Exploring Food as Art: Meaning, Consumption, and Cultural Significance, Lecture notes of Art

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Dedicated in loving memory to Melba Grace Dionysius The Raw, the Rotted and the Interruption of Cooking: A Visual Investigation by Andrew Rewald BFA (Hons, First Class) Griffith University, QCA Submitted in partial fulfilment of the requirements for the degree of Master of Fine Arts University of Tasmania, July 2009 Contents Introduction ............................................................................................................ 1 Chapter 1: Background to the Project.. .................................................................... 6 1.1 Early Research ................................................................................................... 6 1.2 Previous Work ............................................................................................. ...... 8 Chapter 2: Raw (Self and Other) ......................................................................... 12 2.1 Identity ........................... .................................................................................. 12 2.2 Memory ............................................................................................................ 23 Chapter 3: Cooked (Composition and Decomposition) ..................................... 27 3.1 Abjection .......................................................................................................... 27 3.2 Eating and Sex ........................................................................... : ..................... 34 Chapter 4: Rotted (Concealment and Elaboration) ......................................... ..42 4.1 Masking ............................................................................................................ 42 4.2 Illusions and Reality ................................................................................... ...... 49 Conclusion ............................................................................................................ 61 Appendices Appendix 1: Bibliography ..................................................................................... 64 Appendix 2: List of Submitted work ........................ ....................................................... 68 Appendix 3: List of Illu~trations ..... , ...................................................................... 69 Appendix 4: Endnotes .......................................................................................... 73 Appendix S:CurriculumVitae ................................................................................ 79 Introduction Food is a language, not just sensory but a physical and visual language as well. Humans feed on symbols and myths, and enact food-related rituals and taboos on a daily basis. As food sharing in most cultures and religions is a ritual act, usually involving the family, this is a form of positive communication. On the other hand eating can be a dangerous, manipulative, and disturbing indicator of social dysfunction and individual disorder. Utilising the performative language of food this project implicates the body as a site of curiosity, consumption, digestion and creation. As a chef! work with the understanding that cuisine is not static but a constantly changing hybrid of influences, and that cookery is a multi-layered reflection of a place and time. Throughout the research food is presented as revealing our strengths, weaknesses and desires involving not only individual bodies but also society as a whole. The research is also informed by personal experience. Personal narrative enters from two different but related directions. The first is my background as a chef, the second being formative childhood memories. Even though my work responds to (or is mediated by) personal experience it does not deal with autobiography but the presentation of an altered 'other' self. This creates a paradox, particularly in my performances, as I work with something only I know, in order to say something that represents others as well. By using my own body in the work I orchestrate a form of self-exposure; in doing this I glorify while denying my identity, seeking ways of presenting my body as more than my individual self, while acknowledging the ever-present narcissism latent in the action. 1 Sex and transgression are considered in the writing of Susan Sontag in The Pornographic Imagination [1967], an essay that responds to Story of the Eye, by Surrealist author Georges Bataille [1928] in which he exposes the erotic and the dangerous appetite for the human body. Various authors have contributed to ideas and theories in relation to Perfonnance and identity. These include Anne Marsh, whose Body and Self: Performance Art in Australia 1969-92 [1993] charts this subject and places the contemporary artist's body within an historical context. Marvin Carlson's Performance: A Critical Introduction [2004], Lea Vergine Body Art and Performance [2000] which defines performance as centred on the body; and Amelia Jones Self/Image: Technology, Representation and the Contemporary Subject [2006] places the artist body within a context relating the 'self within postmodemism and popular cultural discourse. Louise Tythacott provides historical insights into the Surrealist preoccupation with primitivism and 'otherness', in Surrealism and the Exotic [2003]. The resulting body of work portrays abstracted food preparation and consumption processes and investigates issues, both historical and contemporary, implied by cooking and eating. This strategy is employed to create a tension with the use of oppositions, presenting what is obviously my­ self standing in for an-other, referring to a 'self to implicate a universal 'other'. This is presented as a "body without organs", a body explored inA Thousand Plateaus [1998] by Giles Deleuze and Felix Guattari. My body is also presented as ajlaneurial body, one that experiences 'difference' as a consumer novelty and notions of 'self as interchangeable in a constant state of transformation and self examination. This idea derives from writings on the jlaneur by both Charles Baudelaire and Walter Benjamin that present the modem individual as one that validate their own presence and that of others within designated zones of conspicuous consumer participation, not unlike our current habits of conspicuous public dining. 4 The process and experience of this project raised a number of questions: How to present diverse food meanings and relationships, developed from my personal experiences, that have in turn evolved from Western modernization and its associated mediation of food, and art production alike? Also, do we define our selves and others by what we do, or don't eat, in relation to how we appear to and see others? Can I present these concerns in a performative context that acknowledges the historical significance of performance art while addressing contemporary performance strategies, and current associations with media and technology? 5 Chapter One: Background to the Project 1.1 Early research The first stage involved exploring food as a material, subject matter and metaphor within art history and contemporary art practice. I considered the notion of consuming 'the self as 'the other' viewed through modem eating habits represented by cultural homogenization and hybridity, because as Bell Hooks explains: The commodification of Otherness has been so successful because it is offered as a new delight ( ... ) Within commodity culture, ethnicity becomes spice, seasoning that can liven up the dull dish that is mainstream culture. 