by Dwight Furrow
One of the main hurdles confronting the view that fine cuisine is a fine art is to say what fine cuisine is about. Paintings refer to something beyond the painting and thus a painting can have meaning and can be interpreted. What do dishes refer to? Are they just flavor combinations that refer to nothing beyond the meal or do the flavors have meaning that can be decoded and elucidated, as a reader might grasp the symbols in a poem? Here is a quote from essayist and literary critic William Deresiewic articulating the standard puzzlement often expressed when confronted by this question of the meaning of food:
But food, for all that, is not art. Both begin by addressing the senses, but that is where food stops. It is not narrative or representational, does not organize and express emotion. An apple is not a story, even if we can tell a story about it. A curry is not an idea, even if its creation is the result of one. Meals can evoke emotions, but only very roughly and generally, and only within a very limited range — comfort, delight, perhaps nostalgia, but not anger, say, or sorrow, or a thousand other things. Food is highly developed as a system of sensations, extremely crude as a system of symbols. Proust on the madeleine is art; the madeleine itself is not art. A good risotto is a fine thing, but it isn’t going to give you insight into other people, allow you to see the world in a new way, or force you to take an inventory of your soul.
This dismissive argument from Deresiewic receives support from many philosophers throughout history writing on the arts. Even Carolyn Korsmeyer, the philosopher most responsible for putting food on the philosophical map, while granting that food is worthy of serious aesthetic attention, has reservations about food being a fine art. “Ought we now to take the next step and conclude that foods also qualify as works of art in the full sense of the term? That they represent in their own medium the same sorts of objects as paintings, sculptures, poems, and symphonies? I do not believe we should.” (Korsmeyer, Making Sense of Taste, 124)
Korsmeyer argues that food acquires meaning only because of its context, the ceremonies and rituals that surround the serving of food. Food, of course, is richly symbolic. The apple in Eve's hand represents the fall of humanity. The apple in Mom's apple pie represents her loving solicitude. For the Genoan, pesto is the taste of home; for coastal New Englanders it’s a clambake. Chicken soup is a symbol of healing; the Thanksgiving turkey a symbol of gratitude, abundance, and the gathering of family. There is plenty of meaning here to keep the semioticians busy.