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Local Food, Season
Food as Art Issue 36 路 Late
itâ€™s closer than you think.. Local ingredients, served locally. We seek out the freshest, seasonal organic produce, meats and fish. Then we serve it up with flair and attentive service right in your neighborhood. Join locals supporting locals. Deliciously.
OLD TOWN ALBUQUERQUE 505.766.5100 www.seasonsabq.com
HISTORIC NOB HILL 505.254.ZINC(9462) www.zincabq.com
ALBUQUERQUE HEIGHTS 505.294.WINE(9463) www.savoyabq.com
Amyo Farms in Bosque Farms and Albuquerque, NM.
ALBUQUERQUE, SANTA FE 505.850.2459 www.tasteabq.com
. .truly local.
BANKING LOCAL Always in season.
(Asparagus, February - May)
TRUST & INVESTMENTS
I N T E R N AT I O N A L S E R V I C E S
FEBRUARY/MARCH 2015 DEPARTMENTS 2
GRIST FOR THE MILL By Sarah Wentzel-Fisher and Nancy Zastudil
34 AT THE CHEF'S TABLE An Artful Touch, by Katherine Mast
58 EAT LOCAL GUIDE
I'M A LOCAL
64 LAST BITE
Small Entrepreneurs, Big Flavors, by Sarah Wentzel-Fisher
Drinks, by Stephanie Cameron
O N T H E C OV E R
MEMBER OF EDIBLE COMMUNITIES
SANTA FE ®· ALBUQUERQUE · TAOS
LIQUID ASSETS Cultivating the Arts, by Amy White
BACK OF THE HOUSE The Art and Science of Chocolate, by Amy White
COOKING FRESH The Art of Brunch, by Sarah Wentzel-Fisher and Stephanie Cameron
LOCAL HEROES Marble Brewery and Farm & Table
IN MEMORIAM Passing the Torch, by Katherine Mast
EDIBLE COLLABORATION Women & Creativity, by Sarah Wentzel-Fisher
LocaL food, SeaSon
FEATURES 36 RED TAPE: THE ART BAR By Mike English
38 THE ICE CREAM OLYMPICS By Ann Lawlor
42 ART AND ECOLOGY By Elizabeth Shores
46 FOODIE By Claude Smith
Food as Art ISSue 36 · LaTe
Chocolates by Joliesse Chocolates. Photo by Stephanie Cameron.
50 EDIBLES AND IDENTITY By Susanna Space
54 A RECIPE FOR JUSTICE By Matthew Irwin WWW.EDIBLESANTAFE.COM
grist for the mill For the first time ever at edible, this issue is collaboratively edited. We, Sarah Wentzel-Fisher and Nancy Zastudil, owner and director of Central Features in Albuquerque, conceptualized an issue that presents the work of artists focused on food and food systems in New Mexico. Our sense of place has long been defined by many creative folks: artists, designers, architects, farmers, bakers, and chefs. But contemporary art is rarely limited by materials, subject matter, location, or audience; rather, it often feeds on experience, taking on a life of its own. And with the increased number of artists working with food—from production and presentation to consumption and waste—comes increased opportunities for food and art lovers alike to gain a deeper appreciation of each other’s tastes. In a recent conversation with edible copyeditors, one asked, “I think these are all interesting stories, but what does art really have to do with the mission of edible?” Part of the issue is about how these two unique cultural and economic drivers, food and art, find intersection and space for collaboration. The edible team engaged restaurateurs and food artisans actively engaging and supporting creativity in community; the art-related features were included because of Nancy’s personal connections to and interests in the ways food can be a vehicle for education, revelation, and change. Both from a curatorial and editorial perspective, our hope for this issue is that the reader’s interests are piqued by the ways the artists featured here have used art-making to help tell the personal stories of food, as well as an accounting of its varied cultures and politics. By considering food as a shared experience based on a common need, these artists use their skills to illuminate specific instances through which that universal bond is not simply aestheticized, but also supplemented and enriched. We hope you find these artists and their artworks to be as interesting, entertaining, and challenging as we do.
Sarah Wentzel-Fisher and Nancy Zastudil, Editors A Note from the Publishers This issue marks the beginning of our fourth year publishing edible Santa Fe after taking the reigns from Kate Manchester in 2012. It has been a truly amazing ride. We consider ourselves blessed to be a part of the local food community in New Mexico. The people we have met on this journey inspire and make a difference in the world we live in. We relish every story that we tell in the pages of edible and we look forward to bringing you many more in the years to come. As always, we are grateful to the amazing advertisers that support edible. Quite simply, these businesses make it possible for us to bring you this magazine every eight weeks. Please make a point to patronize them and let them know how much you apprecitate their contribution to the the local food economy. Thank you and we will see you around the table.
PUBLISHERS Bite Size Media, LLC Stephanie and Walt Cameron
EDITOR Sarah Wentzel-Fisher Nancy Zastudil
ASSOCIATE PUBLISHER Jodi L. Vevoda
COPY EDITORS Margaret Marti, Willy Carleton
DESIGN AND LAYOUT Stephanie Cameron
PHOTOGRAPHY Stephanie Cameron, Vladimir Chaloupka, Christie Green, Jeanette Hart-Mann, Gabriella Marks, Chrissie Orr, Amy Parrish, Alita Randolph
WEB AND SOCIAL MEDIA EDITORS Stephanie Cameron, Sarah Wentzel-Fisher
ONLINE CONTRIBUTORS Ashlie Hughes, Joseph Mora, Nissa Patterson, Amy White
VIDEO PRODUCER Walt Cameron
ADVERTISING Walt Cameron, Gina Riccobono, Jodi L. Vevoda
CONTACT US: 3301-R Coors Boulevard NW #152 Albuquerque, NM 87120 email@example.com www.ediblesantafe.com Phone/Fax: 505-212-0791
SUBSCRIBE ∙ BUY AN AD ∙ LETTERS 505-212-0791 WWW.EDIBLESANTAFE.COM We welcome your letters. Write to us at the address above, or email us at INFO@EDIBLESANTAFE.COM Bite Size Media, LLC publishes edible Santa Fe six times a year. We distribute throughout Central and Northern New Mexico and nationally by subscription. Subscriptions are $32 annually. No part of this publication may be used without the written permission of the publisher. © 2015 All rights reserved.
