Reflections: Food, Art and Visual Rhetoric

We are a visually overloaded society. Where rolling hills, tall oak trees and a poster for "Harry's missing cat" were once daily sightings; we are now surrounded by walls, flashing screens, tall buildings and spaces covered in visuals to be consumed. Whereas Renaissance paintings of yesteryear were once held in the highest regard, they are now mimicked on mousepads, in modern advertisements and even on portable toilets (see below).

Although, we might notice a portable toilet adorned in "La Gioconda," we barely stop to examine the vast amounts of visuals vying for our attention everyday. Our society has become saturated. The danger of this is that we stop noticing what is implied in these visuals, their effects, or what statements they make about the members of the society. When we let our defences down, we are open to persuasion and manipulation.

I think this is also true with food. Just like classic Renaissance paintings, food is increasingly replicated to appear real with added flavours, textures and colours. However, print advertisements, commercials and product packaging works hard to ignore this, promoting instead the value of consumption, be it cost, added nutrients or superior flavour. It is important to be aware of what we feed to ourselves as well as our friends and family. So, if before taking a class on Visual Rhetoric, I was a "label reader," I am now a "label analyst."

Taking a course on Visual Rhetoric has opened my eyes to the ways in which visuals have changed over the years and how we define different mediums of art and advertisements today. I have always loved art and the way textures, colours and ideas combine to make statements. And, although we never came to a conclusion in class about "what art is," for me, it's based on emotion. To be emotionally moved, in either a good or bad way, and be inspired to look at something more than once, makes something artistic. However, as we have discussed in class, with the advent of Photoshop and new technologies, it is hard to tell whether the visuals we are moved by are authentic or not.

In my opinion, art does not have to be deemed "authentic" by traditional terms in order to move me emotionally. However, the danger is found when we are being persuaded to act or feel in a certain way based on propagandist art that can be intentionally or unintentionally harmful. This is why I want to end my blog with this series of images:

I think we all know fast food is bad for our health, for the animals being mass-produced and slaughtered and for the planet. But, no matter how hard one tries, in a moment of weakness and with a well-positioned billboard, one might be inclined to forget their morals. If fast food companies actually showed real images of their products in advertisements, I think a lot less people would be likely to succumb to their weakness and order a paper-thin taco.

- Danielle

Citations:
Dario, D. "Fast Food FAILS: Ads vs Reality." Bored Panda blog. 30 Aug 2010. Online. 1 Dec 2010. <http://www.boredpanda.com/fast-food-ads-vs-reality/>. 


"Milan's Portable Toilet Art: Sebach Designs in Arezzo." Trendhunter blog. 2010. Online. 1 Dec 2010. <http://www.trendhunter.com/trends/portable-toilets-for-the-art-lover-in-you>. 

Food&Art

We are no doubt a visually hungry culture. We often hunger for aesthetically pleasing meals just as much as the meals themselves. The look of a meal not only denotes certain qualities about the individual eating it, but also about the chef's philosophy, the social climate and ideologies of the place it is served.

Take these two pictures for instance:

Your typical Montreal poutine

http://www.flickr.com/photos/dennis/3418100935/

VS

An appetizer off the menu at Noma (rated the World's Best Restaurant in 2010)

Without even seeing the rest of the scene, we begin to construct meaning from these two images. Although the first image might look more appetizing based on our culture (associating carbohydrates, cheese and grease with satisfying taste, comfort and indulgence) we can agree that it is not a very prestigious or dignified meal. When imagining who would be sitting down to enjoy these two dishes, we might think of an intoxicated Paris Hilton for the first, compared to a royal Queen Elizabeth for the second. Thus, as with any commodity, meal choices signify of one's social status in society; another accessory and visual cue which denotes one's personality and lifestyle. 

Taking an Adorno and Horkheimer approach, we could say that the image of the poutine represents mass-produced culture, whereas the salad represents high art in the culinary world; the first produced by a part-time fryer boy and the second produced inside a Michelin star kitchen by a world class chef. Objections, like those to Adorno and Horkheimer's theories, would be that poutine is so popular and induces immediate salivation because it tastes good. Thus, why does it matter who makes it or how much time and quality has gone into making it? This ongoing debate is frustrating to say the least; however, as a commodity, it is not a debate that food cannot escape. 