1 I was keen to visually explore this notion based on restaurant experiences appropriating and adapting ethnic food habits while working with fusion cuisine. I investigated various artists who use food to reflect on social or racial hybridity, such as Rikrit Tirivanija and Mella Jaarsma.2 I was also interested in contrasting this with the Surrealist's appropriation of African and Oceanic objects as an alternative to the dominant aesthetic of modem art.3 This approach became problematic as I felt like an armchair observer engaged in ethnographic 'self-othering, ' 4 a model that reinforces a Euro-centric construct of the 'other' by which we in 'the West' measure ourselves. In re-examining what the 'self and 'other' meant to me, the true motivation for my research became much more self-reflective. The research has maintained an ethnic flavour because the majority of key artists that I refer to respond to environments where food is both a political and social imperative, that in turn is reflected in their work. I have discovered that in recent years more and more artists in Western countries are increasingly aware of overconsumption, not 6 These discarded Tupperware pieces represented another history, a possible snapshot of someone else's time and space, evoking a sense of the ephemeral natme of modem life. Tupperware becomes a form of historical record of all the foods and utensils that have made contact with it. Figure 1: That in Itself, 2005-7 For this work, spice and wax were cast into the fonns of kitchen objects and utensils and fused directly to the Tupperware . They then appeared as hybrid weaponry; abject mutant delicacies microwaved one too many times. Ideas related to genetic modification were introduced, exploring the way in which this has entered the submban imagination not unlike processed foods . I was intrigued to learn that processed foods began to be seriously marketed alongside Tupperware dming the rise of supennarkets in nineteen fifties post-war consumer culture.8 My grandmother's prodigious collection was a testament to Tupperware's desirability as a consumer product, and her preference for convenience and processed foods was very much a response to the marketing campaigns of the time. Stemming from the idea of decay in modern life is Everyone and Nobody, 2005. This work alludes to histories of global trade, colonialism and urbanisation in the kitchen with Tupperware again as a consumer product symbolic of modernity. These 'home sweet home' style shields are coated with Master Foods spices my grandmother displayed in a wooden antique styled rack on her 9 kitchen wall. Mounted on the shields are pink wax objects cast from hybrid shapes fusing various household utensils with Tupperware forms. They resemble amorphous flesh-like trophies, more like living organs or body parts, than the animal heads symbolic of a great white hunter's conquest. • Figure 2: Everyone and Nobody, 2005 A curious thing happened when this work was exhibited in the Fresh Cut 2005 exhibition at the Institute of Modern A1i, Brisbane. Each day a shield coated with Tandoori powder developed beads of water that ran down the wall and dripped off the wax appendage. The work had absorbed moisture during the night and when the lights and air-conditioning were turned on the next morning the same moisture was extracted. Despite the fact that I was required to address and repair the issue, it became a curiosity, like a religious icon weeping tears Figure:3 Everyone and Nobody (detail) 10 of blood. This bizarre event reminded me of the visceral and abject nature of food, but also its ability to conceal and reveal. This work then became the catalyst for thinking about how to transfer these experiments onto the actual body. The works described here revealed that the relationship between domestic materials, and personal narrative evoked by ritual in the kitchen, alludes to a form of myth making from memory. They are forerunners to this research project, revealing my interest in exploring issues of transformation, where the use of food and related processes of cookery, are employed to explore personal and social issues associated with, and extending from, the human body. 11 on the body and mind as the primary content in body art "presents a narcissistic relationship."18 The audience potentially interprets the individual act of the artist as the artist's personality, but a closer examination reveals the work to reflect what is often lost or forgotten in Western societies, that ego is a mythical and fragmented construct presented to the audience in self effacing and abusive ways that often contradict the socially constructed bodily norms. 19 This is inferred within my work, in reference to relationships between ritual and taboo and the individual/social body. Throughout this project each work evolved as an ingredient for a recipe by drawing from past and present experience that in part describes the changing conditions of use for food in a modem technological age, and what this might imply for the outer/visible and inner/personal identity of my-self, as well as others. Lea Vergine refers to Jean­ Paul Sartre describing strategies of body art that employ all oflife's proof of existence. The body is a part of every perception. It is the immediate past in so far as it still emerges in the present that flees away from it. This means that it is at one and the same time a point of view and a point of departure - a point of view and a point of departure that I am and that I also go beyond as I move off towards what I must become.20 Mona Hatoum's work, Corps Etranger (Strange Body) 1994 explores this terrain. The motif of passage, from mouth through the body, is used to collapse the self-other distinction. This work unsettles the viewer with its documentation of an endoscopic video camera exploring the inner and outer surface of her body, transgressing bodily boundaries. The camera moves between mouth, intestines, anus and vagina, through pubic hair, over and around her body. The interplay between screen, dry skin and internal wetness enmeshes the viewer 14 and plays with the "nonnal" idea of the correct or appropriate distance for . . h I 21 v1ewmg t e ot 1er. Figures 4-5: Corps Etranger, 1994 Engaging with the other has a cultural context for Mella Jaarsma's work. Jaarsma focuses on the formation of identity from a sociological and anthropomorphic perspective. Having a Netherlands/Indonesian background, the a1tist uses food as an indicator of difference within her Javanese community to reflect on the "melting pot of religions", and social groups in Indonesia. 22 Various socio-political issues are addressed through the sin1ple act of cooking and eating in Hi Inlander (Hello Native) 1998-99. This performance at the 3rd Asia Pacific Triennial Brisbane presented iconic foods from various ethnic groups cooked and served (for the audience to consume) by models dressed in the skins from the various animal/meats on offer, in the fonn of Islamic women's jilbabs. Figure 6: Hi Inlander (Hello Native), 1998-99 15 The universal appeal of Jaarsma's work stems from the intrinsic way all cultures, some more overtly than others, identify with or through their food. Ritual and taboo, location and difference are the signposts for this work. Julie Ewington presents the following questions in response to this work. "What does it mean to walk around in another's skin, to see through their eyes, to make food with their own hands [and then] to eat their food and to become, therefore, like them?"23 The ethnologist in me seeks to illuminate some of the meanings and myths surrounding food in both a domestic and industrial context. Today it is possible to compare the simplification of the modem diet to an estimated eighty thousand edible plant species known to man, who traditionally relied on around three thousand in any given place and time. Now, two thirds of the world's calorie intact is derived from four main crops, corn, soy, wheat and rice representing a significant shift from a dominantly green plant diet to a grain­ based diet. Products from these crops contribute to approximately seventeen thousand new products on supermarket shelves per year.24 These statistics point to industrial and gastronomic food processes that have transformed the modem diet.25 Processed foods are significant for their marketing, packaging and consumption within my work. Not only are they mostly taboo for me, as I have celiac disease and most processed foods use wheat or by-products, but my brother is hindered with obesity. Symptomatic of various conditions associated with processed foods and additives as much as poor diet. By the close of this project he will have undergone radical, but now commonly performed, weight loss surgery where half his stomach is removed. He will never biologically crave food again. Eugene Anderson discusses contemporary food culture as informed by political ideology as much as religion and social standing. As an example, the author gives the "morbidly dysfunctional" Midwest American diet, one that in many ways reflects that of my own family, as one that people cling to because it 16 deep within the service tunnels chosen to parody Tasmania's geographic and cultural location within the vernacular of mainland Australian culture. The title derived from the use of five hundred kilos of donated potatoes from the food company McCains Foods. Five 'patches', one for each artist were wired up to create an electric current fed to an overhead tram-like cable system to a centralized car battery. This in turn was fed back through another cable system to power and illuminate one element of each artists practice within their 'patch.' For my installation I wove copper wire around apples piled high like a Croquembouche. The apples were encased in salt adhered with egg. As the fruit rotted, the wire corroded to a blue patina, juices pooling onto a pulsing Ceelite plate. 