Stephanie and Walt Cameron, Publishers Follow us on Facebook, Twitter and Pintrest
edible Santa Fe | LATE WINTER 2015
contributors STEPHANIE CAMERON Raised in Albuquerque, Stephanie received her undergraduate degree in fine art and went on to a career in the arts as a commercial muralist, sculptor, and model maker. After having two children, she began a career in marketing and web design so she could stay at home with her children. She took a small event company, Createasphere, to the international stage over thirteen years with her marketing, SEO, social media, analytics, and design expertise. After photographing, testing, and designing a cookbook in 2011, she and her husband, Walt, began pursuing Edible Communities. They found edible Santa Fe in their backyard. Today, Stephanie is the art director, head photographer, marketing guru, publisher, and owner of edible Santa Fe. MIKE ENGLISH Mike English worked as editor of Local iQ for the last four years. His stints in journalism include working for Slate and MSNBC. He's a graduate of the University of Notre Dame and holds a master's degree in English from the University of Oregon. MATTHEW IRWIN Matthew Irwin is an arts writer, educator, and PhD candidate in American Studies at the University of New Mexico. A finalist for the 2015 Creative Capital/Warhol Foundation Arts Writers Grant, he has written for art ltd., frieze, High Country News, Hyperallergic.com, and several other publications. ANN LAWLOR Ann Lawlor, originally from Ireland and now based in London, is an arts curator and producer. In the last four years at the Royal Botanic Gardens, Kew, she has applied multidisciplinary art as a tool to animate and interpret the role of plants for visitors and to deliver conservation messages. KATHERINE MAST Katherine Mast is a freelance science writer with a life-long love of all things growing. She has often kept earthworms as pets, collecting them as a child during spring garden planting, and employing them now in her compost bin in Santa Fe. ELIZABETH SHORES Elizabeth Shores moved two years ago from what was once known as the great grasslands of North America to a home in the high desert. As an interdisciplinary artist, she investigates the intersections of geography, ecology, and infrastructural development in order to show how learned dependency can lead to monoculture.
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CLAUDE SMITH Claude Smith is the education and exhibitions manager at 516 ARTS where he works directly with artists and other arts professionals to enhance the cultural landscape of Downtown Albuquerque and beyond. He is a frequent contributor to New American Paintings online. SUSANNA SPACE Susanna is a writer and co-owner of Big Swing LLC, a branding and design studio based in Santa Fe. The author of numerous essays, stories, and ghostwritten articles, SusannaÂ loves great design, good books, and inspired business ideas. Contact Susanna at firstname.lastname@example.org.Â SARAH WENTZEL-FISHER Sarah Wentzel-Fisher is the editor of edible Santa Fe. She also works for the National Young Farmers Coalition, and wants you (yes, all of you) to consider becoming a farmer. In her free time she visits farms (she highly recommends this activity), experiments in her kitchen, and keeps chickens in her backyard. AMY WHITE Amy White teaches science classes for teachers at CNM and owns her own business, Orilla Consulting LLC. She has developed programs such as RiverXchange and the Arroyo Classroom Program to teach kids about ecosystems and water resources. She also writes about urban foraging, gardening, and cooking on her blog, Veggie Obsession www.veggieobsession.com. NANCY ZASTUDIL Nancy Zastudil is a curator, writer, and administrator dedicated to social progress through philanthropy and entrepreneurship in the arts. Nancy is administrative director of the Frederick Hammersley Foundation, co-administrator of The Lightning Field, and monthly visual arts contributor to Arts and Culture Texas. Her most recent endeavors include opening Central Features, a contemporary art venue in downtown Albuquerque.
sunday, march 22 1:00 – 4:00 pm 1:00 pm Lecture by John Burrison “Face Jugs: Southern Tradition, Human Impulse” Museum of Indian Arts and Culture, Kathryn O’Keeffe Theater 2:00 pm Face Jug Demonstration by Georgia potter Mike Craven Museum of International Folk Art, Atrium all by museum admission New Mexico residents with i.d. free on Sundays. Youth 16 and under and MNMF members always free. Funded by the International Folk Art Foundation.
www.internationalfolkart.org · 505-476-1200 On Museum Hill in Santa Fe Funding for this exhibition provided by the International Folk Art Foundation, the Cotsen Family Foundation Fund, and the Museum of New Mexico Foundation Exhibitions Development Fund. above: Burlon Craig, Face jug, 1982, wood-fired, alkaline-glazed stoneware with china-plate teeth. Catawba Valley, NC. Museum of International Folk Art, museum purchase with funds from the National Endowment for the Arts and the International Folk Art Foundation. Photo by Addison Doty.
