Recent recipe art proves that recipes still speak critically, despite Helen Corbitt's disclaimer that "no one invents a recipe," for "we have been using the same old things since Cave Man and his first stew." The Critical Art Ensemble quotes Corbitt to open their recipe intervention with the knowledge that her "same old things" are being made stranger and stranger by biotech research. This paper asks how fine art reconfigurations of the kitchen and the recipe critique corporate ag-biotech research, and why the recipe and the domestic kitchen remain such potent critical forms after half a century of interrogation by feminist artists. I will be looking at the work of Christine Chin ("GM Cookbook," 2004), the Critical Art Ensemble ("Betty Crocker 3000 Presents Food for a Hungry World," 2002) and Martha Rosler ("Romances of the Meal," 1999).
|Keywords:||Recipe, Kitchen, Domestic, Feminism, Art, Feminist Art, Cooking, Food, Christine Chin, Martha Rosler, Critical Art Ensemble, Industrial Agriculture, Biotechnology|
Ph.D Candidate, University of California, Santa Cruz, CA, USA
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