29 I was attracted to the notion of illuminating a state of decomposition, or rather the specific decomposition of a state of preservation as it were. Although not ove1ily part of this project, this work activated my interest in the process of decay and transformation translated as performative. It also informed my use of apples for the work Below the Salt, not as a signifier of location alluding to the 'Apple Island' but for its reference to the first taboo, the forbidden fruit picked from the Garden of Eden. This in turn draws attention to the interwoven nature of food, religion and family. Mighty White is a work that attempts to reclaim in some small way an aspect of my heritage. The original aim was to engage the public with 'food for thought' in a recipe-sharing exercise intended to explore difference within a specific community. Of all the work within this project, this has been the most significant in terms of experiencing success and failure. Mighty White was the catalyst for understanding the implication of 'self and 'other' for this project after the perspective shifted from a cross-cultural hybrid view of cookery, to a personal one. It was also my first live performance that occurred during a solo exhibition BEST BEFORE, FUTURE PAST at Bundaberg Regional Gallery (B.R.A.G) in August 2008. 19 I applied for this exhibition, as Bundaberg is the regional centre for Murgon, my family hometown. I proposed to combine aspects of my rural heritage with recent research on ritual, cookery and diet. I envisioned a performance staged as a cooking show but without direct reference to me personally. The intention was to respond to the local food habits, to seek difference within the everyday in much the same way as Rirkrit Tirivanija experimented with Fladder Soup 1993 . Figure 9: Fladder Soup, 1993 Tirivanija also takes the audience back to the basics of eating and drinking. He creates situations and events that open up art to the public realm by relating to the audience directly through food in a way that does not necessarily rely on visual metaphors to comment on social and political issues. The focus is on inter-personal relations, various fonns of exchange, and making connections between art and the individual within a social setting.30 Through food, Tirivanija considers cultural diversity based on his own Thai/Argentinian hybrid background. For Fladder Soup, Tiravanija related to the social context of the place where the work was presented. For a group show in Hamburg Gennany in 1993 the work was exhibited in a loading dock. The 20 artist responds to the geographic location by making a local soup refe1Ted to in a film within the installation. The film shows an exchange between a customer, and the waiter and cook who are both ethnic migrants; where they argue over who makes the better traditional German soup.31 Fladder Soup also works with stereotypes with the physical location of a loading dock, signifying the back of house jobs usually filled by ethnic peoples. This work blurs the boundaries of race and identity further by implicating the audience as they sit at a German beer hall bench and table, an icon of communality in itself, helping themselves to the same soup depicted in the film, that simmers away in the comer. Naively I thought it would be easy to engage people from my home region in a similar way, as everyone eats and would therefore be willing to openly share their diet, but my thinly veiled agenda caught me out. People, such as my family, are loyal to a particular lifestyle, even if it includes a diet that could kill them. I have come to realise that it is still a form of identity, with all its inherent complexities. Their diet defines their lifestyle despite those who, like myself, tell them it is wrong or unhealthy. Those from the city often have access to good quality 'fresh' food whilst ironically, in rural communities, people are subject to supermarket chain stores that monopolise access, limit choice and up­ sell more 'convenient' and highly profitable processed foods. Preoccupied with a side-blinding sense of social justice attached to Mighty White I found myself unprepared and floundering for the scheduled performance. As a backup performance I revisited an earlier work Self Serve (discussed in chapter four) where I applied paprika to my whole body. This time my arms became a segmented patchwork coat of cocoa, turmeric and chilli adhered with egg and oil. This was then brushed over 'blending' the spices to adhere a new concealing layer, this time wheat flour, before removing and collecting the resulting paste with a boning knife onto a plate. 21 person. This project has also become in part something of an exorcism exploring my past through emotional associations to food. As certain foods can signify ritual and celebration, eating in turn is a form of nostalgia. Eating is about creation and self-creation, and about production and reproduction of human life that each individual and family partakes in. As Susan Stuart observes, "nostalgia is the desire for desire."32 I get nostalgic for comfort food when sick - it reminds me of Nana's cooking and I want to ingest wholesome things. Stuart considers: "the prevailing motif of nostalgia is the erasure of the gap between nature and culture, and hence a return to the utopia of biology and symbol united within the walled city of the matemal."33 For me, emotion is a powerful ingredient in cooking that can trigger memory through the senses. An old wives tale states you shouldn't bake while angry or sad. Age two; a standoff at the dinner table with a mouthful of cold mashed potato is my first memory, exemplifying a pattern of memories that involve food prepared and eaten at times of heightened emotion. My parent's volatile relationship meant many meals were cooked in anger or sadness, eaten under a cloud of uncertainty and silence. Age five; I found my mother crying over a crumbled cake that had failed, mum said it was okay as she was just homesick, so while retrieving and tasting pieces off the floor, I reassured her it was good but the memory of that cake that embodied her pain I still taste. Age twelve; I assumed the role of cook after my mother left. My first attempt was deep-fried Potato Gems. How hard could it be? I filled a pot with oil then tipped the whole packet in. Unknown to me it was necessary to pre-heat the oil. My Gems, sitting in cold oil defrosted, disintegrated and congealed. We were hungry so I persisted optimistically hoping it would be edible. After the eventual frying process, the congealed stodge resembled how I felt. A meal embodying the ruptured emotional state of my siblings and I, emotions we 24 barely understood but none-the-less were manifesting as something tangible and indigestible. I have fond memories of food that like most families have been mythologised by preceding generations. My siblings and I spent school holidays with our grandparents; for us they represented order, their kitchen and vegetable garden seemed abundant and productive, and their lives within a pastoral rural setting were full of habit and ritual. In contrast the 'bad food' memories reflected the reality of a ruptured childhood; living in hot, arid mining towns. Prefabricated communities matching the processed food that matched my parent's disintegrating relationship. These memories help to elucidate various dichotomies operating within my work: 'edible' versus 'inedible', ' domestic' versus 'industrial' and 'synthetic' versus 'real'. Eating emotion in order to expel it informs Catherine Bell's work Felt is the Past Tense of Feel 2006. Bell's perfomrnnce speaks of a desire to conceal oneself from, or to embrace, personal pain and suffering from the loss of a loved one, in this case her father. Figure 12: Catherine Bell, Felt is the Past Tense of Feel, 2006 25 I saw this work at the Plimsoll Gallery Hobart 2009. In the catalogue the essayist Sarah Jones discusses the link between the pink clothed artist - a reference to the pink gifts her father bestowed upon her - and the black squid ink which is a reference to the black bile of the stomach cancer from which he died. In the video Bell is sitting on a large pile of squid. One by one the ink is violently sucked from the squid's abdomens then spat onto her clothing and skin before methodically rubbed in. Her composure is chilling which only heightens the sense of horror, and the emotional and psychological distance, captured in the scene. I was immediately reminded of the brutal act of cutting and gutting fresh squid for restaurant service, negotiating the ink sack so it doesn't burst and stain the white flesh. When alive, the squid has a self-defence mechanism; it shoots a cloud of black ink to obscure its escape in life or death situations with would-be predators. Ironically the ink is also prized as food pigment separate from the flesh. Black food is like eating death according to the chef in the film The Cook, the Thief, his Wife and her Lover. In this film the female protagonist asks the chef how he prices his menu. He replies in his heavy French accent explaining aphrodisiac foods are marked up thirty per cent, black food fifty per cent, because people love black food. Black food, people like to remind them-selves of death, eating black food is like consuming death, like saying HA! Death, I am eating you. Black truffles are the most expensive, and caviar. Death and birth, the end and the beginning. 