Small Entrepreneurs, Big Flavors CHOCOLATE CARTEL By Sarah Wentzel-Fisher Photos by Stephanie Cameron Cacao, considered by many to be food of the gods, takes center stage at Chocolate Cartel, one of Albuquerque’s revered chocolate and gelato companies. In 2001 brothers Scott and Tim Van Rixel began making high-quality chocolates in Taos. The ambitious entrepreneurial brothers saw their business grow quickly. By 2009 they had moved their business to Albuquerque into a larger production facility with a retail space and expanded their product offerings to meet market demand. Now, their dark chocolate bars can be found in a variety of retail locations including Whole Foods Markets in New Mexico. Operating a small business is hard. Tim Van Rixel, a new dad, has faced an ever-steepening learning curve the past few years as the principal manager of the business. Just when he has a handle on current operations, it’s time to plan for growth. The business is in constant flux, and he has to adapt. In the past few years he has moved from employing a relatively temporary and part-time staff to having two regular full-time employees trained by master chocolatiers. He believes that his success, in part, is a reflection of the happiness and security of his staff. “I couldn’t do it alone, and I rely on their knowledge of the chocolate-making process to ensure every bar is the highest quality possible.” Chocolate Cartel uses a special blend of unusual and highly prized Venezuelan chocolate and proprietary spices to create a complex and rich flavor profile. The Van Rixels and their team make every bar and candy by hand, employing a nearly fourteen-hour tempering process to ensure each is heaven to taste and just the right hardness. They use Venezuelan criollo cacao, which worldwide consists of less than ten percent of the global cocoa product. The yield from this cacao tree is small but the dark cherry roasted flavor makes criollo stand alone as the best. They use El Rey Venezuelan chocolate in their blend for its superior quality, commitment to fair trade, and organic farming practices. Tim Van Rixel says, “With mild spices, our pure dark chocolate couverture defines excellence in chocolate.” Chocolate Cartel can be found at all Whole Foods Market locations in New Mexico. Pick up a bar or three for that special someone on Valentines Day. 315 Juan Tabo Boulevard NE, Albuquerque, 505-797-1193 www.chocolatecartel.com Whole Foods is sponsoring this series to support local producers. Look for the "I'm a Local" tags on market shelves.
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Find Chocolate Cartel chocolate bars, gelato, and sorbet at Whole Foods. You can puchase individual handmade truffeles at their store front on Juan Tabo.
Cultivating the Arts TRACTOR BREWING
by Amy White · Photo by Stephanie Cameron
From left to right: Sharon Garcia, Shelby Davis, Joe Tietjen, Carlos Contreras, Courtney Sunderland, Michaella Maddry, and Nicole Duke.
Tractor Brewing has grown rapidly in recent years. Last year, they moved their brewing operation from Los Lunas to Wells Park in Albuquerque, and celebrated Tractor’s fifteenth birthday in their bright and airy new taproom on Fourth Street. The expanded production facility now has ten fifteen-barrel fermenters, and accommodates canning operations. Co-owners Skye DeVore and Brewmaster David Hargis officially took over the business in 2013. DeVore has steadily grown Tractor’s brand as marketing director since 2008, and Hargis joined Tractor in 2012. 8
edible Santa Fe | LATE WINTER 2015
What sets Tractor apart from its peers amidst a booming brewery scene is the depth of their involvement with the arts. Hargis says that Tractor’s mutually beneficial relationship with local arts organizations has been the key to their success, and without it they wouldn’t be where they are today. When they first opened their Nob Hill taproom, they didn’t have much budget for advertising, so participating in arts events was a way to get their product out and become part of the Albuquerque community. As a company dedicated to the craft of beer making, they feel it’s important to support other artists.
Tractor’s crew is multi-talented. Nearly everyone who works there is an artist in some way. They seem to continually generate new ideas, to feed each other’s creative drive, and to have the sense that anything they can dream up, they can do. One example of this synergy is the new Farmer’s Tan Ale can designed by local artist David Santiago which was just named best craft can design by Beverage World Magazine. The ringleaders of this show, along with DeVore and Hargis, are Brew Princess Nicole Duke, and Good Times Liaison Carlos Contreras. Duke, a longtime member of Blackout Theater Company, handles bookkeeping, operations, logistics, and distribution. Contreras, a spoken word artist and former high school teacher, coordinates the vast array of events going on almost every night of the week. They all agree that art is what makes New Mexico great, and the brewery has become an outlet for their collective creativity. The Wells Park taproom is a perfect expression of this collaborative culture. Duke used her skills in lighting and sound design to create a welcoming atmosphere. One wall is painted with a movie screen, and another wall is dedicated to their collection of toy tractors. Hargis and other staff built the tables by hand; DeVore created texture on some of the walls with recycled pallet boards. Contreras strives to create an inclusive rather than exclusive venue, a community space rather than a niche, where everyone can fit in. Art openings are approximately every thirty days in Nob Hill and every sixty days in Wells Park, which has space for much larger pieces. Singer-songwriters perform twice a month at both locations, and Wells Park also showcases bands and DJs regularly. Poetry and Beer, the longest-running poetry slam in New Mexico, has found its home at Tractor, as well as several belly dancing troops and a standup comedy night. One Sunday afternoon a month (upcoming dates are February 22 and March 29) Contreras hosts I’ll Drink to That, a multidisciplinary event that brings together all kinds of artists to network and co-create. In addition to providing space for artists and their work, Tractor also raises funds for arts organizations and other nonprofits. One longstanding tradition is donating beer for opening nights of Tricklock Company's performances, and other arts events. This year, Beer for a Better Burque will support Harwood Arts Center, Blackout Theater Company, Animal Humane, and Health Action NM with donations generated from custom printed growlers and beer sales on the first Monday each month. During Art Fusion for a Cause (coming up on February 11 and March 11) four of Burque’s best tattoo artists will create collaborative charcoal drawings and raffle off the pieces to benefit an organization they choose. Tractor’s commitment to the community and boundless creative energy make it a bright spot in the downtown area; keep an eye on their website for a great lineup of exciting events throughout 2015. 1800 Fourth Street NW, Albuquerque, 505-433-5654 www.getplowed.com WWW.EDIBLESANTAFE.COM
back of the house
The Art and Science of Chocolate JOLIESSE
by Amy White · Photos by Stephanie Cameron
Chocolatier Grace Lapsys creating bonbons at her shop, Joliesse Chocolates.
