global hub for the international trade – with billions of pounds’ worth of works of art being imported and exported across our borders each year.

There’s the soft power of being the marketplace for some of the world’s most important artworks, antiques, and antiquities – and sharing the UK’s extraordinary creativity with ever larger audiences around the world.

There’s the magnetic effect it has for our visitor economy – something on fine display last month, as we marked 20 years of Frieze London, which the Prime Minister was proud to celebrate with a reception at 10 Downing Street.

The art market sustains and inspires so many wonderful exhibitions, art fairs, and other vibrant events which create additional spending and employment and attract tourists, both around the country and around the world.

Visitors to London during Frieze Week were spoiled for choice this year – with world-class exhibitions including Sarah Lucas at Tate Britain, Marina Abramović at the Royal Academy, Claudette Johnson at the Courtauld, and Frans Hals at the National Gallery – and that’s only mentioning a handful in Zone One.

That reflects the wider, and integral role the UK art market plays in our cultural life.

Our commercial galleries and dealers play a vital role in nurturing the careers of the UK’s visual artists. That’s why London has the greatest concentration of artists of any city anywhere in the world – and why so many other towns and cities across the country are similarly fizzing with artistic talent.

And I am very grateful for the expertise of the many art market professionals who advise my Department on cultural property matters.

So today is a chance for me to say thank you for the part you all contribute to that global success story.

And it is, of course, a moment to ensure we are doing everything we can to maintain it.

Today, we have the second largest art market in the world – behind only the United States, and larger than the rest of Europe put together.

But the global market is increasingly competitive – and that position is not ours by rights.

Dr. McAndrew’s report has charted the extraordinary resilience of the UK art market as it bounces back from the bleak months of the pandemic.

It has been able to draw on its great wealth of expertise and dynamism to overcome the challenges of COVID-19 – and those will be invaluable resources to draw on as it faces the challenges of the future.

But Government must play its part too. That is why I am glad to join you today – and glad to have ongoing relationship we do with the British Art Market Federation reassure you that we recognise what a great asset we have in the UK art market, and that we stand behind the sector as it works to retain its international competitive edge – and to remain a great British success story long into the future.

I know, from my conversations with Anthony and others, that leaving the European Union has brought new processes, not all of them favourable.

But having sovereign control of our borders has also brought the opportunity to innovate; to review and refine our customs rules.

We have already revoked the EU Regulation which will require import licences and importer statements for many cultural goods when it comes into effect in 2025, so that it will not apply to imports into Great Britain.

Our ambition is to have the world’s most effective border – and I am grateful to all those who have already made time to engage with our officials on the development of the new Single Trade Window.

That will provide a gateway between businesses and our border processes and systems – including, in time, export licences which I am glad to say are in the process of being digitised by our colleagues at the Arts Council.

This will allow people to meet their import, export and transit obligations by submitting information once, and in one place.

We are also reviewing Temporary Admission to reduce administrative burdens and simplify the rules – further evidence, I hope you will agree, that the Government is listening to the UK art market.

We know that you make frequent use of the Temporary Admission procedure, and are grateful for the constructive approach taken by the British Art Market Federation and art market practitioners in their responses to the recent public consultation.

We are considering what you have told us carefully and plan further engagement, including with the art market, in the New Year. So please do keep talking to us about it.

So I hope you will see that the Government is watching not just with pride at what we have at present, but a determination to preserve it – and with appreciation for all the evidence you bring to us which helps us in our conversations across government.

Chief among that, of course, is Dr. McAndrew’s annual report – an invaluable source of information, So I’m delighted to be here today and looking forward to hearing the evidence within it.

Thanks for having me.

/Public Release. This material from the originating organization/author(s) might be of the point-in-time nature, and edited for clarity, style and length. Mirage.News does not take institutional positions or sides, and all views, positions, and conclusions expressed herein are solely those of the author(s).View in full here.

Launch of the British Art Market Federation’s new economic report

Launch of the British Art Market Federation’s new economic report

Lord Parkinson speech from the launch of the British Art Market Federation’s new economic report: ‘The British Art Market in 2023’.

The British Art Market in 2023 report

Good morning. I am delighted to be with you today for the launch of the latest economic survey of the UK art market by Dr. Clare McAndrew.

Thank you to Anthony Browne for inviting me to join you and to say a few words.

Anthony regularly comes to brief the Secretary of State, our officials, and me on the state of the art market, and the challenges facing it — As well he should as the issue is an asset of huge national importance.

There’s the economic impact, of course — providing direct employment to tens of thousands of highly-skilled people, and supporting almost as many jobs again in the ancillary businesses which provide the specialist skills it draws on. 