34 26 It looks like a roasted chicken, or a fetus with a knife, cleaning its own afterbirth in a simultaneous reference to flaying, transformation, concealment and elaboration. An abstracted view of the body, it is laced with violent undertones, exploring a wet, shitty, sexual discharge aesthetic. Whilst playing with processes of butche1y to make reference to death, this work is also laden with the symbolism of new life through the use of the egg. In cookery this embryo is an emulsifier binding ingredients, absorbing oil or fat and swelling several times its original mass. Figures 15-16: History of Histories, 2008-9 With allusions to cycles of continuity, birth and destruction, the work depicts a visual clash between flesh and blood, and visually pleasing hypnotic image1y. I was interested in juxtaposing the illusion of bodily viscera with sleek minimal imagery as a counterpoint to the conceptual neatness of earlier studies with the body. Lea Vergine claims anything can be used in body a1t; bodily discharges, 29 dreams, conversations, violence or intimacy. Vergine also presents a possible reason for the desire or need for Artists to question the dominant philosophical thought: The individual is obsessed by the obligation to act as a function of "the other," obsessed by the obligation to exhibit himself in order to be able to be. The over-riding desire is to live collective ethos and pathos, to grasp the existent in all of its brutal physicality, to communicate something that has been previously felt but that is lived in the very moment of communication.42 In the introductory essay for Into Me/Out of Me, Klaus Biesenbach discusses the transgression of personal space through artworks that cross the borders of the sacred and profane. Whereas modem life appears to be free of any unwanted points of contact with bodily fluids and other forms of physical and psychological wetness, here the author refers to the primal body that eats, drinks, excretes, has intercourse, gives birth and performs violent acts. This body stands in stark contrast to the white cubes of contemporary architecture, and the metropolitan cities, that have banned human viscera from our daily visual and olfactory functions.43 Everyday physical experiences are also employed with the metaphor of the artist's absence in Janine Antoni's Chocolate Gnaw and Lard Gnaw 1992. In this work Antoni exploits the absence of her body by referencing the bodily processes of biting, chewing and mastication. In an act of intimacy and destruction, for a month and a half, in private, Antoni would gnaw away at two blocks of chocolate and oflard each weighing 280 kilograms. Antoni's approach to sculpture is based in performance focussed on a particular form of making and combining of referents. In this case her physical presence in relation to the work, and its subsequent relationship to art history is enhanced 30 by the objects being placed on marble bases, and its proximity to everyday experiences like eating. It is interesting to note that although not intended, eating disorders are referred to in context with this work. Overwhelmed by the scale of the chocolate block, members of the public have Figure 17: Janine Antoni, Chocolate Gnaw and Lard repo11edly gnawed at it whi le exhibited in a gallery. Antoni's intention was to use the ephemeral edible materials to sculpt with her mouth in a "prelinguistic" act of destruction, like that of a baby who destroys an object in order to further understand it.44 With the real life activity of chewing, eating and digesting comes shit. Piero Manzoni places human excrement within an aestheticised context with Merda d'artista 1961, from being waste and unwanted to something h·ansfonned and of value. Manzoni produced conceptual works that reference processes of the body using food items as the materials. This work parodies the commercialisation of the art world, playing with the a11ist's body as the site for transfonnation and production, with the resulting excrement sealed in a tin labelled Artist Shit. 45 Figure 18: Piero Manzoni , Merda d'artista (Artist Shit), 1961 31 3.3 Eating and Sex In the Surrealist novel The Story of the Eye by Georges Bataille there is an episode that becomes a metaphor for substitution. The two teenage protagonists preoccupied with sex become obsessed with hard-boiled eggs used in ways that transform them into fetishized objects within their sexual fantasies. The story blurs the line between food, sex, life and death at a bullfight; the female protagonist becomes aroused at the sight of the Bullfighter's gruesome death by a horn through the eye, and a story told of bull testicles eaten by a triumphant fighter. On demanding and receiving delivery of the bull's uncooked testicles she is enchanted by their similarity to hard-boiled eggs with small red veins on the shiny pinkish-white surface. Blissfully she slips the still warm testicles into her body, one into her mouth, one into her vagina.50 In The Pornographic Imagination Susan Sontag responds to The Story of the Eye outlining pornography as a mode of convention in the arts, specifically literature, and likening it to science fiction. Although Sontag draws this analogy in the context of high and low literature, it is interesting to view pornography and science fiction as commoditised forms of escapism and instant gratification that defy social convention whilst standing in for reality.51 Sontag also discusses one mode of pornography as a psychological phenomena viewed as sexual dysfunction and distortion in both the consumer and producer.52 Sontag also hypothesises that pornography derives from the repression and deformation of "sexual impulses administered by Western Christianity."53 Conversely, Sontag puts forward the argument that unfettered appetite is not without peril, that sex can possibly push us close to taboo, to violence, deviation and even death itself. 54 34 Sexual dysfunction and misplaced desire are a by-product of the performance Live-feed 2009 where food is central to the theme of art and the everyday. This work was initiated in order to access the individual - members of the public as well as myself - on a sensory level. The idea was to connect the practices and protocols associated with eating, to the subject of a11, whereby the public become an active ingredient of the work. This perfo1mance also worked as a counterpoint to the control I exercise whilst working as a chef and lies in contrast to previous physically and mentally exhausting work such as Mighty White. I intended to engage the audience beyond just observing, as was the case with Mighty White. Dming Live-feed, they (the audience) mingled, ate and drank and I relied on them to feed me continuously for 1 hour while blindfolded and wearing earplugs. I sat boxed into a space at a right angle facing away from the audience toward a camera. A table full of food was at my side with a small gap between it and a wall on my other side. With one point of access 'the feeder' --....:;,.~ Figure 22: Live-feed (performance documentation), 2009 tapped my shoulder to signify food, my mouth opened, they put it in. In another room the live footage was projected large directly onto a wall. The traditional hierarchy of the senses places the cognitive as superior to the tactile. In this context, with my cognitive senses removed or obscured, I was physically present but mentally elsewhere, experiencing an unexpected distortion of the remaining senses. Touch became dominant over taste, some 35 familiar textures became offensive, some flavow-s unpalatable, and strangely smell was almost indistinguishable. At times the audience treated me with tenderness and concern, whilst at other times I felt violated when fed unusual and random combinations. These experiences both good and bad, directly infonned the Figure 23: Live-feed (performance documentation), 2009 resolution of the work in unforseen ways. Mike Pan discussed perfonnance during a lecture at the Tasmanian School of Art on his exhibition THE TILTED STAGE, Tasmanian Musetm1 and Alt Gallery 2009. Pan referred to the amount of preparations that turn the actual perfonnance into a production, and the artist into a type of actor. What Pan claimed interesting though is what happens after the performance, when the artist is in a heightened state of awareness but at the same time still in perfonnance mode while clearing up and taking stock of the event. The relief and psychological residue that Parr claims is very real and present for him at the time, were also very present for me after Live-feed. Dwing Live-feed I felt absmd and vulnerable. I switched off mentally and continued eating in a mechanical way, not tasting, and with no emotion, just eating in a void responding to touch. Later that evening I was ravenous, I was aware the hunger was psychological and decided to run with it. While reviewing footage and eating pizza (gluten free) I noticed the sexual innuendo that some feeders applied to my mouth. 