Contemporary Art and Food
2020


Independent research & writing project.

  • Research

  • Writing

  • Case study development

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  “ Food preferences that emerge early in life do so within the bounds laid down by those who do the nurturing, and therefore within the rules of their society and culture. What we like, what we eat, how we eat it, and how we feel about are phenomenologically interrelated matters; together, they speak eloquently to the question of how we perceive ourselves in relation to others.
— Sidney W. Mintz

Sol Goldberg's photograph of participants in Allan Kaprow's 'Women licking jam off a car,' from his happening 'household', 1964.

Alison Knowles, Make A Salad, 1962.

Tina Girouard, Carol Goodden and Gordon Matta-Clark in front of the closed-down bodega that would become their restaurant Food, New York, 1971.

Food-related artworks are as important to understanding culture as other mediums in art like painting, installation, sculpture and drawings. From Greek and Roman mosaics, Egyptian banquet scenes, to Renaissance frescoes and Flemish still-life paintings, the depiction of food and meals has had multiple meanings. Food as a medium in Western contemporary art was introduced in the 1930s by the Italian Futurists’ banquets, which celebrated modernity and technology underlying social and political commentary. It continued during the 1960s performance art, conceptual art and happenings, and the 1970s Fluxus movement’s exploration of the boundaries between art and life. During the 1980s and 1990s, food and contemporary art explored issues of gender and identity, and addressed artists and artworks producing relational aesthetics. 


Felix Gonzalez-Torres’s Untitled (Portrait of Ross in L.A.) from 1990, and Janine Antoni’s Gnaw from 1992, embraced food and the act of eating to open a conversation about gender, sexuality, and identity issues as a performative vehicle to bring awareness concerning the body in connection to the AIDS pandemic and loss, and society expectations for women’s bodies, respectively.

During the late decades of the twentieth century and the beginning of the new millennium, more literature and exhibitions continued to engage with contemporary art and food practices. Shows such as “Eating the Universe: Food in Art” (2010), in the Kunsthalle Düsseldorf, presented the ongoing interest of artists in the subject of food as an elementary substance while focusing on Daniel Spoerri contributions and seminal works;[1] whereas “Feast: Radical Hospitality in Contemporary Art” (2012), at the Smart Museum of Art at the University of Chicago, and the accompanying publication, surveyed the use of meals and hospitality as a compelling artistic medium.[2] Books like Food and Museums (2017) by Nina Levent and Irina D. Mihalache examined and observed exhibitions narratives through food.[3] The artist Olafur Eliasson published Studio Olafur Eliasson: The Kitchen(2016), a book that included vegetarian recipes and commented on the intimate relationships between nourishment, art, and community.[4] The Taste of Art: Cooking, Food, and Counterculture in Contemporary Practices (2017) edited by Silvia Bottinelli, Margherita d’Ayala Valva presented an essay collection that further examined the role of food in contemporary art practices.[5]

Feast: Radical Hospitality in Contemporary Art ( Book cover)

Janine Antoni, Gnaw, 1992

Felix Gonzalez-Torres, Untitled (Portrait of Ross in L.A), 1991

Besides the inclusion of food in art, it is essential to reflect that food and foodways are a product and reflection of society. In this case, it implies the eating habits and culinary practices of humans. It refers to all the food-related activities shared by a particular group of people. This includes production, consumption, and circulation of food, as well as the correlation to political, cultural, economic, social, and religious ideologies. Central to maintaining life, it implies issues that expose relationships between people and their communities, including diasporas.[6]  

Rituals performed around food are essential to the social structure within diasporas; from the preparation of meals in the kitchen and the passing down of family recipes to dinner gatherings around the table, the environments created by food rituals become pathways for the continuation of cultural traditions. Throughout a meal, not only do family and friends dynamics take place, an intimate climate is fostered for dialogue about shared memories, identity, religious ceremonies, heritage, and political views. Culinary rituals within diasporas strengthen community ties, serving as a space to connect the past with the present. Sharing a meal is a time-honored ritual that helps with the construction of self-identity; it bonds diaspora members together while adapting to changes produced by relocation.

At the same time, a feast or a meal functions as an essential connector to learn about diasporas and their cultural identity, as well as those outside the diaspora. Breaking bread carries a significant role in social interaction and a vehicle for cultural exchange; a traditional dish becomes fundamental for collaborative social relationships and further understanding about the people who have cooked and served the meal. The cultural importance of ingredients and recipes, linked to their personal stories of diaspora experience, plays a significant role in self-perception and engaging with others.

