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Kelley - Bioart kitchen: art, feminism and technoscience

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What do new technologies taste like? A growing number of contemporary artists are working with food, live materials and scientific processes, in order to explore and challenge the ways in which manipulation of biological materials informs our cooking and eating.Bioart, or biological art, uses biotech methods to manipulate living systems, from tissues to ecologies. While most critiques of bioart emphasise the influences of new media, digital media, and genetics, this book takes a bold, alternative approach. Bioart Kitchen explores a wide spectrum of seemingly unconnected subjects, which, when brought together, offer a more inclusive, expansive history of bioart, namely: home economics; the feminist art of the 1970s; tissue culture methodologies; domestic computing; and contemporary artistic engagements with biotechnology.;Introduction: what is food? -- Subject P: embodying home economics -- Chicken heart soup -- Domestic computing -- Semiotics of the kitchen: feminist food art -- DIY Coke -- Meat culture -- Public amateurism -- Cookbook -- Carnal light -- From sanitation to bioremeidation -- Plumpinon -- Epilogue: dysphagiac.

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Lindsay Kelley is a practising artist and Lecturer at UNSW Australia Art - photo 1
Lindsay Kelley is a practising artist and Lecturer at UNSW Australia Art & Design.

Bioart Kitchen plays with the industrial food system taking familiar products off the shelf and making them strange. Chicken soup, Coke, peanut butter, canned food, and corn syrup will never taste the same. Kelleys collection of recipes brings feminist sensibilities to Home Economics showing how the kitchen has long been a space of subversion, performance, and innovation.

Eben Kirksey, Australian Research Council Fellow, University of New South Wales, and author of Emergent Ecologies

This fascinating tome mixes appliance lore, technological food scares, feminist fists raised in protest, artists pot lucks and the Neiman Marcus cafeteria into its eclectic menu! Study it, learn from it. If you have not already juiced your breakfast, try one of Kelleys recipes. This important read adds to a growing shelf of books that show how earlier feminist art set the stage for younger artists today engaged with social justice and food. Weaving in personal experiences, from her earliest memories of eating bologna processed into perfect circles, to the fascinating epilogue that describes her grandfathers enteral tube feeding, Bioart Kitchen brings intimate, alimentary, feminist and technological stands together with insight and creativity.

Linda Mary Montano, performance artist

Bioart Kitchen knots together research and display practices with the threads of art, biology, technology, and activism. I am hungry for this nourishment, and Kelley is a superb cook. The arts of eating are at stake in this book in many senses, and I stayed gladly for the full menu.

Donna Haraway, Distinguished Professor Emerita, University of California at Santa Cruz

Elucidated by means of a rich array of contemporary art works, this book makes new sense of the interface between what it is to cook and what happens when artists blur the contact zones of the kitchen and the gallery. With an engaging lightness of touch, Kelley speaks to the complexity and the urgency of what matters in the bioart kitchen. Read it and eat!

Lynn Turner, Senior Lecturer in Visual Cultures, Goldsmiths, University of London

Bioart Kitchen
Published in 2016 by IBTauris Co Ltd London New York wwwibtauriscom - photo 2

Published in 2016 by

I.B.Tauris & Co. Ltd

London New York

www.ibtauris.com

Copyright 2016 Lindsay Kelley

The right of Lindsay Kelley to be identified as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988.

All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.

Every attempt has been made to gain permission for the use of the images in this book. Any omissions will be rectified in future editions.

References to websites were correct at the time of writing.

International Library of Modern and Contemporary Art 29

ISBN: 978 1 78453 413 4

eISBN: 978 1 78672 000 9

epdf: 978 1 78673 000 8

A full CIP record for this book is available from the British Library

A full CIP record is available from the Library of Congress

Library of Congress Catalog Card Number: available

Typeset by Newgen

For my grandmothers, Jean Edwards and Ellen Kelley.

Contents
List of Illustrations

Marlyn Wescoff (standing) and Ruth Lichterman (crouching) wiring the right side of the ENIAC with a new program.

Ruth Sutherland at home with the ECHO IV.

The Kitchen Computer, from the 1968 Neiman Marcus Christmas Book.

Judy Chicago, The Dinner Party, Sappho place setting (1979).

Martha Rosler, stills from Semiotics of the Kitchen (1975).

Judy Chicago, The Dinner Party (1979).

Lindsay Kelley, DIY Coke documentation (2007).

Maya Weinstein, DIY High Fructose Corn Syrup kit (2013). Courtesy of Maya Weinstein.

The Tissue Culture and Art Project, Tissue Engineered Steak No.1 (2000), a study for Disembodied Cuisine. Courtesy of the Tissue Culture and Art Project.

The Tissue Culture and Art Project, Disembodied Cuisine installation, Nantes France (2003).

Critical Art Ensemble, Beatriz da Costa, and Shyh-shiun Shyu, Free Range Grain (20032004). Courtesy of the Critical Art Ensemble.

Steve Kurtz in the Free Range Grain laboratory. Courtesy of the Critical Art Ensemble.

Christine Chin, Visionary Eggs en Cocotte from The Genetically Modified Foods Cook Book (2005). Courtesy of Christine Chin.

Christine Chin, Finger Rolls from The Genetically Modified Foods Cook Book (2005). Courtesy of Christine Chin.

Next Nature Network, Home Incubator from The In Vitro Meat Cookbook (2014).

The Center for Genomic Gastronomy, Smog Tasting (2010).

Lindsay Kelley, Plumpion (2010).

Lindsay Kelley, Starvation Seeds (2009).

Lindsay Kelley, Dysphagiac (2013).

Acknowledgments

Many friends, colleagues and mentors have made invaluable contributions to my thinking since this work first began as a dissertation at the University of California Santa Cruz in the History of Consciousness Department. Thank you to my PhD supervisors, Donna Haraway, Warren Sack, Margaret Morse and Gary Lease. Thank you also to my Digital Art & New Media MFA supervisors, Elliot Anderson, Elizabeth Stephens, and Amy Balkin. My colleagues at Histcon have been fantastically supportive. Id especially like to thank Eva Hayward for being the best co-author, co-organizer, collaborator and friend, Eben Kirksey for his tireless work on The Multispecies Salon and Katie King for nurturing an intergenerational transdisciplinary network of friendship. Thank you Amy Remensnyder and Chip Lee for teaching me about writing, struggle, and struggling to write.

I could not have completed this manuscript without the support Ive received from UNSW Australia Art & Design. My position here gives me the ground from which to invest time and energy in my research. My colleagues and students across Art & Design and the Environmental Humanities are generous, rigorous and kind. Special thanks to the 2015 BFA and SOMA Honours cohorts.

Several of these chapters were first developed as conference papers. Thank you to the organizers of the Curious Lives of Documents Symposium and Midnight University (University of California Davis, 2003), Meet Animal Meat (Uppsala University, 2007), Invisible Ingredient at Rock! Paper! Scissors! (2009), Natureculture: Entangled Relations of Multiplicity at the Society for Cultural Anthroplogys 2010 meeting, The Multispecies Picnic, Making, Meaning & Context: A Radical Reconsideration of Arts Work (Goddard College, 2011), the Santa Cruz Museum of Art and Historys Third Friday series (2011), Thinking Through the Environment: Unsettling the Humanities (UNSW Environmental Humanities, 2013) and Feral Experimental (UNSW Art & Design galleries, 2014). I would like to especially thank Bob Davidson for inviting me to present Dysphagiac at the University of Toronto in 2013. The time I spent in Toronto with Bob and chef Joshna Maharaj was invaluable for developing the project.

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