There is a lot of pretension and snobbery in the culinary world and there will continue be individuals who wave their Puriforca sterling silver forks in disgust to anything that has come within an inch of a deep fryer. Conversely, there will be those who choose to start each morning with a wrapped up gift of processed ham, cheese and eggs squished between the slices of an English muffin. 

It is on the topic of food and art that made me think of Dan Beckemeyer. Although his illustrations may not appeal to the collectors of "high art," to me, he is an Andy Warhol visionary. His images reflect common culture; linking together associated food and beverages, to spur smiles upon the faces of those who have enjoyed these gluttonous combinations. 

A delicious mashup of food, art and text: commodities consumed daily in a consumer culture. 

- Danielle




Citation:
Beckemeyer, Dan. "Ampersand Food Groups" 26 Sept 2010. Behance LLC. 17 Nov 2010. <http://www.behance.net/gallery/Ampersand-Food-Groups--Typography-Illustrations/597770>.

Chocolate regains its roots with Askinosie

In light of Halloween and the five miniature chocolate wrappers peaking out from my purse, I thought I'd talk about something many North Americans will relate to: our addiction to chocolate.

Since its origin, chocolate has been used as a form of reward. In Mesoamercia, before the Spanish colonization in the 15th and 16th centuries, chocolate was consumed at wedding ceremonies, presented to visiting dignitaries, and used to honour soldiers for heroic service (Norton 15). Today, fathers reward their sons with Mars bars for games well-played, a box of Lindors arrives with a bottle of wine to household gatherings, and each holiday has its own chocolate mascot in the form of eggs, caramel-filled hearts or crackable oranges. Whereas chocolate still represents pleasure and reward, it has since lost value and the elitest-allure that made it a supreme delicacy in ancient civilizations and colonies. But, this is where companies like Askinosie Chocolates can profit.

When we think of "elitist" food purchases made by North Americans, we often think of places like Whole Foods where the food is fresh, organic, specialized and over-priced. Individuals who shop at places like Whole Foods are exactly the kind of clientele that Askinosie Chocolates advertise to. Askinosie Chocolates targets customers who can justify paying $10 as opposed to $1 for a common product like chocolate. However, in order to justify the extra cost, consumers must be convinced that the product suits their lifestyle and contributes to a satisfying experience. The company does this by creating allure in their packaging and by making sure consumers know they support Fair Trade and buy ingredients from the source (a Starbucks of the chocolate world, if you will).

Askinosie does a beautiful job at recreating the past and linking the history of the cacao bean to their product through clever packaging. By using plain brown mailing paper, Askinosie gives a nod to the past and shows the customer that the chocolate is authentic and flown in from the source. The old typewriter script and faux stamps further allude to history and add rarity. When looking at these bars, it's as if Columbus himself has sent the package of rare treasures from one of his many voyages. The simple browns and blacks contribute to an earthy, elegance separating the company from its mass-produced counterparts like Cadbury and Hershey's. Askinosie is not after the candy-coated crowd; those persuaded by brightly coloured goodies and childhood treats, they are after the big spenders.

In general, Askinosie is an admirable chocolate company, paying more than Fair Trade wage to their employees. The chocolate is made with simple ingredients and follows through on its promise for high quality, according to magazines like CondeNast Traveler. However, it's not surprising to find out that Shawn Askinosie, founder of the brand, was a criminal defence lawyer for nearly 20 years. If the chocolate is as good as the rhetoric at play, I might have to give it a try.

- Danielle

Citation:
Norton, Marcy. "Conquests of Chocolate" OAH Magazine of History. Vol. 18, No. 3, pp. 14-17. The Atlantic World. April 2004 Organization of American Historians. 3 November 2010. http://www.jstor.org/stable/25163677

Factory-farmed fresh

Ever grab that Ontario-grown Gala apple from your fruit bowl, place it under running water and discover that residual water beads form and slip right off the skin? The apple still tastes like an apple should, the crunch still satisfying, but there is some kind of invisible dressing wrapped around the perfect, store-bought ruby. Apparently Clay Butler, well-known political cartoonist, has thought about it too:

The answer: wax. 

