“From Palate to Plate: Can Food Be Art?” by Jacquelyn Strycker, is a series of examples and explanations of different types of art as food, and how society is adapting to this shift from food being simply a necessity to being something that means so much more. Strycker begins by referring to the long tradition of food as an artistic medium, using examples such as the “European sugar sculpture, porcelain and table layouts from the 16th through 19th centuries. Dining was not just about earing food, but also about its elaborate display” (paragraph 3). Strycker writes “but food as a medium is not the same as declaring that a meal is art”. To back up her case that a meal is art, Strycker uses herself as an example, writing “I often spend between one and two hours making dinner each night. I used to feel guilty about this – worries that my time would be better spent in my studio drawing or printing or otherwise artmaking – but then I came to see that making food – combining textures, flavors, scents and colors – is also creative” (paragraph 2). She justifies art as food in a convincing and compelling way, but bringing up art exhibits such as when she describes the Fallen Fruit Collective, a form of “participatory art” where members bring fruit and collaborate together to make varied assortments of jams. These are all examples of ways history and the present day incorporate food in a way that is more then just eating it for nourishment and survival, it is about observing and creating it in an artistic fashion.
The video “Slow Food Presentation”, not only displayed an enticing story of describing the elements of creating a meal, it described it in a way that involved tools, passion, and time (all elements of creating art). After reading Stryckers article, the connection became clear between food as art from a cultural aspect. Strycker uses the example of multiple countries embassies, such as Peru with their famous national drink, Pisco, involving gastronomy as a large aspect of their cultural affairs agenda, adding it alongside cinema, music and visual arts. These are all compelling and convincing arguments for the sake of food as art.
Telfers text, “Food as Art”, gives her reasoning in a more factual and neutral tone. Strycker uses mainly modern examples, and other describes why they should be seen as art, whereas Telfers raises constant questions and contradictions when exploring for herself and readers the issues and uncertainty or food being art. Telfer uses definitions frequently such as the definition of art (“a artifact primarily intended for aesthetic consideration” (p. 12). Telfers also divulges into the topic of whether cookery is rather a craft than an art (art relying on creativity, craft relying on a pattern). After explaining these concepts, she then continues on to contradict herself by saying that both overlap, and the whole idea goes back to square one. One term Telfer uses that describes her style of writing and personal feeling is interpretation. Food (just as art) can be interpreted in so many forms. Telfer uses an example of metal pipes laying on top of one another in an art exhibit; some view that as junk and worthlessness, others see it as a ingenious masterpiece. This can be said the same for food. Telfer ends the text writing “So although food may be an art form, we should not always treat it as such” (p. 26).
When comparing the main arguments for art as food between the two authors, Strycker approaches the topic with enthusiasm, passion, and simplicity. Telfer uses questions, extensive explanations and artistic terms to allow readers to interpret the text how they decide. Telfer leaves the ultimate decision of food as art to the observer.
Strycker ends her article with “When a creative, sensory form also has the capacity to express philosophies, inspire multiple interpretations, conjure narratives and/or allude to complex meanings, it is art, whether the medium is pain or piano or polenta”. This sentence combines everything that this unit has covered into a nutshell. Both Telfer, Strycker, and the slow food presentation video all accumulated and formed new ideas and views on food as art. While Telfer gives in depth analysis, Strycker relies on examples and modern world stories of how food has evolved beyond necessity. The alternative viewpoints described by both writers accumulate into a greater understanding of food as art, and ways to view food in a new light with a critical eye.
Strycker, J. (2013, January 7). From Palate to Palette: Can Food be Art? Createquity [On-Line Article] Retrieved April 24, 2015, from http://createquity.com/2013/01/from-palate-to-palette-can-food-be-art/