36 Presented on a circular screen and mounted in the floor within a small circular space, the viewer of this work is forced to step through two nan-ow opposite­ aligned apertures, and onto the screen in order to see. The viewer is then implicated as if stepping onto or inside the artist's body. Furthennore, the video unsettles the viewer with the erotic presence of Hatoum's flesh which can be read as confronting, disturbing and even humorous . The sound is recorded from the passage over and through her body enhancing the discomfort.58 Erotic and divine associations to eating are applied to Becoming 2009, a series of pseudo religious sculptures produced in direct response to the Live-feed performance for the same exhibition at Gallery Six_A. Figures 25-6: Becoming, 2009 Becoming is a series of four miss-matched dinner plates with images of faces at the point of orgasm, photographed directly from 'do-it-yourself' porn websites that I found while following the links when responding to Live-feed. This brand of pornography contrasts with the orchestrated deadpan sexual rapture seen in stylised forms of pornography as the people I photographed are seen having sex, or masturbating, in the privacy of their own home, and so the rapture, although humorous, appears authentic. The images for Becoming are glazed over with varnish and collaged with cachous and royal icing flower decoration, giving a semi precious appearance of a spiritually rapturous religious icon. 39 When choosing the images for Becoming, St Theresa's passionate dream of being erotically stabbed in the heart by an angel came to mind, informing the final choice of faces. Divine rapture is at the core of Ecstasy of St. Theresa 1652, a marble sculptural masterpiece of High Roman Baroque by Giovanni Bernini for the Cornaro Chapel of Santa Maria della Vittoria in Rome. Figure 27: Ecstasy of St. Theresa (detail), 1652 Domestic objects are also used in Mona Hatown's work to evoke a range of emotions involving the hidden unease that can occur in relation to everyday rituals, and a reminder of the erotic associations with eating. The visual strategy of an endoscopic journey is employed again in the installation work Deep Throat 1996, a dinner setting for one where a video of a throat swallowing appears on a dinner plate instead of food in a revisit to the uneasiness of Corps Etranger. Figures 28-9 Mona Hatoum, Deep Throat, 1996 40 The relationship between Hatoum's two works Deep Throat and Corps Etranger describes how Becoming is informed by Live-feed, and Brigade is informed by Self Serve.59 For these works I deconstruct and reanimate materials or objects used in the performances, and combine their original use function with references that evolved directly from the performances, in order to present them as relics. Made from foodstuffs, and domestic materials with existing references of their own, Becoming and Brigade also embody a strategy used by significant performance artists of the late twentieth century such as Marina Abramovic, Vito Acconci and Paul McCarthy. At various points throughout their career these performance artists have produced sculptural manifestations of perfonnances while attempting to "eliminate direct participation of the artist", but at the same time referring to "the primacy of the [performative] act" through the objects. 60 This can be viewed in parallel with the Surrealist relationship to artefacts. The Surrealists adopted Primitive aesthetics, and the aura of objects like African ceremonial masks, as a counterpoint to modem Western aesthetics. Louise Tythacott explains that exotic objects were appropriated and recontextualized to embody the Surrealist's own desire and "fantasies of othemess."61 Like the Surrealists, in this instance I consider there to be a residual presence within the materials I use, and what they, in their original form, represent.62 41 As expressed in the work of Mendietta, the desire to be seen as being proof of existence, as somehow embodying a universal character that presents a feeling or empathy for our cwTent social condition, underpins my investigation into concealing while revealing the body and sensory response. Literal masks are referred to, and incorporated into several works. A mask traditionally resembles and stands in for a face, thereby repositioning the wearer's sense of location. Tythacott states: [masks] move us out of the everyday; enabling us to become other, non­ human, divine. They simultaneously reveal and conceal, and plunge a wearer's identity into suspension, transgressing bow1daries of the self. 69 An early investigation of the primitive aesthetic, and the mask, can be seen in Pablo Picasso's Les Demoiselles d'Avignon 1907. This is a work of opposites: front against back, pointed against curved, and soft against hard surfaces, an aggressive representation of the nude and fragmentation of the conventions of painting the figure. This work marks and reveals an emergent preoccupation in ait for the primitive aesthetic, seen in the skin tones and masked appearances in two of the five figures that stare out, confronting the viewer. Figure 31: Pablo Picasso Les Demoiselles d' Avignon, 1907 Picasso's paring back of the composition, removing of fixed perspective and compression of the image, worked against familiar approaches to narrative and interpretation. In this sense, Les Demoiselles marks a transition from traditional narrative to that of iconic imagery and abstraction. 70 44 After Picasso, the Surrealists also looked to African and Oceanic masks to employ a 'primitive' aesthetic. This was a response to the "Eurocentric ideology of progress,"71 a yearning for an authentic antithesis to the disquiet of 'civilised' society after the First World War. The Surrealists sought in non­ Westem objects a link to what they thought had been lost in their own culture. As Tythacott states: They craved the integration of the sacred into their everyday world. They valued objects and activities that crossed the boundaries between the supernatural and the natural, the realms of fantasy and the everyday. 72 Wearing masks can represent a willing participation in a process of deception via concealment; socially - to entertain and stimulate with face, body, odour or taste masked to invoke diverse emotions, or trick the senses in ways that manipulate thought and modes of communication; individually - the desire to immerse oneself in another identity. Another type of masking affect is considered in the book Beginning Postmodernism. Tim Woods explains that Giles Deleuze and Felix Guattari are proponents of the view that modem society controls desire. Deleuze and Guattari present desire as revolutionary and subversive, that this is the reason expressions of desire are "territorialised" within codes of modem existence. In their book A Thousand Plateaus: Capitalism and Schizophrenia, they oppose the modernist model of a unified subject and fixed identities, support the release of the body they see destabilised by this.73 Woods explains: Bodies are construed as 'desiring machines' because machines arrange and connect flows. This 'deterritorialized' body is called the 'body­ without-organs' - a body without organization, a body that casts off its socially articulated, regularised and subjectified circumstances.74 45 The "body without organs" is a body that creates with desiring subjects without social restraint in a constant state oftransformation.75 Amelia Jones compares the l 91 h century Flaneur presented in the writing of Charles Baudelaire, a figure who navigated the commercialised urban spaces in Paris, to the observations of Jean Baurillard on Los Angeles as a post-urban fragmented and disorientated city. This is a reference to self-image and Jones is referring to the geographic fragmentation of the quintessential 201 h and 21 st century city: the city without its centralised historical point of reference but still reflecting our ongoing desire or need to identify with our surroundings. 76 David Frisby examines Walter Benjamin's Arcades Project and other texts that investigate the origins of modernity that interpret Baudelaire's figure as having the gaze of an alienated man. 77 "The flaneur 's gaze upon the city is 'veiled', 'conciliatory' and presented as a 'phantasmagoria' experiencing the metropolis at a distance." 