What I love about the rhetoric at play in this cartoon is Butler's use of clarity and irony to address issues with food cultivation and politics. In first frame the audience is introduced to the startling image of the "Cropmaster 2000."Butler contrasts the stereotypical image of an apple orchard, rich with budding trees, by way of a desolate landscape being zapped with crops.  The use of exhaust fumes, exaggerated equipment, and a gun as the planter, shows how dehumanizing the current process of growing fresh fruit has become. This theme continues in the next frame when Butler illustrates a faceless character in a sterile, white suit; the dark shadow behind him representing death and danger, as he or she sprays the poisonous chemicals on the crops. In the third frame, the metaphorical assembly line from field to store becomes a physical assembly line where Butler shows the crops being enhanced with artificial colours, sprayed with a stream of more toxicity and polished off with a waxy gloss. Finally, Butler brings the audience back into the comforting reality of the typical grocery store, where the food is "FARM FRESH!"

As consumers, we rarely see behind the scenes when it comes where our food comes from and how it's produced. Although Butler's illustration is an exaggeration, he brings up relevant issues about fair representation, labelling practices and the lack of visibility in today's food production. Through simplistic irony, Butler encourages his audience to question clever grocery store gimmicks, which act to appeal to traditional and misguided stereotypes about today's farming industry.

Is ignorance bliss?

- Danielle

Citation:
Butler, Clay. "Good Ole Farm Fresh Goodness." 1996. Pub. 3 March 2010. Sidewalk Bubblegum: ComicPress. 27 October 2010. http://www.sidewalkbubblegum.com/category/comics-about-industrial-farming-and-food-politics/

Paris Hilton Sells Body and Burgers

When this TV commercial first appeared in 2005, it set a new standard for the age-old argument that, "sex sells," or celebrities, sex and stupidity, anyway. Cover your eyes kids, this is not your typical Happy Meal commercial:



I can picture the marketing team now (most likely a team of men), sitting around a big oval table as the project manager begins, "Okay, fellas, cheeseburgers have gotten a bad rep over the past few years. Unfortunately, Super Size Me, trans fats and calorie labels have produced a more afflicted public, so let's brainstorm. How can we make cheeseburgers a sexy and popular meal choice?"

The problem with this television commercial is that the argument is so absurd that it makes it difficult to respond with a logical or thoughtful response, leaving one literally dumbfounded, which I assume is partly the point. This is a parody that plays off the credibility, or lack there of, in celebrity endorsements and on the idea that sex isn't only limited to selling expensive fragrances, but can also help sell Carl's Jr. Spicy BBQ Burgers.

As an appeal to character or celebrity, Paris Hilton's status as a scandalous socialite, popular with the fast-food-loving youth generation in America and known for her catch phrase, "that's hot," oddly makes sense when it comes to selling Carl's Jr. hamburgers. However, whereas endorsements for Nike running shoes by famous athletes implies one can be a better athlete by wearing Nikes or an advertisement for a  knife set being used by a famous Chef implies that the blades contribute to Michelin Star meals; this ad implies that by eating Carl's Jr. burgers one can be powerful, famous and rich without much talent or hard work. Alternatively, for the target audience (young men who would rather eat hamburgers every day than step foot in a kitchen), this advertisement doesn't just sell Carl's Jr. hamburgers, but the ideal lifestyle. Who wouldn't want a blond bombshell in a bikini, washing their Bentley, offering a stereotypical man's meal?

Despite what people have to say about the thought process that went into making this commercial, the pornographic appeal garnered huge success in terms of audience reach, even making it into the Carl's Jr. Wikipedia entry (click here). Thus, this proves that when an outrageous marketing campaign is launched, the public takes notice.

However, did the commercial actually help sell more hamburgers or just sell us on something we're already addicted to: mindless consumption. Celebrities, monetary excess, gas-guzzling vehicles and fast food, just what we need more of.