The exquisite bonbons created by Grace Lapsys at Joliesse Chocolates, a chocolates and coffee shop in Albuquerque’s North Valley, remind us that both food is art, and art is food for the soul. Skillfully crafted chocolate and thoughtfully orchestrated flavors come together like a song, with high and low notes, each arriving at different times on the tongue. The French-style bonbons made at Joliesse combine delicate artistry, high-quality dark chocolate, just enough sweetness, and silky ganache fillings infused with a variety of herbs, spices, or essential oils. Like wine, chocolate has a terroir, the unique flavors imparted by the land and climate where it was grown. Lapsys sources chocolate from around the world to create the perfect flavor profile to comple10
edible Santa Fe | LATE WINTER 2015
ment each filling. This past fall, she created a special chocolate pairing for Marble Brewery's limited edition Pumpkin Noir Ale; she has also done wine pairings with Casa Rondeña and Jaramillo Vineyards. Grace is a master of her craft. After studying at Ecole Chocolat in Vancouver, British Columbia and apprenticing at CocoaNymph, one of the city's premiere chocolatiers, she earned her certification as a master chocolatier at Valrhona's Ecole du Grand Chocolat. The two-year course of study in the tiny village of Tain l'Hermitage in the Rhone Valley is one of the most highly regarded confectionery programs in the world. Her husband Troy is no slouch in the kitchen either—in fact, he apprenticed with internationally renowned chocolate sculptor Stephane Treand.
Great art always comes from the artist’s roots. A talented actress herself, Lapsys names her unique creations after great actresses such as Audrey Hepburn, a Hawaiian sea salt caramel covered with Hawaiian-grown milk chocolate, and Carmen Miranda, a dark chocolate filled with guava rum ganache. Lapsys grew up south of Manila with cacao trees in her backyard, and her heritage shines through in her use of tropical flavors and elegant packaging made of recycled cacao fibers from the Philippines.
Bring Your Sweetheart in from the Cold!
The cozy Joliesse café offers hot chocolate, tea, and coffee drinks (named after musicals) flavored with house-made syrups including bacon, pecan, and chile. But behind the counter lies a serious artisan’s workshop. Two huge chocolate-melting machines, affectionately named Louis and Simon, stir and temper dark and milk chocolate, respectively. Ten-pound slabs of Callebaut chocolate (a Belgian chocolate high in cocoa butter) are stacked on the shelves, along with a vast array of polycarbonate chocolate molds that turn out mirror-smooth bonbon shells.
Lunch • Dinner • Bar
Making bonbons requires more technical craft than one might think. In all art, there is an element of science—artists constantly experiment, test, and refine techniques, just as scientists must creatively look at their work from new perspectives. The chocolatier is an artist and a scientist. As Lapsys explains, the chemistry of cocoa butter is complex. Tempering is the process of coaxing the chocolate to solidify into just one of six possible crystal structures. If simply melted and allowed to cool naturally, the chocolate forms a soft, grainy mixture of all the crystal types that quickly develops fat or sugar bloom. Only the beta crystal (or form V) yields hard, shiny chocolate with a crisp snap and smooth mouthfeel. Because beta is denser than the other crystal types, properly tempered chocolate sets up quickly and shrinks as it cools. It then releases easily from a mold, allowing the chocolatier to create whimsical shapes such as chocolate frogs or miniature Porsches. Adding milk fat to tempered chocolate creates ganache, a smooth-textured soft chocolate in which water or alcohol-based flavorings can be used without ruining the texture. Serious chocolate lovers can learn the art and science of chocolate by taking one of Joliesse’s fascinating classes. The Lapsyses guide students through the process of tempering chocolate and creating a unique flavor profile for hand-rolled ganache truffles, either at the shop or as a private class at a customer’s home. Later this year, they plan to offer advanced classes such as designing your own chocolate bar and making filled bonbons. Joliesse bonbons can be found at their shop on north Fourth Street and at St. James Tearoom in Albuquerque, and at Chocolate and Cashmere in Santa Fe and Taos. For a special occasion, they can create custom wedding favors, corporate gifts, and fantastical chocolate sculptures. And their new line of Goddess chocolate bars, flavored with pure essential oils, is coming soon. 6855 Fourth Street NW, Albuquerque NM, 505-369-1561 www.lajoliesse.com
Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com
Rasa Rasa is a modern juice bar and vegan café, offering organic plant based foods and cold pressed juices as well as innovative detox and cleansing programs that reflect the most current perspective from the Ayurveda, conscious eating and live food movements.
cold pressed juice super food smoothies vegan glutenfree desserts cookies & pies cultured vegan cheeses and yogurt raw breads and crackers plant based entreés soups and pizza ayurvedic consultations herbs and treatments cleanse and detox
815 Early Street
505 989 1288
Photo by Genevieve Russell at Story Portrait Media
edible Santa Fe | LATE WINTER 2015
The Art of Brunch by Sarah Wentzel-Fisher and Stephanie Cameron Brunch, like a visit to the museum, isn’t something you do everyday, so it should be allocated its due time. Perhaps, these two events should happen in sequence, one after the other—New Mexico residents can capitalize on free admission on Sundays to many great art museums in both Albuquerque and Santa Fe. A long, slow morning meal is an artform all its own. Revered by Sunday lovers and reviled by servers, brunch is a meal best enjoyed at home with good friends, strong coffee, and several hours for preparation, eating, and cleanup. The following recipes represent a small sampling of classic brunch dishes with a seasonal, New Mexico twist that will leave you inspired to spend the rest of your day contemplating ceramic vessels at the Museum of International Folk Art, Hunting & Gathering at the New Mexico Museum of Art, or On the Map (see page 30) at the Albuquerque Museum.