Derived from the Greek word diaspeirein, “diaspora” addressed the concept of exile and dispersal of the Jews in the translation of the Septuagintscriptures (ca. 250 BCE).[7] In the twentieth century, the term diaspora relates to the involuntary and voluntary dispersal and exile of specific populations. Since the 1980s, scholars expanded on the exploration of the term to analyze the experience of particular migrants, their descendants and their broad historical and cultural background. The word diaspora carries particular associations with human suffering, assimilation, preservation, and the course of history, however, the concept is culturally specific rather than universal.


Diaspora refers to the experience of populations displaced by migration, colonialism, and slavery. Not simply does it imply people’s displacement, scattering, and transplantation from a place of origin, but it also entails their relationship to the new places they inhabit.[8] Hybridity takes place as a consequence of the intersection between two or more cultures; this becomes an essential component in the continuous construction of diaspora identity. Eating is a primarily social activity that generates and strengthens social relationships. Food, for a member of such a population, often becomes one of the most viable ways to affirm their identity and establish a sense of acceptance, integration and belonging among the members of the same group, while maintaining a link to their traditions.

Michael Rakowitz, Return, 2006. Detail of Iraqi seeds grown in California. Still from Michael Rakowitz Return Video. Courtesy of Creative Time.

Oscar Murillo, If Was to Draw a Line (detail), “If I Was to Draw a Line, This Journey Started Approximately 400 km North of the Equator,” 2013.

Theaster Gates, Soul Pavilion, 2012. Detail of Menu for Geography of Soul, Sunday March 11, 2012. Photo: Smart Museum of Art. Courtesy of Smart Museum of Art, Chicago.

[1]  Curated by Magdalena Holzhey in collaboration with Renate Buschmann. “Eating the Universe: Food in Art” participating artist included: Sonja Alhäuser, Arman, BBB Johannes Deimling, Christine Bernhard, Joseph Beuys, Michel Blazy, John Bock, Paul McCarthy, César, Arpad Dobriban, Dustin Ericksen/Mike Rogers, Lili Fischer, Thomas Feuerstein, Anya Gallacio, Carsten Höller, Christian Jankowski, Bernd Jansen, Elke Krystufek, Peter Kubelka, Richard Lindner, Gordon Matta-Clark, Antoni Miralda und Dorothee Selz, Tony Morgan, L.A. Raeven, Thomas Rentmeister, Zeger Reyers, Philip Ross, Dieter Roth, Mika Rottenberg, Judith Samen, Shimabuku, Daniel Spoerri, Jana Sterbak, André Thomkins, Rikrit Tiravanija, Günther Uecker, Ben Vautier, Andreas Wegner, and Günther Weseler. The exhibition was accompanied by a catalogue published at Dumont Publishing House with essays by Christiane Boje, Renate Buschmann, Beate Ermacora, Ulrike Groos, Magdalena Holzhey, Elke Krasny und Nikolai Wojtko sowie Künstlertexten von Sylvette Babin, Jörg van den Berg, Elodie Evers, Gerrit Gohlke, Roland Groenenboom, Thomas Hirsch, Magdalena Holzhey, Eva M. Kobler, Michael Krajewski, Harald Lemke, Johannes Meinhardt, Francis Outred, Philip Ross, Dietmar Rübel, Andreas Schlaegel and Henning Weidemann.

[2]  Stephanie Smith,Feast: Radical Hospitality in Contemporary Art, Chicago, IL: Smart Museum of Art, University of Chicago, 2013. Published in conjunction with the exhibition show at Smart Museum of Art, University of Chicago, IL.

[3]  Nina Levent and Irina D. Mihalache, Food and Museums (London; New York, NY: Bloomsbury Publishing, 2016).

[4]  Olafur Eliasson and Alice Waters, Studio Olafur Eliasson: The Kitchen (London; New York, NY: Phaidon Press, 2016).

[5]  Silvia Bottinelli and Margherita d’Ayala Valva, The Taste of Art: Cooking, Food, and Counterculture in Contemporary Practices (Fayetteville: University of Arkansas Press, 2017).

[6]  Sidney W. Mintz, “Food and Diaspora,” Food Culture and Society Vol. 11, Issue 4 (2008): 510.

[7] Kevin Kenny, Diaspora: a very short introduction (New York: Oxford University Press, 2013), 2.

[8]  Steven Nelson, “Diaspora: Multiple Practices, Multiple World Views,” in A Companion to Contemporary Art Since 1945, ed. Amelia Jones (Malden, MA: Blackwell Pub, 2006): 296.