Nestle's Box
Brooklyn Museum photograph
Caption
Marjorie Strider American, 1934–2014. Nestle's Box, 1973. Lithograph and acrylic, Sheet (Irregular): 21 1/8 x 27 1/8 in. (53.7 x 68.9 cm) Image: 16 x 19 1/16 in. (40.6 x 48.4 cm). Brooklyn Museum, Gift of the Storm King Art Center, 78.162.71. © artist or artist's estate (Photo: Brooklyn Museum, 78.162.71_PS9.jpg)
Gallery
Not on view
Collection
Gallery
Not on view
Collection
Artist
Title
Nestle's Box
Date
1973
Medium
Lithograph and acrylic
Classification
Dimensions
Sheet (Irregular): 21 1/8 x 27 1/8 in. (53.7 x 68.9 cm) Image: 16 x 19 1/16 in. (40.6 x 48.4 cm)
Signatures
Signed lower right in pencil in script : "M. Strider 73"
Inscriptions
Lower left in pencil "A/P 27"
Markings
Watermark in upper right, upside down "R CL"
Credit Line
Gift of the Storm King Art Center
Accession Number
78.162.71
Rights
© artist or artist's estate
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Frequent Art Questions
What is the significance of blue mush in the Nestle box?
Pop artists like Strider frequently used commercialized packaging or other ubiquitous imagery in their work to question the nature of fine art. The blue mush (or any color mush, for that matter), here, is something specific to Strider's work. This two-dimensional work is based on three-dimensional works she created by allowing urethane foam to rupture and freely expand from packages. It sort of suggests she can't be contained by societal norms.Aaaah! My daughter thought it was smoke!I can see why! In reality, the foam would have poured out in a similar way!I don't get the two on the left.
The one on the top is by Miriam Schapiro, who was known as a leader of the Pattern & Decoration Movement, which advocated for the use of craft materials and techniques often devalued as "women's work" such as quilting, knitting, sewing, etc. She worked in the opposite direction from the concurrent conceptual and minimalist art movements, using color and pattern to break down the division between art and craft. Hence, the quilt-like imagery of this painting.Though using a very different style, Marjorie Strider was also interested in breaking down barriers between high and low, culture and domesticity. She puts her own spin on the pop art movement of Andy Warhol and Roy Lichtenstein. Her commercialized packaging is ruptured, oozing, unable to contain its contents, which can be read as the actual product or perhaps a reference to the spread of consumerism?Both works also play with our concept of painting as flat, or as a kind of "non-material" -- Schapiro transforms the materiality of her work through references to craft and fabric. Strider moves between a more realistic depiction of the packaging and the cartoon-like blue ooze. Both work against viewer expectations.Thank you so much.
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