EGGS THREE WAYS OEUFS EN COCOTTE
EGGS BENEDICT WITH ROASTED GREEN CHILE HOLLANDAISE Eggs Benedict is all about timing. For this recipe to work, have all your ingredients prepared and placed in small bowls near your stove so you can move expeditiously through the steps. This will ensure your eggs, toast, and hollandaise all are hot at the same moment. Ideally, make this recipe as a team of 2 with a person preparing the sauce while another prepares the eggs and toast. Hollandaise Sauce 3 egg yolks 3 tablespoons lemon juice 8 ounces butter, very soft or melted 3 tablespoons green chile, roasted, cleaned, and minced 1 scallion, minced Salt Benedict 8 eggs 2 tablespoons vinegar 4 English muffins, halved Pinch cayenne
Oeufs en cocotte or coddled eggs offer the smooth texture of a poached egg combined with the delicious flavors of a quiche. Vary the type of cheese and herbs or replace the meat with chopped cooked vegetables to keep this recipe fresh and seasonal. 4 teaspoons unsalted butter, at room temperature 1/4 cup bacon or ham, cooked and diced 1/4 cup plus 4 teaspoons Gruyère, shredded 4 eggs 8 teaspoons heavy cream Salt and pepper 2 teaspoons fresh flat-leaf parsley, chopped Coat ramekins with 1 teaspoon butter. Add 1 tablespoon bacon and 1 tablespoon cheese to each. Break an egg into each ramekin, then top each with 2 teaspoons cream and 1 teaspoon cheese. In a wide saucepan over medium heat, bring 1 1/2 inches water to a boil, then reduce the heat to low. Holding each ramekin with tongs, carefully place each in the water. Water should be about 1/4 inch below the rims of ramekins. Cover the pan and cook for 6 – 7 minutes for runny yolks, 9 – 10 minutes for firm yolks. Using tongs, remove the ramekins from the pan. Top each with 1/2 teaspoon parsley. Salt and pepper to taste. Serve immediately. Left: Oeufs en cocotte. Right: eggs benedict with roasted green chile hollandaise. Photos by Stephanie Cameron. WWW.EDIBLESANTAFE.COM
Preheat broiler. Place all English muffin halves face up on a cookie sheet. Bring 2 inches of water to a simmer in 2 saucepans, 1 large and shallow, and 1 small. Add vinegar to water in large saucepan. Gently crack all eight eggs into the water, pushing each gently off the bottom with a wooden spoon, being careful at each step not to break a yolk. Cook for 6 minutes. As soon as all eggs are in water, place muffins in oven. Cook for 3 â€“ 4 minutes until toasted. Immediately begin the hollandaise sauce; it should take about 5 minutes. In a small metal bowl placed over the small saucepan, whisk yolks with lemon juice until light and frothy. Whisk butter in 2-tablespoon increments into egg mixture. The sauce will seem thin at first, but continue to whisk. When thick, remove from heat and stir in remaining ingredients. Do not over cook as eggs will scramble and become hard. On 4 plates assemble two muffin halves topped with 1 egg each (remove from poaching bath with a slotted spoon to drain excess water) and a generous dollop of hollandaise. Sprinkle with cayenne and serve.
BAKED EGGS WITH CHORIZO AND POTATOES 1 1/2 pounds medium Yukon Gold potatoes 1 1/2 pounds fresh chorizo*, casings removed 1 large onion, finely chopped 2 tablespoons olive oil Salt and freshly ground pepper 6 large eggs Preheat the oven to 375Â° F. In a large saucepan, cover the potatoes with cold water. Over moderate heat, bring to a boil and cook until tender, about 25 minutes. Drain and let cool. Peel the potatoes and cut them into 3/4-inch pieces. While the potatoes boil, bring to temperature a 12-inch cast-iron skillet over medium heat. In the hot pan, break chorizo into chunks and stir until cooked through and lightly browned, about 8 minutes. Add the onion to the chorizo and stir until softened, about 5 minutes. Scrape the chorizo mixture into a bowl and wipe out the skillet. Over medium heat, add olive oil to the skillet. Add the potatoes, turning occasionally, until golden and crispy, about 6 minutes. Salt and pepper to taste. Stir in the chorizo mixture then remove the skillet from the heat. Using a ladle, make 6 indentations in the potato-chorizo mixture about 1 1/2 inches apart. Crack an egg into each, being careful not to break a yolk. Place the skillet into the oven and bake about 12 minutes, or until egg whites are set but yolks are still runny. Serve at once with toast and hot sauce. *Kyzer Farms has great chorizo available at La Montanita Co-op, or try it from Skarsgard Farms when available. Left: baked eggs with chorizo and potatoes. Right: blue corn pancakes. Photos by Stephanie Cameron. 14
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THE PANCAKE BLUE CORN PANCAKES Makes 24 pancakes 4 teaspoons lemon juice 2 cups whole milk 1 cup blue cornmeal 1/2 cup all-purpose flour 1/2 cup whole wheat flour 2 tablespoons brown sugar 2 teaspoons baking powder 1/2 teaspoons baking soda 1/2 teaspoon salt 2 eggs 3 tablespoons butter, melted but cooled 3 tablespoons pine nuts In a medium bowl, whisk lemon juice and milk together and set aside to thicken. In a large mixing bowl combine cornmeal, flours, sugar, baking powder, baking soda, and salt. In a separate mixing bowl, whisk together milk, eggs, and butter. Gently whisk wet ingredients into dry, until just combined. Over medium heat, bring a large cast-iron skillet to temperature. Brush the skillet with oil or butter. Using a 1/4 cup, measure batter for each pancake. Sprinkle a few pine nuts onto each cake. Cook until the top of each pancake is evenly covered with bubbles and the edges look solid, about 2 â€“ 3 minutes. Flip over and cook until golden, about 2 minutes. Brush another teaspoon of oil on the pan before each batch. Serve with red chileâ€“honey glazed bacon (page 19) and real maple syrup.