78 In this text Benjamin presents theflaneur as the product of201 h century modernity as "the secret spectator of the spectacle of the spaces and places of the city," a spectacle recreated within Parisian arcades and department stores.79 Frisby describes Benjamin'sflaneur as the public and a product of the public, detached from and attributing meaning to people and things for his own interpretation and ends. 80 Within this project, the context oftheflaneur is transformed (setting and role), from a figure that negotiates specific city commercial zones, to a consumer that operates within other spaces. In the performance pieces developed for this project, I act as a simultaneous producer and consumer, and so present an interpretation of a contemporary flaneur engaged in a society obsessed with not only retail, but oral consumption also. Furthermore, these works were performed within restaurants and galleries, specific zones of experience expressing both reality and fiction. 46 Figures 35-6: Paul McCarthy, Tubbing, 1975 McCarthy's videos turn the need to eat into compulsive consumption that minors the psychosexual and violent themes in film. According to Johannes Schroder these are sensual stimuli that are taken to the limit of transgression to subve1i the viewer's intellectual control. 85 4.2 Illusion and Reality In the essay Eat, Create, Think, Enjoy Dario Corbeira discusses various artist's encounters with food since the 1960's that question tensions between public and private, established codes of behaviour, and the individual artist's view of the world. Corbeira states: Through food, or by having food as an accompaniment, artists look at themselves, or paint themselves, and that look and that portrait belong to us like clear water in which we look and recognise ourselves as part of a chain of real events: from reality to realism, 49 from our relationship with the quotidian to the improbable fixation of a fading mirror image. 86 Artists use food to present difference and similarity, and also to incite revolution. In 1932 Italian Futurist Filipo Tommaso Marinetti proposed a revolution with the Futurist Cookbook. It was revolutionary because it is considered to be the first attempt to strategically introduce a practical and performance-oriented aesthetics of food and cookery in art. This work was also considered a joke, a humorous but significant attack on bourgeois habits. Futurist cookery used food as raw material for art. The Futurists staged elaborate gatherings and dinners as actions claiming the integration of art with life, believing "that all human experience was liberated by the availability of art in everyday life."87 A Tactile Dinner Party had blindfolded guests dressed in pyjamas covered in various tactile materials like sandpaper, silk, and steel wool. This was a literal sensory-feast based on tactile pleasure. Guests' hands were placed on the person next to them between courses - courses that were also chosen for their texture and contrasting flavours. 88 Some ideas in the cookbook are prophetic and relevant to our current industrial food production. Marinetti invites us to let chemistry give our bodies the necessary calories by means of free nutritive equivalents in the form of powder or pills, "albuminous" compounds, synthetic fats and vitamins.89 His cry for 'nutritive equivalents' is now a reality due to the food industry's addition of synthetic nutritional enhancement in the modem diet. The industrialisation of food habits throughout the twentieth century has left us dependent in part on science, marketing and government policy when deciding what to eat. A notorious recommendation in the Cookbook exemplifies the extreme nature of Marinetti's manifesto, contrasting eating habits with food for the futur~, proposing, for example, the abolition of wheat from the Italian diet because he believed it was creating a social class that was immobile, obese and unable to work. 90 50 Chefs also make grand claims or shroud food in a mystical aura such as that created by avant-garde food aliist Fe1ran Adria of e!Bulli restaurant, who is considered the dominant force in avant-garde cooke1y today. Just as pornography has been considered as traversing a space between art and sex, gastronomy in this context traverses a line between art and food, transcending the gastro­ porn experience. Adria was recognised for his culinary ali of Molecular Gastronomy at Documenta 12 in Kassel in 2007 where visitors were chosen by lottery to be transported to his Figure 37: Farren Adria, e/Bulli Roses, 2007 restaurant for the elBulli degustation experience. 91 His cuisine embraces science via taking the basic principles of flavour, texture and fonn of ingredients removed from their original context, reanimating them into astonishing combinations. Food is re-created that simultaneously engage all the senses as essences, flavoured foams and mock representations abstracted into edible sculptural forms. Adria creates food described as transcendental; he w1settles everyday eating habits by intensifying the experience. A single mouthful can invoke extreme emotion or a nostalgic senso1y trip, h·anspoliing the diner to another time or place. 51 In the essay Ornamental Cookery, Roland Ba1ihes speaks of the symbolic function of cookery. He describes 'a cookery which is based on coatings and alibis".99 This is French cuisine that Barthes refers to based on the pedigree of Antoni Careme's Haute Cuisine. Careme came to prominence in Paris when food was considered "France's greatest democratic aii" in the early nineteenth century. Considered the father of chefs, and the first celebrity chef he was renowned as inventor of modern cuisine. 100 Careme's process of fusion, h·anslation and re-interpretation are principles of exploration and invention that looked to the past. Conceptual techniques also employed by Adria, who looks to the present, and Marinetti who looked to the future. Careme was a self-taught reader whose ideas where hand drawn from illustrations of food and architecture from ancient Greek, Roman and Egyptian recipes and books at the Paris National Library. 101 Made from marzipan, spun sugar, meringue, honeycomb and assorted past1y Figure 40: Antolin Careme, Architectural Pastries condiments his "gastronomic-architectural fantasies" are what he is most famous for. The addition of various preserving agents, ranging from gum Arabic to marble dust also ensured these creations a shelf life .102 This informs my investigation into the oppositions of preservation and decay, and the edible and inedible, negotiating a line between sustenance and pleasure, illusion and reality. 54 Chef hats are considered a type of mask in this project. This idea stems from origami-like paper pop-outs that have replaced the starched cloth hat invented by Careme. These paper hats can vary in size from a flat skullcap to approximately 20-30 cm high. Chef hats are part of a uniform that generally leave only the arms and face exposed. There is a strange comfort in this homogenised appearance, a type of anonymity. Within a brigade of chefs, you rely on each other to fulfil specific roles. The individual is replaced by a collective action within a flowing frenzy, an adrenalin-filled zone of organized chaos. You adapt to traversing a busy kitchen with extra height and awkwardness; it makes you conscious of your motions and workflow. In Self Serve 2007 I appear as a masked chef. As the first work produced for the project it embodies many of the oppositions present within the research. Being professionally edited it created what I referred to earlier as a 'cooked' aesthetic that is removed from the 'rawness' of the primary act, therefore establishing the challenge of negotiating between live and edited performance for each video piece. The visual of Self Serve is cinematic, constituting mirrored characters on a banquet table performing similar yet opposing tasks directly onto their bodies; invoking a ritualized, near religious act within a fictional public space. Author Robert Segal presents Levi-Strauss' suggestion that: "myth and ritual are the reverse [opposite] of each other but 'umbilically linked', but also with opposite rather than common [mirror] characteristics," and that all human beings project them onto the world. 103 Svasek Maruska claims that humans think specifically in the form of oppositional pairs, the most common are those that Levi-Strauss refers to as raw versus cooked, nature versus culture and elaborated versus unelaborated. 