There’s the fiscal contribution of some £1.5 billion, and the great benefit to the Exchequer of being a global hub for the international trade — with billions of pounds’ worth of works of art being imported and exported across our borders each year. 

There’s the soft power of being the marketplace for some of the world’s most important artworks, antiques, and antiquities – and sharing the UK’s extraordinary creativity with ever larger audiences around the world.

There’s the magnetic effect it has for our visitor economy — something on fine display last month, as we marked 20 years of Frieze London, which the Prime Minister was proud to celebrate with a reception at 10 Downing Street. 

The art market sustains and inspires so many wonderful exhibitions, art fairs, and other vibrant events which create additional spending and employment and attract tourists, both around the country and around the world. 

Visitors to London during Frieze Week were spoiled for choice this year — with world-class exhibitions including Sarah Lucas at Tate Britain, Marina Abramović at the Royal Academy, Claudette Johnson at the Courtauld, and Frans Hals at the National Gallery — and that’s only mentioning a handful in Zone One. 

That reflects the wider, and integral role the UK art market plays in our cultural life.

Our commercial galleries and dealers play a vital role in nurturing the careers of the UK’s visual artists. That’s why London has the greatest concentration of artists of any city anywhere in the world – and why so many other towns and cities across the country are similarly fizzing with artistic talent.

And I am very grateful for the expertise of the many art market professionals who advise my Department on cultural property matters.
So today is a chance for me to say thank you for the part you all contribute to that global success story.

And it is, of course, a moment to ensure we are doing everything we can to maintain it.

Today, we have the second largest art market in the world – behind only the United States, and larger than the rest of Europe put together.

But the global market is increasingly competitive – and that position is not ours by rights.

Dr. McAndrew’s report has charted the extraordinary resilience of the UK art market as it bounces back from the bleak months of the pandemic.

It has been able to draw on its great wealth of expertise and dynamism to overcome the challenges of COVID-19 – and those will be invaluable resources to draw on as it faces the challenges of the future. 

But Government must play its part too. That is why I am glad to join you today – and glad to have ongoing relationship we do with the British Art Market Federation reassure you that we recognise what a great asset we have in the UK art market, and that we stand behind the sector as it works to retain its international competitive edge – and to remain a great British success story long into the future.

I know, from my conversations with Anthony and others, that leaving the European Union has brought new processes, not all of them favourable.

But having sovereign control of our borders has also brought the opportunity to innovate; to review and refine our customs rules.  

We have already revoked the EU Regulation which will require import licences and importer statements for many cultural goods when it comes into effect in 2025, so that it will not apply to imports into Great Britain.

Our ambition is to have the world’s most effective border – and I am grateful to all those who have already made time to engage with our officials on the development of the new Single Trade Window. 

That will provide a gateway between businesses and our border processes and systems – including, in time,  export licences which I am glad to say are in the process of being digitised by our colleagues at the Arts Council.  

This will allow people to meet their import, export and transit obligations by submitting information once, and in one place. 

We are also reviewing Temporary Admission to reduce administrative burdens and simplify the rules – further evidence, I hope you will agree, that the Government is listening to the UK art market. 

We know that you make frequent use of the Temporary Admission procedure, and are grateful for the constructive approach taken by the British Art Market Federation and art market practitioners in their responses to the recent public consultation.  

We are considering what you have told us carefully and plan further engagement, including with the art market, in the New Year. So please do keep talking to us about it. 

So I hope you will see that the Government is watching not just with pride at what we have at present, but a determination to preserve it – and with appreciation for all the evidence you bring to us which helps us in our conversations across government.

Chief among that, of course, is Dr. McAndrew’s annual report – an invaluable source of information, So I’m delighted to be here today and looking forward to hearing the evidence within it. 

Thanks for having me.

Published 21 November 2023

Art Basel Hong Kong Will Return in 2024 to Its Pre-Pandemic Scale

Art Basel Hong Kong is set to return to its pre-pandemic scale in the upcoming edition in March 2024, featuring a total of 242 galleries. The galleries come from 40 countries and regions from across different continents, with more than half of them operating exhibition spaces across Asia.

The number of exhibitors, which reflects the fair’s 2019 numbers, also marks a 37 percent increase, or 65 exhibitors, from the 2023 edition, which took place just after the city re-opened its borders to international visitors after prolonged Covid-19 travel restrictions paralyzed the city for nearly three years. The next Art Basel Hong Kong will take place at the Hong Kong Convention and Exhibition Centre from March 26 to 30, with March 26 and 27 as VIP preview days.

It was understood that a number of international galleries could not make it to the 2023 edition due to uncertainties of travel restrictions during the time of preparation. In 2024, 68 of them will be returning after a hiatus, including Galerie Lelong & Co., Lisson Gallery, Sprüth Magers, Acquavella Galleries, kurimanzutto, and Galerie Eva Presenhuber.