Take a little trip. LODGING, DINING & LIVE MUSIC NIGHTLY at The HISTORIC TAOS INN
Black Pepper and Brown Sugar
Baco o 単 e Jalap
Honey e l i h Red C on d Bac e z a l G
edible Santa Fe | LATE WINTER 2015
ON THE SIDE GOURMET BACON 1 package thick-cut bacon Variation 1 - Black Pepper and Brown Sugar 1/4 cup black pepper 1/4 cup brown sugar 4 tablespoons bourbon Variation 2 - Jalapeño Bacon Juice of 1 can jalapeños Variation 3 - Red Chile-Honey Glazed Bacon 4 tablespoons honey 2 teaspoons warm water 2 teaspoons red chile
W IN E B I S T R O
Great Wine & Comforting Food Lunch & Dinner Monday–Saturday Sunday Supper 304 Johnson St, Santa Fe 505-989-1166 • terracottawinebistro.com
For each variation, combine ingredients in a medium sealable container. Add 1/3 package of bacon and shake to coat. Refrigerate for at least 1 hour and up to 24 hours. To cook, preheat oven to 325° F. Lay bacon out on a parchmentlined rimmed baking sheet. Bake for 40 minutes or until bacon is cooked to preference.
CITRUS AND POMEGRANATE WITH ROSE WATER AND HONEY Serves 6 – 8 2 oranges 2 pink grapefruit 2 yellow grapefruit 2 tangerines or clementines 1 tablespoon honey 2 teaspoons rose water 1/2 cup pomegranate seeds Slice off either end of each piece of fruit and remove peel. Cut each across center vein into very thin slices. Arrange fruit on a large platter. Sprinkle with rose water, honey, and pomegranate seeds.
Left: gourmet bacon. Above: citrus and pomegranate with rose water and honey. Photos by Stephanie Cameron.
PEAR, PARSNIP, AND BRIE TARTINES Makes 12 slices 2 medium parsnips, thinly shaved lengthwise on a mandoline or with a vegetable peeler 1 tablespoon olive oil Salt and pepper Dozen thick slices of baguette cut on the diagonal 1/4 cup crème fraîche 2 Bosc pears, halved, cored, and thinly sliced lengthwise 8 ounces Old Windmill bloomy rind cheese, thinly sliced Preheat the oven to 350° F. On a rimmed baking sheet, toss the shaved parsnips with olive oil and season with salt and pepper. Roast for about 20 minutes, tossing once, until the parsnips are tender and starting to crisp around the edges. Preheat the broiler. Arrange the bread on a medium baking sheet. Spread about 1 tablespoon crème fraîche on each slice, then top with the pear slices, roasted parsnips, and cheese, in that order. Salt and pepper to taste. Broil 8 inches from the heat until the cheese is melted, about 3 minutes. Serve hot.
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CARDAMOM-SPICED CRUMB CAKE Makes 24 servings Crumble Topping 2 cups pecans 2 sticks unsalted butter, melted 3/4 cup brown sugar 1/2 cup sugar 2 teaspoons cardamom, ground 1/2 teaspoon salt 2 2/3 cups all-purpose flour Cake 3 cups all-purpose flour 1 1/4 cups sugar 1 1/2 teaspoons baking powder 1 teaspoon salt 2 eggs 1 cup whole milk 1 1/2 sticks unsalted butter, melted 2 teaspoons vanilla extract Above: pear, parsnip, and brie tartines. Right: cardamon-spiced crumb cake. Photos by Stephanie Cameron.
Glaze 1/2 cup confectioner's sugar 2 tablespoons unsalted butter, melted 2 teaspoons orange juice 1 teaspoon rose water Preheat the oven to 350Â° F. Position a rack in the center of the oven. Line a 9 x 13â€“inch metal baking pan or 2 12-inch bread pans with parchment. For the crumble, spread the pecans on a rimmed baking sheet and toast for 8 minutes or until browned. Let cool, then coarsely chop. In a medium bowl, combine butter, sugars, cardamom, and salt. Add flour and nuts and stir until clumpy. Set aside. For the cake, in a large bowl combine flour, sugar, baking powder, and salt. In a medium bowl, whisk together eggs, milk, butter, and vanilla. Stir wet ingredients into dry until just combined. Scrape the batter into the prepared baking pan(s). Scatter the crumble in large clumps over the cake; the layer will be quite deep. Bake for 55 minutes until crumble is golden, firm, and a tester inserted in the cake comes out clean. If crumble browns before cake is done, cover cake loosely with foil , then continue to bake. When done, transfer cake to a rack to cool. For glaze, whisk all ingredients together in a bowl. Drizzle the glaze over the warm cake. Serve cake warm or at room temperature.
local heroes On January 14, edible Santa Fe recognized a group of amazing individuals and organizations for their work to create a healthy, sustainable food system in New Mexico. Over the next six issues we will engage our local food heroes in a conversation about their work. As evidenced by
the Local Heroes award ceremony, where the area's top chefs mingled with burgeoning young farmers, good food bonds people across generations and communities. In this issue, we open with interviews with Ted Rice of Marble Brewery and Cherie Montoya of Farm & Table.
