The use of Aesthetics: Food for Thought

Cover of The use of Aesthetics: Food for Thought
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Nagesh's recipe for Biryani
Feature
Nagesh Seethiah

Published 01 December 2019
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Geological pit stops: Kate Hill and Isadora Vaughan
Feature
Abbra Kotlarczyk

Published 01 March 2020
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Duchamp and Australia: In opposition
Feature
Rex Butler and A.D.S. Donaldson

Published 01 March 2020
Artlink Promo
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The Brazilian moment: A picture gallery in transformation
Feature
John Mateer

Published 01 March 2020
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Crafty prepping
Feature
Sera Waters

Published 01 March 2020
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2019: The year of our cyberpunk future
Feature
Darren Jorgensen

Published 01 March 2020
NAVA
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Art in the time of the burning
Feature
Ian Milliss

Published 01 January 2020
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Reading the entrails: Digesting posthuman entanglement
Feature
Sasha Grbich

Published 01 December 2019

Aesthetic value is determined by commonly held notions of taste, beauty and attractiveness and differs from culture to culture. How does this influence us in our choice of nourishment - our daily bread, fruit or snack food? Why does food today look like it does?

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More from this Issue Full Issue Contents

Husbandry and the Coporate Collection
Feature
Juliette Peers

Making taste? Making money? Melbourne historian Juliet Peers scrutinises a group of books and catalogues on corporate art collections to see whether boardroom fancies and their lavish publications reflect a wider role in shaping popular visions of Australian painting.

Published March 1995
The Terratransformers of Planet Three
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Paul Downton

Re-creation of a living landscape has to happen in farmyards, back-yards, and city squares, it has to be understood and practised at the small scale as well as the large. The remake the landscape for an ecological future we must make it fit for all living beings.

Published March 1995
Portrait of the Farmer as a Mature Potato
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Malcolm McKinnon

"As with everything else, the country that I have been talking about is frequently regarded as a commodity, be it in relation to yields of primary produce or to spectacles and hypothetical experiences marketed for tourist consumption. Here's the main thing to understand: this commodification is entirely at odds with the appreciation of landscape that I've been trying to tell you about."

Published March 1995
Ingrid Day on Phil Mullaly
Review
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Exhibition review Other Refuge Have I None
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New Land Gallery
16 November - 30 December 1994

Published March 1995
Rice on the Terrace
Feature
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The artist grew up in Baguio, which looks to be quite close to Ifugao on the map, and although I was taught that the rice terraces of this region of the Philippines were the eighth wonder of the world it was many years before he was able to see them.

Published March 1995
Photographing the Drought
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"I used to think there was no link between farming and art...well, most art reflects the environment in which it is produced and the artist who produces it..."

Published March 1995
Mark Stephens on 600,000 Hours
Review
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Exhibition review 600,000 Hours (mortality) exhibitions
Experimental Art Foundation
Adelaide South Australia
15 September - 4 December 1994

Published March 1995
The Food Chain Starts Here
Feature
Djon Mundine

"We are walking along, sister, singing and making country with the point of our digging sticks. What is that sister? A mangrove shell. We must put it within the mouth of this mat and hide it, making it sacred...Indeed it is sacred to us. Explores the importance of the mangroves to the indigenous people in northern Australia and the links to the Dreaming and their artistic representations."

Published March 1995
Cate Jones on Photography
Review
Cate Jones

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Tandanya National Aboriginal Cultural Institute
Adelaide South Australia
7 October - 4 December 1994

Published March 1995
Robyn Daw on Elsje King
Review
Robyn Daw

Exhibition review Elsje King: Textiles
University Gallery
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9 September - 7 October 1994

Published March 1995
Living with the Land
Feature
Geoff Levitus

If there is a contemporary issue for landscape artist to engage with, it must be the process of developing a relationship with the landscape, even if it is at the level of s sustain[able] failure, a low level antagonism or an uneasy peace. It is as difficult and as complex as any other issue, and it ultimately speaks of the human condition.

Published March 1995
The Struggle for LESS Interesting Pictures
Feature
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Beth Field is a farmer and a photographer in the WA wheatbelt facing a curious loss, one she is happy to accept - the dramatic colours of sunsets reflected in the salt lakes which she used to photograph may soon be hard to find as revegetation reclaims the soil. She recounts the changes she has seen in the last decade.

Published March 1995