The exhibitor list announced on Tuesday, November 20, focus on the fair’s main sections. Galleries, the fair’s main sector, features 200 galleries; twenty-two galleries will take part in Discoveries, which presents solo booths of emerging artists. Insights, which dedicates itself to artists from Asia and the Asia-Pacific region, will feature 20 galleries and hone in on historical presentations.

The 2024 show also welcomes 25 first-time exhibitors, including the Melbourne- and Sydney-based Station, Almeida e Dale Galeria de Arte from São Paulo, Mangrove Gallery from Shenzhen, Hua International which operates in Berlin and Beijing, Paris’s Fitzpatrick Gallery, Taipei’s PTT Space and Each Modern, Public Gallery and Alison Jacques from London, Shanghai-based Linseed, and New York’s Chapter NY.

While Art Basel Hong Kong’s size is certainly a show of strength in the wake of the lockdowns as well as the 2019 political unrests, there remains a notable absence of regulars to the Hong Kong fair: Galerie Rüdiger Schöttle, Sean Kelly, Goodman, and Marian Goodman are not on the list.

See the full exhibitors list below.

Galleries

10 Chancery Lane Gallery
A Thousand Plateaus Art Space
Miguel Abreu Gallery
Acquavella Galleries
Alisan Fine Arts
Almeida e Dale Galeria de Arte
Sabrina Amrani
Anomaly
Antenna Space
Arario Gallery
Alfonso Artiaco
Aye Gallery
Balice Hertling
Bank
Gallery Baton
Beijing Commune
Blindspot Gallery
Marianne Boesky Gallery
Tanya Bonakdar Gallery
Bortolami
Ben Brown Fine Arts
Cardi Gallery
Carlos/Ishikawa
Galería Cayón
Galeria Pedro Cera
Yumiko Chiba Associates
Clearing
Sadie Coles HQ
Galleria Continua
Pilar Corrias
Galerie Crèvecœur
Cristea Roberts Gallery
Galerie Chantal Crousel
Thomas Dane Gallery
de Sarthe
MassimoDeCarlo
Dirimart
Don Gallery
Galerie du Monde
Dvir Gallery
Anat Ebgi
Galerie Eigen + Art
galerie frank elbaz
Empty Gallery
Gallery Exit
Experimenter
Selma Feriani Gallery
Konrad Fischer Galerie
Fox/Jensen
Stephen Friedman Gallery
Gagosian
Gajah Gallery
Gallery 1957
François Ghebaly
Gladstone Gallery
Gomide & Co
Greene Naftali
Grotto Fine Art
Hakgojae Gallery
Hanart TZ Gallery
Hauser & Wirth
Herald St
Galerie Max Hetzler
High Art
Hive Center for Contemporary Art
Pippy Houldsworth Gallery
Hua International
Xavier Hufkens
Ingleby Gallery
Ink Studio
Taka Ishii Gallery
Alison Jacques
Johyun Gallery
Annely Juda Fine Art
Kaikai Kiki Gallery
Jan Kaps
Karma
Kasmin
Tina Keng Gallery
Kerlin Gallery
Kiang Malingue
Tina Kim Gallery
Richard Koh Fine Art
David Kordansky Gallery
Tomio Koyama Gallery
Kraupa-Tuskany Zeidler
Galerie Krinzinger
Maho Kubota Gallery
Kukje Gallery
kurimanzutto
Kwai Fung Hin Art Gallery
Pearl Lam Galleries
Leeahn Gallery
Lehmann Maupin
Galerie Lelong & Co.
Lévy Gorvy Dayan
Liang Gallery
Josh Lilley
Lin & Lin Gallery
Lisson Gallery
Loevenbruck
Luhring Augustine
MadeIn Gallery
Galleria d’Arte Maggiore G.A.M.
Magician Space
Mai 36 Galerie
Matthew Marks Gallery
Mayoral
Mazzoleni
Fergus McCaffrey
Galerie Greta Meert
Galerie Urs Meile
Mendes Wood DM
Mennour
Meyer Riegger
Mind Set Art Center
Francesca Minini
Galleria Massimo Minini
Victoria Miro
Misako & Rosen
Mizuma Art Gallery
Modern Art
The Modern Institute
mor charpentier
Morán Morán
Mother’s Tankstation Limited
Galerie nächst St. Stephan Rosemarie Schwarzwälder
Richard Nagy Ltd.
Edward Tyler Nahem
Helly Nahmad Gallery London
Nanzuka
Taro Nasu
neugerriemschneider
Anna Ning Fine Art
Galleria Franco Noero
Kotaro Nukaga
Galerie Nathalie Obadia
One and J. Gallery
Galleria Lorcan O’Neill Roma
Ora-Ora
Ota Fine Arts
P.P.O.W
Pace Gallery
Pace Prints
Peres Projects
Perrotin
Petzel
Pi Artworks
PKM Gallery
Galeria Plan B
Platform China
Polígrafa Obra Gràfica
Galerie Eva Presenhuber
Proyectos Monclova
Almine Rech
Regen Projects
Rodeo
ROH Projects
Thaddaeus Ropac
Rossi & Rossi
SCAI The Bathhouse
Esther Schipper
Galerie Thomas Schulte
ShanghART Gallery
Shibunkaku
Misa Shin Gallery
ShugoArts
Sies + Höke
Silverlens
Jessica Silverman
Skarstedt
Smac Art Gallery
Soka Art
Sprüth Magers
Galerie Gregor Staiger
Star Gallery
STPI
Sullivan+Strumpf
Take Ninagawa
Tang Contemporary Art
Timothy Taylor
Templon
TKG⁺
Tokyo Gallery + BTAP
Tornabuoni Art
Vadehra Art Gallery
Tim Van Laere Gallery
Various Small Fires
Venus Over Manhattan
Axel Vervoordt Gallery
Vitamin Creative Space
Waddington Custot
Michael Werner Gallery
White Cube
White Space
Galerie Jocelyn Wolff
Wooson
Yavuz Gallery
Zilberman Gallery
David Zwirner