- Danielle

Citation:
"paris hilton - burger king commercial" 20 November 2008. YouTube. 19 October 2010. http://www.youtube.com/watch?v=o0PLjKOOuK8

Toss the Broccoli, Feed them Chef Boyardee

Can't wean your children off the starchy, sweetness of white bread? Have you tried steaming, puréeing, pouring ponds of ranch dressings and rivers of melted Cheez Whizzes, and your kids continue to toss their carrot sticks and broccoli bundles into the planter pots when you aren't looking? Well, it's time to give up on the vegetable garden and fresh produce, apparently a pantry shelf is all you need.  

"Chef Boyardee: Wheat Girl"

Oh look, a mother's daydream.
It'll never be a reality. So serve them Chef Boyardee Whole Grain
Beefaroni, now with whole grain pasta. Just don't tell them.
Obviously Delicious. Secretly Nutritious.

"Chef Boyardee: Carrot Kid"

Behold the mythical veggie-loving kid.
He doesn't exist. That's why there's Chef Boyardee, with a full
serving of vegetables in every bowl. Just don't tell them.
Obviously Delicious. Secretly Nutritious.

"Chef Boyardee: Broccoli Boy"

Until this happens, keep the secret.
Kids may never love veggies this much. But with Chef Boyardee there is a
full serving of vegetables in every bowl. Just don't tell them.
Obviously Delicious. Secretly Nutritious.

So, let's examine the argument:

A) Kids hate the taste of vegetables and whole grains; an obvious problem for health conscious parents.
B) Kids love the taste Chef Boyardee.
C) Chef Boyardee now has "a full serving of vegetables in every bowl."

Conclusion: Why not throw a bowl in the microwave, heat on high for 1 and 1/2 minutes, and serve up an enjoyable meal that will keep your kids both happy and healthy.


Okay, obviously I'm a little bit offended by this argument seeing as I have always loved vegetables (my lunchbox favourite used to be a toasted tomato sandwich, with ripe rubies and a hefty sprig of purple-veined butter lettuce), but I have to admit that these advertisements are extremely clever. The prints themselves are reminiscent of the 1950s and 60s: the posterized element and simplicity of the images acting as appeals to tradition and the reign of the all-mighty housewives and homemakers of the past. I think it's rather suiting and interesting for Chef Boyardee (or DDB Advertising) to make references to the "golden age" of capitalism, showing that their product still represents convenience, mass production and simplicity. However, by showing children with vibrant vegetables, it also shows their awareness and understanding about the concerns people have with eating processed foods. Consumers still love convenience and cutting costs, but they also care about what's in the foods they're eating.

The next trick DDB Advertising introduces is humour and an appeal to emotion. Presumably, most parents have trouble "tricking" their children into eating their veggies (especially with McDonald's down the street and Christie cookies and Lays potato chips crowding the aisles of every grocery store), so it's a ludicrous idea that kids would be hugging and cradling vegetables and whole wheat as if the ingredients were as loveable as their favourite teddy bears or blankies. The quotes add to the argument by making statements about, "the mythical veggie-loving kid," and how, "he doesn't exist." So, if you ever thought that you'd succeed in forcing your kids to like vegetables, think again.

So, we come to the big question: is Chef Boyardee really that good for your kids? I was curious too, so I went to my local grocery store to do a little field research:

The Beefaroni (pictured above) causes me a little less grief than the classic Beef Ravioli, however a few things still concern me: glucose-fructose and/or sugar (aren't there restrictions to using 'and/or' on ingredient labels) and "cheese flavour."