Marble Brewery BEST BEVERAGE ARTISAN
An Interview with Ted Rice
The Marble brewing team: Ted Rice, Andrew Krosche, Anna Kornke, Josh Trujillo, and Dan Grissom. Photo by Stephanie Cameron. 20
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What inspired you to open Marble? I started brewing professionally in 1996. Before Marble opened in 2008, most of my experience was in brewpubs. I enjoyed their flexibility and independence, but I yearned for something larger. Ten years ago in Albuquerque, no one brewed for local distribution. Albuquerque, and New Mexico as a whole, was ready for a packaging brewery they could embrace as their own. At the time, I worked at Chama River Brewing Company. The Tap Room (Micro Bar) that we opened on Second Street downtown was quite successful—a pure beer bar. This success inspired the Marble concept of marrying a production brewery with a taproom. Many taprooms at the time were places to have a sample, take a tour, and buy a six pack. We wanted a space where folks could meet friends, enjoy a few pints, and maybe see some live music.
What do you love most about your work, as it relates to local beer? Albuquerque is a creative, artisanal town. The small, local businesses all support each other. I eat at their restaurants, buy from their farms, shop at their stores...and then I see them on the Marble patio drinking my beer. I love being a part of the locavore scene and helping lead the way for so many new breweries opening all over New Mexico. When I moved here in the late 1990s, the brewing scene was very limited, New Belgium's Fat Tire was ubiquitous, and very few local breweries were represented on tap. Now, not only is Albuquerque a hub for award-winning craft beer, we all encourage each other to push the limits of our craft.
Who inspires you? I’m inspired by everyone who brings creative talent to their art. Fellow brewers, chefs, musicians, you name it. At every turn, there’s inspiration to fuel a business from how it’s run to what’s produced.
Where do you like to drink beer? What are your favorites (at Marble and elsewhere)? When I'm in Albuquerque, I mainly drink at Marble because I spend most of my time there. I enjoy everything, depending on my mood, what I'm eating, and what the weather is like. I enjoy taking my team out on brewery tours around Albuquerque to try all the new flavors. We recently visited Bosque Brewing and enjoyed sampling their beers. When traveling, I hit the local breweries, tasting rooms, and tap houses and try everything. The Blind Tiger in Manhattan is one of my favorite beer bars to visit.
Why do you do what you do at Marble?
Do you have any specific stories about Marble that epitomize the heart of the business?
There are a couple of different levels to Marble. Of course, the beer is always first. Our goal is to make the highest quality, most delicious, and creative beer possible because we love beer, we know amazing craft beer, and we want to create that for ourselves and everyone in Albuquerque. We also take our role in the community very seriously. We donate to non-profits and fundraising efforts throughout the year, and we hold annual fundraisers for groups like the Downtown Growers Market and Albuquerque Mountain Rescue. We're very committed to the local food scene. Food trucks park at all three of our locations, and we give preference to "foodie" trucks that purchase from local farms and vendors. We hold beer dinners throughout the year, and we're always honored to work with restaurants like Farm & Table, those that inspire us and contribute to the local food and farm scene. Finally, we're extremely invested in the local music scene. We regularly book bands at our Downtown location during the warm months, and we recently added an indoor stage at our Westside taproom. Drinking craft beer and listening to live music is one of my favorite pastimes, so I enjoy bringing that scene to our customers.
We took a team of eight Marble employees to the World Beer Cup this spring and to the Great American Beer Festival (GABF) in the fall. We ate at foodie restaurants, visited breweries, and sampled craft beer together, loving life and the experience. Then, we all went up on stage together, first to accept a gold medal at the World Beer Cup, and then to accept two gold medals, small brewing company and brewing company brewer of the year, at the GABF. We lived it up, enjoyed ourselves, and brought the gold back to Albuquerque.
Do you have anything else you'd like to share? I'm very grateful for all of the support and loyalty we receive from New Mexicans. Albuquerque is a long way from where I grew up in Long Island, but being a brewer has allowed me to create an amazing life here, producing something that's local but recognized on an international level, and enjoying the sun and freedom of a place like Albuquerque but traveling the world to taste others products and share my own. 111 Marble Avenue NW, Albuquerque, 505-243-2739 505 Cerrillos Road, Santa Fe, 505-983-6259 5740 Night Whisper Road NW, Albuquerque, 505-508-4368 www.marblebrewery.com
Farm & Table BEST RESTAURANT
An Interview with Cherie Montoya What inspired you to open Farm & Table? Ten fertile acres of farmland, three hundred sixty days of sunshine, a beautiful adobe building, the sentimentality of preserving agricultural space in the North Valley, cultural heritage, and most importantly the idea of a huge, like-minded community joining together around food—these were the kernels of inspiration for me to open Farm & Table. This inspiration keeps growing and changing, just as our seasons do. They run parallel to our challenges as the years go by, and they symbiotically keep us, the Farm & Table team, on our toes, constantly growing and evolving.
What do you love most about your work, as it relates to local food? Food grown locally with love, and care without pesticides and herbicides. It tastes good, is good for you, and good for our local economy. Participating in local food is a way to honor our land, our water, and the people that grow and raise it. It encourages community and 22
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sharing. It helps us to be better stewards of the land, be more mindful of our precious resources, or lack thereof, here in New Mexico. Being able to work with over sixty-five local farmers, ranchers, dairies, cheese makers, winemakers, brewers, and food artisans is so amazing. Not only do we contribute to our local economy, but we also connect people. We encourage dialog and education between farmers and chefs, and then to our guests. It's a beautiful, reciprocal relationship and it creates meaningful experiences on so many levels. While this model is extremely challenging, it's even more so rewarding—truly a gift.
Who inspires you? My father is my hero. He purchased the beautiful property that Farm & Table is situated on to save it from being turned into a forty-house development. He put his heart and soul into the land by bringing in irrigation and then growing grass and alfalfa. He rotates cattle through this property and other neighboring properties. This beef is now worked into a whole animal program at Farm & Table.
We have created a sustainable program that utilizes the entire beef at the restaurant. My aunt Teresa who kept alive the simple practices of my grandparents also inspires me. A simple garden, fruit trees, and a few animals can keep a family fed almost all year long with proper preserving and mindful utilization. My aunt, who also has a full time job, has been able to do this and it informs much of my work.