Insights

√K Contemporary
Dastan Gallery
Each Modern
Flowers Gallery
Hafez Gallery
HdM Gallery
Hunsand Space
Kosaku Kanechika
Lawrie Shabibi
Leo Gallery
Mizoe Art Gallery
Nonaka-Hill
Pifo Gallery
PTT Space
rin art association
Standing Pine
Station
Galerie Vazieux
Yiri Arts
Chini Gallery

Discoveries

Bangkok CityCity Gallery
Fine Arts, Sydney
Jhaveri Contemporary
Linseed
Nova Contemporary
Tarq
Waitingroom
Whistle
Christian Andersen
Chapter NY
Fitzpatrick Gallery
Layr
Umberto di Marino
Project Native Informant
Public Gallery
Phillida Reid
Catinca Tabacaru
Tabula Rasa Gallery
YveYang
Galerie Zink
Vanguard Gallery
Mangrove Gallery

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HOPI R2 shows blend of Native art and technology to students at Thomas Elementary

HOPI R2 shows blend of Native art and technology to students at Thomas Elementary

FLAGSTAFF, Ariz. — HOPI R2 visited Thomas Elementary School Sept. 22 to the surprise of many excited students and Star Wars fans.

Duane Koyawena, the artist who painted R2, conducted several presentations to students. Koyawena painted R2 with Hopi cultural symbols and designs, and Joe Mastroianni built the droid.

Koyawena was invited to show HOPI R2 to display the artwork and talk a little about its construction and engineering. He also talked about his identity as a Hopi tribal member, who he is as an artist and his interest in Star Wars.

So, what inspired the building of OPI R2?

The idea came about when Koyawena attended an exhibit at the Museum of Northern Arizona curated by Tony Thibodeau, director of research and collection at the museum. They were displaying Star Wars art, many of the artists were Native Americans who had interests in such artwork.

“They wanted an R2 unit but couldn’t afford to bring one,” Koyawena said. “And so, they asked one of the local gentlemen, who is the marketing director’s husband from the Museum of Northern Arizona, if he could possibly build one. He was able to and so he asked me, since it was an exhibit for Indigenous art, if I’d be interested in painting it for him. So, I did, and painted him with Hopi pottery-style designs.”

The HOPI R2 was completed in 2019 and has since made several appearances. The students at Thomas Elementary were excited to see it.

“(The students) were attracted to it. They were supper happy … I think the idea of meeting a droid for the first time, an actual robot that moves around … a lot of the kids were really excited and impressed by it,” Koyawena said.

Koyawena said the reception at Thomas Elementary was great and he enjoyed his time there. He enjoys taking the droid around for presentations and he plans to attend other exhibits in the future. He has conducted presentations on the droid at Coconino High School, the Children’s Museum in Phoenix, the Heard Museum, schools in Kayenta and Tuba City, Hopi fairs and events, and many conferences.

Aside from painting HOPI R2, Koyawena’s artwork also includes custom-designed shoes, paintings, murals, drawings and hand-painted custom skateboards. His work can be viewed at dkoyawenaarts.com.

Koyawena is a Hopi tribal member, his clan is Taawawungwa (Sun Clan) and he is from the Village of Sipaulovi on Second Mesa on the Hopi Reservation.

Information provided by Flagstaff Unfied School District.