Notes
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301 Notes Introduction 1. Cecilia Novero, Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art (Minneapolis: University of Minnesota Press, 2010). 2. It must be acknowledged that edible architecture and sculpture have their roots in Renaissance centerpieces and in neoclassicist confectionery, as recent studies highlight. See John Varriano, Tastes and Temptations: Food and Art in Renaissance Italy (Berkeley: University of California Press, 2009); The Edible Monument: The Art of Food for Festivals, Getty Research Institute’s online exhibition , 2000, http://goo.gl/n2oO11 (accessed March 13, 2015). 3. Claude Lévi-Strauss, The Raw and the Cooked (New York: Harper & Row, 1969). 4. Juliet Kinchin and Aidan O’Connor, Counter Space: Design and the Modern Kitchen (New York: Museum of Modern Art, 2011). 5. Aesthetes and Eaters, ed.Alexandra Alisauskas, Invisible Culture 14 (2010): http://goo.gl/iY0uCY (accessed March 3, 2015). 6. See also the more significant retrospective on the occasion of the thirtieth anniversary of the first important Eat-Art exhibition in Amsterdam, 1971: Daniel Spoerri presents Eat-Art, ed. Elisabeth Hartung (Nürnberg: Verlag für moderne Kunst, 2001), exhibition catalogue. Eating the Universe: Vom Essen in der Kunst, ed. Magdalena Holzhey (Düsseldorf: DuMont, 2009), exhibition catalogue. 7. Magdalena Holzhey,“Eating the Universe,” in Eating the Universe, 230. 8. Stephanie Smith, ed., Feast: Radical Hospitality in Contemporary Art (Chicago: Smart Museum, 2013). 9. For a historical overview on the role of food in world’s fairs, see A Taste of Progress: Food at International and World Exhibitions in the Nineteenth and Twentieth Centuries, ed. Nelleke Teughels and Peter Scholliers (London: Ashgate), 2015. 10. Arts and Foods, ed. Germano Celant (Milan: Electa, 2015); Kitchens and Invaders, ed. Germano Celant (Milan: Electa, 2015). 11. For the postwar period, see Marco Panella, Il cibo immaginario: 1950–1970: pubblicità e immagini dell’Italia a tavola (Rome, Italy: Palazzo delle Esposizioni, 2014). For food design, see Beppe Finessi, Progetto cibo: la forma del gusto (Milan: Electa, 2013). 12. Cibo, estetica e arte, ed. Nicola Perullo (Pisa: ETS, 2014).Also see Nicola Perullo, Taste as Experience: The Philosophy and Aesthetics of Food (New York: Columbia University Press, 2016). 13. For alternative approaches, see for example the recent Le Arti e il Cibo, proceedings of the conference, ed. Sylvie Davidson and Fabrizio Lollini (Bologna: Bononia University Press, 2014). This volume includes interdisciplinary 302 Notes to Pages 8–30­ contributions on food within a wide chronological range, from its role and representation in Renaissance centerpiece art, painting, literature, and gastronomy to twentieth-century visual art, film, and performance. In contrast to this survey, our ambition is to cover a much shorter period and to provide an organic reading— thesis-based—to contemporary food art practices. 14. Évelyne Cohen and Julia Csergo,“L’Artification du culinaire,” Sociétés & Représentations 34 (2012): 7–11. 15. The Getty Institute’s focus theme for 2015 and 2016 was, not by chance, that of “Art and Materiality.” http://www.getty.edu/research/scholars/years/pdf/poster_ gri15_16.pdf (accessed March 12, 2015). 16. Monika Wagner, Das Material der Kunst: Eine andere Geschichte der Moderne (München: C. H. Beck, 2001). This book’s cover includes an image of Jana Sterbak’s Vanitas: Flesh Dress for an Albino Anorectic. See also the great role confered to food as art material in Monika Wagner, Lexikon des künstlerischen Materials (München: C. H. Beck, 2002). 17. Roland Barthes, Mythologies (New York: Hill and Wang, 1972), 79. 18. Janine Antoni, From the Vow Made, http://goo.gl/wzi51l (accessed March 13, 2015). 1  Can Cuisine Be Art?: A Philosophical (and Heterodox) Proposal 1. Carolyn Korsmeyer, Making Sense of Taste: Food and Philosophy (Ithaca, NY: Cornell University Press, 1999). 2. Glenn Kuehn,“Tasting the World: Environmental Aesthetics and Food as Art,” Contemporary Pragmatism 9, no. 1 (2012): 85–98. 3. Richard Sennett, The Craftsman (New Haven, CT: Yale University Press, 2009). 4. For more on this, see my book La cucina è arte? Filosofia della passione culinaria (Roma: Carocci, 2013). 5. Bénédict Beaugé,“On the Idea of Novelty in Cuisine: A Brief Historical Insight,” International Journal of Gastronomy and Food Science 1, no. 1 (2012): 5–14. 6. Amy B. Trubek, Haute Cuisine: How the French Invented the Culinary Profession (Philadelphia: University of Pennsylvania Press, 2000). 7. Richard Hamilton and Vincent Todoli, eds., Food for Thought/Thought for Food (New York: Actar, 2009). 8. On Ferran Adrià, see also Carol Helstosky’s essay in this collection. 9. Hervé This and...


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