104 As reinforced by Segal: ''Not only myths but all other human activities as well display humanity's pairing impulse."105 55 Within the work one character is methodically drawn towards images of the prime-cuts of butchery; these sections are brushed with egg and oil and dusted with paprika; the other methodically flays these sections of spice off with a boning knife only to be reversed when finished in a loop of perpetual preening executed with a vanity mirror. In discussing the presentation of the artist's body that seeks primary love for what one wants to be or maybe become but ultimately remain as we are, Lea Vergine claims: The self is doubled, camouflaged, and idealized. It is turned into the love of the romance of the self. This avid need for love becomes narcissism in the foetus that we continue to be. 106 Figure 41: Self Serve, 2007 This work attempts to present the divine, the vain, sensual, dangerous and clinical associations to eating and physical appearance. It was inspired by The Cook the Thief his Wife and her Lover, the film that has impacted most directly on me in tenns of understanding the theatrics of eating, acted out at the dinner table of life and death. Similarly, in one continuous scene, on the same table, Set/Serve depicts the cook, the customer or a new dish, a dish that cuts, prepares and maybe eats itself in parody of the fast and discordant relationship between food, our bodies and self display. 56 disproportionate wealth distribution with the emerging wealthy middle-class, the church put forward an argument against the 'mere vanity' of accumulating luxmy goods. 110 Norbert Schneider explains: A cultural pattern had been officially introduced whereby the motif of death was seen as creating neurotic suffering so that the unsullied enjoyment of life was no longer possible. A codified system of representation was established in order to p01iray the transience of all things. 111 The still life pictorial tradition also advances the performative reference to artefacts within this project. The scenes of objects and fruit in still life on the cusp of decay, plump with ripeness and vitality, have a perfonnative quality based on the anticipation of their immanent demise captured and frozen in time. As discussed earlier, Daniel Spoerri uses eating and cooking in all its complexity as existential processes and cultural events. Spoerri created his first Tableaux-Pieges in 1960, as a tribute after dinner with friends, the first of many works turning such events into a type of 3 dimensional Trompe-/ oeil, glueing the plates, scraps of food, cigarette butts and various objects to the tabletop and mounting it to the wall. Spoerri considered this as a literal 201 h centmy still life, replacing visual illusion with Figure 44: Daniel Spoerri, Tableaux-Pieges, 1965 the real thing by fixing reality as it is. 59 The themes of taste and desire, life and death are prevalent in still life painting. Depictions of gastronomic splendour or representations of daily life freeze in time the intense yet transitory pleasures oflife.112 Norman Bryson considers at length the historical oversight of still life within critical art discourse; that this is possibly based on the lack of obvious narrative, because narrative refers to things changing while still life is presented in a static state rendering narrative obsolete. Bryson states: [With] this level qf routine existence, centred on food and eating, uniqueness of personality becomes an irrelevance. Anonymity replaces narrative's pursuit of the unique life and its adventures. What is abolished in still life is the subject's access to distinction. The subject is not only exiled physically: the scale of values on which narrative is based is erased also. 113 I do not argue for or against Bryson's interpretation but I am interested in the idea that it presents still life as existing in a vacuum. Not specific to an obvious narrative, yet laden with reference to the assurances that life and death bring. As with depictions of the body in this project, still life relies on our imagination and understanding of the natural, or the culturally induced sequence of events inherent to notions of composition and de-composition, and the illusion and reality of that which is depicted. Through both the complex and simple rituals and daily processes our bodies undergo in the act of preparation, consuming, display and sharing food. 60 Conclusion This research project began from the premise that food is a universal and powerful form of communication. I was reminded of this three weeks from its conclusion when the most significant person in my life, my grandmother, passed away. For five days during the bedside vigil and ultimate burial I was determined that my small family would eat well, which meant, no junk food, in order to facilitate their ability to deal effectively with the stress and trauma. I prepared wholesome meals that Nana would have approved and this brought us together physically, spiritually and emotionally. For a short time we were reminded of, and grateful for, the nurturing relationship between food sharing and ancestry. Aspects of nostalgia, memory and eating have been crucial within this research project and specifically in presenting cookery as a visual and metaphoric language. Adopting Levi-Strauss' approach to observing ritual and taboo as being reflective of society's myths, both positive and negative. Although not strictly adhering to the anthropological model put forward, the work submitted does employ the expression of oppositions that lies at the core of this approach, along with the notion that what we eat partly represents us. When applied to this model the visual language of cookery reveals an interconnected aesthetic and symbolic relationship between the bodies that eat, and the type of food that they consume. The three theme areas of The Raw, The Cooked and The Rotted have provided a framework to present this, in context with the work of influential artists, and supporting theorists. Their diverse outputs have revealed relationships between notions of the self, other, religion, heritage and food. They in turn also present trauma, abject states and transgression, along with optimism and investigation as universal and intertwined within both visual and food language. With this, the present or absent body is seen via an inside/outside topography, as one that 61 Appendix one: Bibliography Adria, Ferranti., Soler, Juli., Adria, Albert. A Day at elBuli: An insight into the ideas, methods and creativity of Ferran Adria. Trans. de Edicion, Equipo. London: Phaidon Press Limited, 2008. Anderson, Eugene, N. Everyone Eats, Understanding Food and Culture. New York: NY uni Press, 2005. Barthes, Roland. Mythologies. Trans. Cape, Jonathan. London: Random House, 1972. Bataille, Georges. Story of the Eye. [1928], Trans. Neugroschal, Joachim. Hammondsworth: Penguin Books, 1982. Bidaine, Phillipe. ed. Bruce Nauman. Trans. Penwarden, C. Manchester: Comerhouse Publications, 1998. Biesenbach, Klaus. Into Me/Out of Me. Ostfildem: Hatje Cantz, 2006. Bishop, Claire. Ed. Documents of Contemporary Art. London: Whitechapel, 2006. Bryson, Norman. Looking at the Overlooked: Four essays on Still Life Painting. London: Reaktion Books Ltd, 1990. Burton, Johanna. Ed. Cindy Sherman. Cambridge: MIT Press, 2006. Carlson, Marvin. Ed. Performance: A Critical Introduction. 2°d ed. New York: Routledge, 2004. 64 Chamberlain, Lesley. Ed. Futurist Cookbook (La Cucina Futurista). Trans. Brill, Suzanne. United Kingdom: Trefoil Publications Ltd, 1994. Clarke, Alison. Tupperware: The Promise of Plastic in 1950's America. Washington: Smithsonian Institution Press, 1999. Counihan, Carole,. Van Esterik, Penny. Eds. Food and Culture: A Reader. New York: Routledge, 1997. Dziewior, Y. Ed. Paul McCarthy videos, 1970-1997. New York: D.A.P./Distributed Art Publishers Inc, 2003. Fergusson, Russel. Ed. Out of Actions: Between Performance and the Object 1949-1979. New York: Thames & Hudson, 1998. Fergusson, Russel., Baldessari, John. Eds. Discourses: Conversations in Postmodern Art and Culture. New York: New museum of Contemporary Art, 1990. Burton, Johanna. Ed. Cindy Sherman. Cambridge: MIT Press, 2006. Hoffinann, Jens., Jonas, Joan. Eds. Perform. London: Thames & Hudson Ltd, 2005. Hooks, Bell. Black Looks Race and Representation. Cambridge: South End Press, 1992. Jones, Amelia. Self/Image: Technology, Representation and the Contemporary Subject. New York: Routledge, 2006. Jury, Louise. Search, "Bed Antony Gormley" Online. 10 Jun. 2009 http://www.independent.eo.uk/news/uk/this-britain/how-antony-gormley-made­ his-bed-534594.html Kelly, Ian. Cooking for Kings, London: Short Books, 2004. 65 Kraus, Rosalind., Bois, Yve-Alain. Formless, Cambridge: MIT Press, 1999. MacClancy, Jeremy. Consuming Culture. New York: Henry Holt and Company Inc, 1992. Mack, John. Masks and the Art of Expression. London: British museum, 1994. Marsh, Anne. Body and Self, Oxford: Oxford University Press, 1993. Marte, Isabelle. Ed. Documenta Kassel 16/06-23109 2007. Koln: Taschen, 2007. Matin Exposito, Alberto., Sanchez Paso, Jose A., Perena Vicente, Belen., Insua, Lila., Wigley, Tessa. To Eat or not to Eat. Salamanca: Centro de Arte de Salamanca, 2003. Maruska, Svasek. Anthropology, Art and Culture Production. London: Pluto Press, 2007. McEvilley, Thomas. Art and Otherness. New York: McPherson and co, 1992. Miglietti, Francesca A. Extreme Bodies, The Use and Abuse of the Body in Art. New Yark: St. Martins Press, 2003. Pollan, Michael. In Defence of Food. London: Penguin Books Ltd, 2008. Probyn, Elspeth. Carnal Appetites, Food Sex Identities. London: Routledge, 2000. Scapp, Ron., Seitz, Brian. Eds. Eating Culture. Albany: State uni New York press, 1998. Schneider, Norbert. Still Life. London: Taschen, 2003. 