by Sean Sabye Russell T. Gordon’s color lithograph entitled Hot Dog Bridge (figure 1) figures a monumental hot dog as a structure spanning two rust-colored rock formations, framed by a perfectly arched, almost tangible rainbow. The background of the image is filled with a bright blue sky, dotted with cotton candy clouds shaped by the negative space of the print. Russell mobilizes the ironic idealism of the scene, the lithographic nature of the piece, and the keystone role of the hot dog bridge to comment on the absurdity of the values we come to imbue with importance in America, specifically in relation to capitalism and accessible democracy. The vibrancy of the blue sky and rainbow, as well as the dental whiteness of the clouds, calls to mind the utopian qualities of advertising and, more generally, media in post-war 1950s America. Within the context of this period, the hot dog evokes the industrialization of consumer products, food included, that flourished then (and continues to flourish today). The machine of capitalism rewards manufacturers who can perpetually churn out consistent iterations of the same product. Though the nutritional quality of the hot dog remains questionable at best, its consistency is undeniable. As a lithograph, the piece’s replicability mirrors the replicability of the hot dog, remarking on how the greed of capitalism may come to infect a sphere such as art with the same mechanization it applies to mass-produced food. Comprised of meat trimmings, hot dogs make use of meat that would otherwise be discarded once choice cuts of chicken, beef, or pork are gathered and sold. Their “leftover” status means they can be purchased cheaply, making them a popular choice for efficiently feeding large groups of people. The highest and lowest socio-economic classes in the United States consume the hot dog, saturating its image with a lack of discrimination and a wealth of democracy. The hot dog’s association with celebrations of American culture and independence, whether that be baseball games or July Fourth barbeques, further adds to its symbolic relationship with uniquely American ideals. Forming the hot dog into this essential structure, Gordon exposes the historical idolization of the tenets of American democracy. Our nation claims to apply its statutes to all its citizens equally. Gordon, a Black man who experienced America before, during, and after the civil rights movement of the 1960s, knew this widely disseminated “fact” was (and still is) a systematic deception on some level. An unhealthy level of patriotism, of romanticizing the aspects of American democracy that make it special, teaches the socially and economically privileged to turn a blind eye to the negative features of our nation that have never leaked into their daily awareness of “the American dream.” To Gordon, putting a hot dog on this stony pedestal is as ridiculous as holding American democracy as an untouchable paragon. Gordon’s Hot Dog Bridge plays with our contextual understanding of food symbolism to satirize the sanctity with which emblems of American democracy and capitalism are popularly portrayed. America’s unhealthy obsession with economic efficiency and apotheosized vision of its own governing principles endanger the singularity of artistic creation and the ensured equality of its inhabitants. Maintaining a healthy skepticism surrounding the remarkable characteristics of the United States leaves room for critique and improvement of the systems we must mutually exist within. The symbolic role of the bridge, a structure offering access to previously unreachable space, requires further analysis, specifically how it could be interpreted through the lens of American immigration policy.

by Laura Tinkler Apollo, from the 'Apollo Bath,' is a porcelain figure from a centerpiece set, originally depicting the Greek god Apollo attended by six nymphs. In this piece, Apollo sits clad in laurels and partially clothed in a loose fabric, seated amidst water-worn rocks and a rock face adorned in flowers. The figure's posture, right arm outstretched and left foot unsupported, suggests Apollo is entering the water below. Notably, the back of the piece is bare, suggesting the piece is intended to sit against a wall or barrier, as viewers are only intended to see the front of the piece. Similarly, in this case, the letters on the bottom, "H" and "I," are not there to be viewed but rather to instruct how to order the figures in the set, and likely obscured by the dishes and foods the figures are placed. This piece draws from the sculpture 'Apollo served by the Nymphs' (1667-1675) by François Girardon, which depicts a life-sized version of a similar scene set in marble, originally placed in the Apollos's Bath Grove in the Garden of Versailles (François Girardon). Girardon sculpted this for Louis XIV, 'the Sun King,' who often associated himself with Apollo, the God of peace, the arts, and the sun, as an expression of power and cultural authority. Similarly, 'Apollo Bath' was manufactured by the Meissen, a porcelain manufactory favored by royals and aristocratic patrons (Nichols). Much like Louis XIV's association with Apollo, 18th-century royals and aristocrats sought to establish a parallel between their own authority and the symbolism of Apollo, reflecting their quest for power and cultural influence. WORKS CITED François Girardon. Palace of Versailles. (2021, July 1). https://en.chateauversailles.fr/discover/history/great-characters/francois-girardon. Nichols, S. (n.d.). AT TABLE: HIGH STYLE IN THE 18TH CENTURY. Carnegie Museum of Art. https://carnegiemuseums.org/magazine-archive/1996/sepoct/feat5.htm.

by Patrick Kaper-Barcelata This sake cup, from the 20th century, is attributed to the Japanese artist, Senzan. Sake, an alcoholic beverage made from fermented rice, has for centuries held deep significance in Japanese tradition and culture. Sake often plays a central role in religious rituals, offered to the gods at Shinto shrines before being communally enjoyed in feasts. Beyond religion, sake forms an important part of celebrations, social events, and work culture. Sake is intended to be enjoyed in the company of others, and it is customary to fill others’ sake cups as a show of conviviality, respect, and hospitality. While Japan has distinct social stratification determined by age and social status, the communal nature of sake drinking attenuates these barriers, acting as a unifier of people. Made of porcelain and adorned with a blue and red glazed plum branch, this cup builds on a tradition of Japanese porcelain starting in the 17th century. Originally reserved for domestic elites and wealthy foreigners, porcelain products became more accessible as Japan industrialized production and began exporting greater quantities to the United States and Europe through the 19th and 20th centuries. The delicate material, limited volume, and small opening of this cup classifies it as an ochoko cup, ideal for sipping. Ochoko cups tend to mask the acidity of sake and bring forward its sweetness. Emphasizing a clean, crisp flavor over depth and complexity, ochoko cups are suitable for multiple types of gatherings but not usually favored for ceremonies or very formal events. They must be regularly refilled, contributing to a friendly and social atmosphere. Across contexts and through various mediums of consumption, sake has continued to connect Japanese across social strata. Works Cited “Japanese Porcelain.” Diagnostic Artifacts in Maryland, https://apps.jefpat.maryland.gov/diagnostic/Porcelain/PorcelainWareDescriptions/Japan esePorcelain-intro.html. “Sake in Japanese Tradition and Culture.” Japanese Sake, Japan Sake and Shochu Makers Association,https://japansake.or.jp/sake/en/basic/sake-tradition-culture/.

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