The traditional Beef Ravioli is even more baffling:

Ingredients: Tomatoes (Water, Tomato Puree), Water, Enriched Wheat Flour (Wheat Flour, Malted Barley Flour, Niacin, Iron, Thiamine Mononitrate (Vitamin B1), Riboflavin (Vitamin B2), And Folic Acid), Beef, Crackermeal (Wheat Flour, Niacin, Iron, Thiamine Mononitrate [Vitamin B1], Riboflavin [Vitamin B2], And Folic Acid), Contains Less Than 2% Of Salt, Carrots, High Fructose Corn Syrup, Textured Vegetable Protein (Soy Flour, Soy Protein Concentrate And Caramel Coloring), Modified Corn Starch, Monosodium Glutamate, Onion, Caramel Coloring, Flavorings, Enzyme Modified Cheese (Cheddar Cheese [Pasteurized Milk, Cultures, Salt, Enzymes], And Annatto [Color]), And Soybean Oil. Contains: Milk, Soy, Wheat.

Thank goodness for those "carrots," I was beginning to think Chef Boyardee had confused tomatoes (technically fruits) for vegetables. However when you examine the Nutrition Facts, something doesn't seem to add up. If you feed your kids 1/2 a cup of carrots (considered a full serving of vegetables) they'll be receiving 204% of their daily vitamin A, however Chef Boyardee Ravioli has only 6%. Furthermore, the typical tomato contains 6% of your daily vitamin C, but Chef Boyardee has 0%, even though "tomatoes" is at the top of their ingredient list. It seems as though the most nutrition your kids are going to receive is 38% of their daily sodium.

So, although the "carrot," enriched version of Chef Boyardee has yet to come to a grocery store near me in Ontario, I don't think I'll be holding my breathe. And, perhaps before the cans get shipped north, parents could give their children the benefit of the doubt and not automatically put them on the band wagon with the other vegetable hating kids? Just some food, or perhaps a meal, for thought.




- Danielle

Need some inspiration? 

•  Allrecipes.com - Best Vegetable Recipes for Kids
• Goodmeals.com - Healthy Vegetable Recipes for Kids
• Brighthub.com - 5 Creative Ways to Get Your Kids to Eat Their Vegetables

Citation
Scott, Zachary. Chef Boyardee: Broccoli Boy, Chef Boyardee: Carrot Kid and Chef Boyardee: Wheat Girl. 2010. Advertising Agency: DDB, San Francisco. Ads of the World. Web. 8 Oct 2010. http://adsoftheworld.com/media/print/chef_boyardee_broccoli_boy

A dialogue about food

I've always been the rebellious rabbit of my family. As a child, I would often reach over my mom's mound of dinner rolls and my dad's plate full of ribs to another tong-full of salad greens, while my sister stubbornly speared one pea at a time with the tines of her fork. Although my sister, now 24, still believes she can get all the vitamins she needs from a handful of gummy vitamins and the occasional glass of orange juice, my love for the complexity of mushrooms and buttery texture of steamed brussels sprouts sprouted my passion for healthy food at a young age.

My passion for food and well-being has not come without its struggles. I have been told many things about what, when and how I should eat over the years (causing me to waste significant amounts of time in grocery stores staring at labels on cereal boxes). And, as I educate myself about the world of food; a world that is so visible, yet hidden at the same time, I have only begun to realize how much I still don't know.

The way in which food is cultivated, produced, marketed, shared and enjoyed, tells an incredibly story about our society, cultures and ourselves. I would like to believe that the process of gathering food, preparing meals, and enjoying nature's bounty would be as simple and pleasurable as it once was; however, with the advent of industrialization, globalization, propaganda, marketing and technology, food can often be the source of much anxiety, debate and confusion. My goal for this blog is to open up the dialogue; to analyze how we make choices about food, why we make the choices we do, and to discuss how our media and society plays an important part in influencing our thoughts and decisions.

After moving from the suburbs to the country three years ago and witnessing firsthand how animals and crops get cared for and cultivated, my fascination has only grown stronger. Why is it cheaper to get a pound of ground beef from Walmart than from the farmer down the street? What is hydrolyzed soy and corn protein and why is it in my onion soup mix? And, why is it that we still think a majority of what we eat still comes from ideal environments like the one shown below:

A close neighbour, sheep herder and Llama keeper in rural Ontario
Nicholls, Danielle. 28 July 2010. 

Through a light-hearted and curious approach, I hope to explore why this scene is not the typical 'farm,' and how media, images, text and visual rhetoric affect how we buy, perceive and eat our food.

- Danielle