66 Appendix three: List of illustrations Figure: 1 Andrew Rewald, That in Itself, 2005 Figure: 2 Andrew Rewald, Everyone and Nobody, 2005 Figure: 3 Andrew Rewald, Everyone and Nobody, 2005 Detail Figures: 4-5 Mona Hatoum, Corps Etranger (Strange Body), 1994 Sourced from Internet, 29.6.09: article title, Hatoum at The New Museum, by David Gibson. http:/ /bydavidgibson.blogspot.com/1998/01/mona-hatoum-at­ new-museum.html Figure: 6 Mella Jaarsma, Hi Inlander (Hello Native), 1998-99 Scanned from: De Mee-Loper/The Follower, Mella Jaarsma. Artoteek The Hague,2006,p. 7 Figure: 7 Andrew Rewald, Below the Salt (detail), 2009 Figure: 8 Andrew Rewald, Platter, (installation view and detail), 2009 Gallery 6 _A Ho hart 50 cm (1) x 30 cm (w) x 140 cm (h) Figure: 9 Rirkrit Tirivanija, Fladder Soup, 1993 Scanned from: Eating Culture. Albany, State uni New York press, 1998, p. 155 Figures: 10-11 Andrew Rewald, Mighty White, 2008 Performance documentation. Figure: 12 Catherine Bell, Felt is the Past Tense of Feel, 2006 Scanned from: exhibition catalogue Love Bites. Hobart, Plimsoll Gallery, 2009, p. 4. 69 Figure: 13 Cindy Sherman, Untitled#236, 1987/1990 Scanned from: Cindy Sherman Retrospective. London, Thames and Hudson, 1997, p. 161. Figure: 14 Cindy Sherman, Untitled #175, 1987 Scanned from: Cindy Sherman Retrospective. London, Thames and Hudson, 1997, p. 141. Figures: 15-16 Andrew Rewald, History of Histories, 2008-9 Video DVD 10 mins, stereo sound Figure: 17 Janine Antoni, Chocolate Gnaw and Lard Gnaw, 1992 Sourced from Internet 29.06.09: article title, The Art of Food, by Fan Zhong. http://www.interview.com/blogs/ait/2009-04-29/food-art/ Figure: 18 Piero Manzoni, Merda d'artista (Artist Shit), 1961 Scanned from: To Eat or Not to Eat. Salamanca, Centro de Arte, 2003, p. 355. Figure: 19 Wun Delvoye, Cloaca, 2000 Sourced from Internet 29.06.09 http: //www.cloaca.be/111achines.ht111 Figure: 20 Wi111 Delvoye, Cloaca, 2000 (detail) Sourced from Internet 29.06.09 http://www.impactlab.com/2008/09/ 15/cloaca-the-poo-machine/21827 I Figure: 21 Antony Gonnley, Bed, 1980-1 Sourced from Internet 29.06.09 Bread and paraffin wax, 280 mm (h) x 2200 111111 (1) x 1680 nun (w) Collection Tate Gallery London Figures: 22-4 Andrew Rewald, Live-feed, 2009 Performance documentation, Gallery Six_A Hobart Figures: 25-6 Andrew Rewald, Becoming, 2009 214 plates 70 Figure: 27 Giovanni Bemini, Ecstasy of St. Theresa (detail), 1652 Sourced from Internet 29.06.09 http://libraridan.wordpress.com/2008/07 I Figures: 28-9 Mona Hatoum, Deep Throat, 1996 Scanned from: To Eat or not to Eat, Salamanca, Centro de Arte, 2002 Table, chair, glass, plate, fork, knife, television, tablecloth 89 cmx 85cmx130 cm Figure: 30 Ana Mendietta, Untitled (Death of a Chicken), 1972 Scanned from: Mendietta, Washington, Hatje Cantz, 2004, p. 153 Figure: 31 Pablo Picasso, Les Demoiselles d'Avignon, 1907 Scanned from: Pablo Picasso, A Retrospective, New York, Museum of Modem Art, 1980,p.99 Oil on canvas 2.34 x 2. 33 m Figure: 32 BruceNauman,ArtMake-UpNol: White, 1967 Scanned from: Bruce Nauman, Manchester, Comerhouse Publications, 1998, p. 110 Figures: 33-4 Andrew Rewald, Meat Now-man, 2009 Performance Video stills 10 mins DVD loop Figures: 35-6 Paul McCarthy, Tubbing, 1975 Scanned from: Paul McCarthy, Head Shop/Shop Head, Works 1966-2006, Stockholm, Modema Museet, 2006, pp. 199-201 Video, 26:59 mins Collection of the Artist Figure: 37 Fenen Adria, e!Bulli, Roses, 2007 Scanned from: Documenta, Kassel 16106-23109 2007. Koln, Taschen, 2007, p. 204 71 13 Bishop, Claire. Ed. Documents of Contemporary Art. London: Whitechapel, 2006, p. 84 14 Bishop, Claire, 2006, p. 84 15 Carlson, Marvin, 2004, p.133 16 Carlson, Marvin, 2004, p.132 17 Miglietti, Francesca A. Extreme Bodies: The Use and Abuse of the Body in Art. New York: St. Martins Press, 2003, p. 19 18 Marsh, Anne, 1993, p. 96 19 Marsh, Anne, 1993, p. 96 20 Vergine, Lea. Body Art and Peiformance, The body as Language, Milan: Skira Editore, 2000, p. 15 21 Jones, Amelia. Seljllmage: Technology, Representation and the Contemporary Subject. New York: Routledge, 2006, p. 156 22 Ewington, Julie. "The Problem of Location". Webb, Jennifer. Ed. Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art. Queensland Art Gallery, 1999, p. 62 23 Ewington, Julie, 1999, p. 62 24 Pollan, Michael. In Defence of Food. London: Penguin Books Ltd, 2008, p. 116-35 25 These are processes discussed at length in chapter four. 26 Anderson, Eugene, N. Everyone Eats, Understanding Food and Culture. New York: NY uni Press, 2005, p. 128 27 Nadav, Ron, meeting. Hoba1i. 101 h March 2009 28 Anderson, Eugene, 2005 p. 128 29 Ceelite is a brand name for thin flexible plastic panels made from Light Emitting Capacitor (LEC) technology. 30 Hoffmann, Jens., Jonas, Joan. Eds. Peiform. London: Thames & Hudson Ltd, 2005, p. 170 31 Scapp, Ron., Seitz, Brian. Eds. Eating Culture. Albany: State uni New York press, 1998, p. 155-6 32 Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. London: Duke University Press, 1993, p. 23 33 Stuart, Susan, 1993, p. 23 74 34 The Cook, The Thief, his Wife and her Lover. Dir. Peter Greenaway. Universal Films, 1990. 35 Castro Florez, Fernando. "An Essay on Vomit (and Other Considerations on -Contemporary Art)." Matin Exposito, Alberto. Et all. To Eat or not to Eat. 2003,p. 234 36 Foster, Hal. "Obscene, Abject, Traumatic." Burton, Johanna. Ed. Cindy Sherman. Cambridge: MIT Press, 2006, p. 186-7 37 Kraus, Rosalind. Bois, Yve-Alain. Formless, Cambridge: MIT Press, 1999, p. 38 The Exorcist. Dir. William Friedkin. Warner Bros, 1973 39 This work was produced early 2008, the second of five video/performances. 40 McEvilley, Thomas, 1992, pl36-7 41 McEvilley, Thomas.1992, pl36-7 42 Vergine, Lea, 2000, p. 8 43 Biesenbach, Klaus. Into Me/Out of Me. Ostfildern: Hatje Cantz, 2006, p. 7-13 44 Scapp, Ron., Seitz, Brian. Eds.1998, p. 142-52 45 In order to express the value of the object, its sale price, according to its weight in grams, is linked to the price of gold and can fluctuate according to market forces. 46 Cloaca is also a zoological term for the posterior opening of animals. 47 Jury, Louise, "How Antony Gormley made his bed". Friday 26 November 2004. 48 The author refers to Gormley's Catholic spirituality. 49 Jury, Louise, 2004. 50 Bataille, Georges. Story of the Eye, Trans. Neugroschal, Joachim. Hammondsworth: Penguin Books, 1982, pp. 49-53 51 Sontag, Susan, "The Pornographic Imagination". Bataille, Georges. Story of the Eye. Hammondsworth: Penguin Books, 1982, p. 84 52 Sontag, Susan, 1982, pp. 83-4 53 Sontag, Susan, 1982 pp.102-3 54 Sontag, Susan, 1982 p.103 55 MacClancy, Jeremy. Consuming Culture. New York: Henry Holt and Company Inc, 1992,p.2 56 Probyn, Elspeth. Carnal Appetites, Food Sex Identities. London: Routledge, 2000, p. 60 75 57 Like Water for Chocolate, Dir. Alfonso Arau. Warner Distributors. 1992 58 Jones, Amelia. 2006, p. 156 59 Brigade and Self Serve are discussed in detail in chapter four. 6° Fergusson, Russel. Ed. Out of Actions, Between Performance and the Object 1949- 1979. New York: Thames & Hudson, 1998, pp. 97-8 61 Tythacott, Louise, 2003, p. 85 62 This approach is further informed by Marcel Duchamp' s conceptual stance, that artists take visual cues from experience and materials in real life, a strategy that led to the ready-made sculptures from already existing objects, and to real life activities being considered as art. 63 Marsh, Anne, 1993, p. 7 64 Carlson, Marvin, 2004, p. 162 65 Carlson, Marvin, 2004, p. 6 66 Carlson, Marvin, 2004, p. 6 67 Viso, Olga. Mendietta. Washington: Hatje Cantz, 2004, p. 11-44 68 Viso, Olga, 2004, p. 64-5 69 Tythacott, L, 2003, p. 74 70 Les Demoiselles d' Avignon by Pablo Picasso, Private Life of a Masterpiece Series 3. DVD. Learning Essentials, 2004. 71 Tythacott, Louise, 2003, p.59 72 Tythacott, Louise, 2003, p.59 73 Woods, Tim. Beginning Postmodernism. Manchester: Manchester UP, 1999, p. 30- 33 74 Woods, Tim, 1999, p. 31 75 Woods, Tim, 1999, p. 31 76 Jones, Amelia, 2006, pp, 89-95 77 Frisby, David. "The flaneur in social history." Tester, Keith. Ed. The Flaneur. London: Routledge, 1994, pp. 82-7 78 Frisby, David, 1994, p. 8 79 Tester, Kieth, The Flaneur. London: Routledge, 1994, p. 7 80 Tester, Kieth, 1994, p.6 81Gordon Ramsey is a celebrity chef most noted for having an egotistical and abusive manner. 76