artful food

Agathe Snow Brings ‘Guerrilla-esque’ Catering to Long Island

agathe snow1 Agathe Snow Brings Guerrilla esque Catering to Long Island

Snow. (Courtesy Peres Projects)

Agathe Snow, the multimedia artist known for her abstract sculptures and performance-based work that involves friends from New York’s Lower East Side art scene, has set up a food truck on Long Island’s North Fork for a project called Wandering Palate, which brings sandwiches, risotto and homemade bread to the vineyards and polo fields of the Hamptons.

As Vogue tells us in its story about Ms. Snow’s latest endeavor, this is not the artist’s first foray into cuisine. In fact, she was raised among foodies—her brother Alex Apparu runs Donna Karan’s restaurant Tutto Il Giorno in Southampton and her sister Anne Apparu is an artist and chef who creates meal/happenings (such as one she did for an event at MoMA PS1).

Ms. Snow has presented similar stagings of her artful catering conceit before.

From the story:

From 2003 to 2006, [Ms. Snow] spearheaded “Feed the Troops,” a guerrilla-esque catering concept in which she served food to friends in different environments. That circle consisted of downtown luminaries—Ryan McGinley, Nate Lowman, Rita Ackermann and her ex-husband, the late Dash Snow—who were suddenly appearing in a sort of flash mob, eating on the Staten Island Ferry, random front stoops, or in a park. Chop Shop, which began in 2006, was a dining performance concept in which she and Anne staged grand dinner parties with eccentric menus and a guest list that read as a who’s who of the art scene on the Lower East Side.

“I didn’t think of cooking as an art thing at first,” says Corsica-born Snow, who grew up in the kitchens of her parents’ restaurants (the most well-known of which was the now-closed La Poème downtown New York). “But it kind of got appropriated, which is how I got into art—I didn’t study it. The food was really just a natural thing; I cook and get my friends together. But I thought it would be fun to change environments . . . add chairs . . . and then destroy everything. And that’s when [the art press] started writing about it. It wasn’t food-as-art, but once they said it was something, I got excited.”