As a lover of the MN State Fair (highlights of which are the [often political, usually progressive] crop art and the live carving of butter sculptures of the dairy princesses), I hadn’t put together that link to the politics of abundance but it makes a ton of sense. Fascinating to see how these expressions evolve with how we connect and commune with others.
It would also be interesting to explore the intersection between these boards and diet culture. You mentioned that these boards make people feel like they're eating "raw", ie "healthier," foods, even when they're not. I also wonder whether there's a correlation between the desire to make these and disordered eating? There's so much touching of the food and it is treated like a craft, but how much of it gets eaten? Is making/presenting it another way to interact with food and hone your own image without actually eating much?
I love this piece! I was thinking about Dutch still life paintings throughout the post and was really tickled to see you address that connection at the end.
Re: this connection, what strikes me is that Dutch still lifes weren't just paintings of what happened to be on the table but had an elaborate language of symbolism (here's one primer: https://www.artspace.com/magazine/art_101/in_depth/a-symbolism-guide-to-the-spooky-world-of-dutch-still-lives-56298). The arrangement of food wasn't just an arrangement of food but was aimed at conveying certain meanings -- which I think is the case with IG charc boards too.
And also, as a result you often get juxtapositions in those paintings that don't really make any sense or bear any relation to how people would actually eat or put stuff on the table (ok so...there is just a random lobster sitting there, huh?). Similarly in the charc boards -- what is that square of dark chocolate doing next to that salami rosette?
This is making me think a lot about the very regular church potlucks I grew up going to.. in particular, one big baby Jesus in a manger entirely sculpted from puffed wheat square makings.
This made me think of a scene in Ruth Reichl’s novel Delicious! The corporate owners of the magazine close it down suddenly and escort everyone out of the building, leaving the kitchen full of food arranged for an abundance-style photo shoot. Weeks later, it is discovered, untouched, gloriously rotten.
It's interesting that this trend is emerging during a pandemic when even the idea of "parties" and shared finger foods seem outlandish and off-limits to many. Perhaps that's where the fantasy comes in, but might these also figure as a political statement, too?
I wonder if the rise in vegetarianism/raw food/vegan isn’t because of how photogenic it can be (unconsciously for those who see these diets portrayed on social media, and want to follow them). A steak and potato isn’t nearly as bright and pretty to look at on Instagram as a big multi-green salad with pomegranate seeds and avocado on it
I find this so fascinating, and never thought about the tie in with butter sculptures. I find it cringey when people label dessert boards as “charcuterie” when there is no meat (or cheese) in sight, and wish they would stick with dessert board or station.
I love this connection to the Dutch still lifes! It's really worth considering how in the 17th century the Dutch East India Trading Company (VOC) started bringing back amazing amounts of Asian goods to the Netherlands/Europe. They also started the first modern stock market that century and had a massive bubble pop (Tulipmania). We may well be seeing people reacting to similar socioeconomic experiences here.
There are a series of still lives with fruit painted by Gustave Courbet while in prison. Courbet, a socialist, was imprisoned for his part in the Paris Commune. They are suffused with that sense of decay you talk about, and feel so poignant, reflecting as they do the sense of loss of hope and despair he would have been feeling.
I love reading your newsletter and coming away with a bunch of new perspectives on a phenomenon I have noticed but never thought critically about--especially charcuterie as crafting. And I love any reason to remember the annual Pennsylvania farm show butter sculpture.
As a lover of the MN State Fair (highlights of which are the [often political, usually progressive] crop art and the live carving of butter sculptures of the dairy princesses), I hadn’t put together that link to the politics of abundance but it makes a ton of sense. Fascinating to see how these expressions evolve with how we connect and commune with others.
It would also be interesting to explore the intersection between these boards and diet culture. You mentioned that these boards make people feel like they're eating "raw", ie "healthier," foods, even when they're not. I also wonder whether there's a correlation between the desire to make these and disordered eating? There's so much touching of the food and it is treated like a craft, but how much of it gets eaten? Is making/presenting it another way to interact with food and hone your own image without actually eating much?
I love this piece! I was thinking about Dutch still life paintings throughout the post and was really tickled to see you address that connection at the end.
Re: this connection, what strikes me is that Dutch still lifes weren't just paintings of what happened to be on the table but had an elaborate language of symbolism (here's one primer: https://www.artspace.com/magazine/art_101/in_depth/a-symbolism-guide-to-the-spooky-world-of-dutch-still-lives-56298). The arrangement of food wasn't just an arrangement of food but was aimed at conveying certain meanings -- which I think is the case with IG charc boards too.
And also, as a result you often get juxtapositions in those paintings that don't really make any sense or bear any relation to how people would actually eat or put stuff on the table (ok so...there is just a random lobster sitting there, huh?). Similarly in the charc boards -- what is that square of dark chocolate doing next to that salami rosette?
This is making me think a lot about the very regular church potlucks I grew up going to.. in particular, one big baby Jesus in a manger entirely sculpted from puffed wheat square makings.
This made me think of a scene in Ruth Reichl’s novel Delicious! The corporate owners of the magazine close it down suddenly and escort everyone out of the building, leaving the kitchen full of food arranged for an abundance-style photo shoot. Weeks later, it is discovered, untouched, gloriously rotten.
It's interesting that this trend is emerging during a pandemic when even the idea of "parties" and shared finger foods seem outlandish and off-limits to many. Perhaps that's where the fantasy comes in, but might these also figure as a political statement, too?
I wonder if the rise in vegetarianism/raw food/vegan isn’t because of how photogenic it can be (unconsciously for those who see these diets portrayed on social media, and want to follow them). A steak and potato isn’t nearly as bright and pretty to look at on Instagram as a big multi-green salad with pomegranate seeds and avocado on it
I find this so fascinating, and never thought about the tie in with butter sculptures. I find it cringey when people label dessert boards as “charcuterie” when there is no meat (or cheese) in sight, and wish they would stick with dessert board or station.
I love this connection to the Dutch still lifes! It's really worth considering how in the 17th century the Dutch East India Trading Company (VOC) started bringing back amazing amounts of Asian goods to the Netherlands/Europe. They also started the first modern stock market that century and had a massive bubble pop (Tulipmania). We may well be seeing people reacting to similar socioeconomic experiences here.
There are a series of still lives with fruit painted by Gustave Courbet while in prison. Courbet, a socialist, was imprisoned for his part in the Paris Commune. They are suffused with that sense of decay you talk about, and feel so poignant, reflecting as they do the sense of loss of hope and despair he would have been feeling.
Good lord. What a dull, relentless scold.
I love reading your newsletter and coming away with a bunch of new perspectives on a phenomenon I have noticed but never thought critically about--especially charcuterie as crafting. And I love any reason to remember the annual Pennsylvania farm show butter sculpture.
Some of these spreads would level up on a customized Attento Board.