Anne Elizabeth Moore joins 127 Prince as a regular contributor with a series of writings focused on labor, intellectual property, and gender issues inherent in social practice art forms. Her writings will be posted monthly, often highlighting a specific project, program, or event.
Midway through 1996, I found myself in hot, hot Georgia, seated at an elaborate table with the most brilliant minds cultural production then had on offer, as well as the most successful. Steven Durland, Maureen Sherlock, Mel Chin, Michael Brenson, Jacquelynn Baas, David Levi-Strauss, Anne Pasternak, Bill Cleveland, Mary Jane Jacob, Jeffrey Kastner, Susan Vogel, Homi K. Bhabha, Mary Ellen Strom, Doug Ashford. The food people were flown in from Italy; they were to be referred to as artists. Each meal was conceptually attuned to the intended topic of conversation, each ingredient mulled over, considered amongst the others, and arranged to draw out a unique realization reserved, usually, for the domain of art. Arguments erupted, as they do at dinner tables: opinions clashed, voices were raised, questions put forth or ignored in service of a more important point. Declarations were lost to grappa, others raised only because of it. Guests continued to eat heartily, praising the food artists anew with each course. Or, sometimes—because occasional dishes were not meant to be delicious—praising instead the aesthetic choices, emotional impact, or bold statements made vie the chosen medium of food. But always: the guests ate. Continue reading