Where do you like to eat? I love to eat. I like to eat at Farm & Table, of course. Besides that, I eat at home, for a quick bite I always go to the deli at La Montanita Co-op or any of our awesome Albuquerque food trucks. For dinner and drinks I like to go to MÁS. Not only do I love Chef Caruso’s food, but I also love the beautiful atmosphere of Hotel Andaluz. I also love Artichoke Café and the many other local Albuquerque staples.
Why do you do what you do at Farm & Table? Besides making a living, I want to do so with heart, soul, and no compromise. I am satisfyied to know that Farm & Table contributes in a real and meaningful way to our local economy and our community. Working with many local farmers is a win for all involved, and pushes the local food movement ever forward. This is good for everyone who
cares about local food. I honor and respect people who grow and make local food, beer, and wine so we can turn it into a wonderful dining experience. I love being a part of my community. This simple concept is really the essence of Farm & Table—a community of like-minded people coming together to have meaningful experiences with food, culture, and art.
Do you have any specific stories about Farm & Table that epitomize the heart of the business? Many said it couldn't be done or the concept is not viable in New Mexico. We, as a community, proved that a true farm to table restaurant could work. Local food can be a successful endeavor when likeminded people work together as a collective. I work with the best crew ever. Everyone on my team has a superpower, and everyday they put those to work to make Farm & Table shine! Everyone in my kitchen respects food at its essence and they take their craft very seriously. It makes me proud to know that each dish is prepared with that foundation. 8917 Fourth Street NW, Albuquerque, 505-503-7124 www.farmandtablenm.com
Cherie Montoya with her Farm & Table team. From left to right: Amy Haas, Sarah Schoen, Tony Rivali, Cherie Montoya, Alima Lopez, Jonathan Lippman, Sean Sinclair, Leigh Hile, Josh Loveless, Malachi Mahboub, Tracy Johnson, Chris Raleigh, Elijah Duncan, and Ric Murphy. Photo by Stephanie Cameron. 24
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Incorporating the very best from local farmers and ranchers, Executive Chef Andrew Cooperâ€™s menu is inspired by Northern New Mexico and creates a new twist on contemporary American cuisine. For an unforgettable dining experience, be sure to ask us about our new Chefâ€™s Table.
505.946.5700 fourseasons.com/santafe 198 state road 592, santa fe
Passing the Torch MAGGIE'S CAKES by Katherine Mast
Left: Maggie Faralla, photo by Vladimir Chaloupka. Right: one of Maggie's beautiful wedding cakes with Day of the Dead theme. Photo by David Williams and surfer cake topper by Santa Fe artist, Geri Romero.
Santa Fe is filled with surprises—simple dirt roads lead to spectacular houses and businesses hide in unexpected places. Tucked down a lane off West Alameda Street, in the tiny kitchen of an unassuming studio, Maggie Faralla produced exquisite wedding cakes for the past fourteen years. The studio reflects the baker’s vibrant passion and creativity. Framed prints cover the bold red, green, and yellow walls; and sculptures, tapestries and ceramics decorate the room. Faralla cultivated rich relationships with her clients. She became known for exquisite cakes that bore a creative, personal touch. Sadly, Faralla passed away on December 21, 2014, shortly after 26
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learning that she had cancer. Maggie’s reputation with her clients was not surprising, and her incredible cakes often delighted and pleased her customers. Making wedding cakes was a perfect combination of passions for Faralla, who was an exacting foodie and artist. She entered the food business after her career as a press agent in California’s music industry left her burned out. From Los Angeles to Santa Fe she worked in kitchens, including the then-fledgling Santacafé, Zia Diner, and Walter Burke Catering, before launching her own business. “[The
business] really became her life,” says Zara Southard, Faralla’s stepdaughter, who has taken the helm at the bakery. “She lived and breathed it.” Even in her final days, it was the cakes that occupied Faralla’s thoughts, says Southard. Faralla's cakes ranged from elegant, white tiers draped with fabriclike fondant to colorful Day-of-the-Dead-themed designs. Whether cactuses and calaveras danced in the icing, or each layer blossomed with elegant brightly colored flowers, many clients wrote back to say the cakes were almost too beautiful to eat. But beyond creating oneof-a-kind edible works of art, Faralla loved meeting people and getting to know her clients. “Maggie wasn’t just some baker doing a cake, it was a personal relationship, and she became friends with a lot of her clients,” says Southard. When one wedding party learned of Maggie’s death days before their event, their response wasn’t “Oh, no, my cake,” it was “Oh no, Maggie!” says Southard. “This is just such a testament to Maggie.” Inside the studio, at a heavy wooden table next to the kitchen, Southard sits with an array of three-ring binders of pictures of Faralla’s cakes and designs spread in front of her. Southard sometimes refers to Faralla as her step-mother, though the description isn’t entirely accurate and is far from complete; soul-mate was the word Faralla used. Southard has worked in other arenas, including education and in Santa Fe’s art galleries, but has also often helped in the kitchen at Maggie’s Cakes, using her degree in ceramics to inform the molding of pli-
able fondant over sweet cake rounds. Now, buoyed with support from Faralla’s friends and colleagues in Santa Fe’s wedding business, she is keeping Faralla’s vision and business alive. “I have this slew of support saying ‘Yes! Do this!’” says Southard. It’s a monumental task to take over the business, she says, but the alternative would be much harder. It was always Faralla’s hope that someday she could retire and pass the business on, and she asked Southard about filling the role several years ago. “[When you retire], you want this tradition and this beautiful thing that you’ve created to continue on,” says Southard. “It just took me ten years to commit to that. And then it was really fast.” Southard knows the business well, and has a similar aesthetic sensibility to Faralla. “I’ve been doing art projects with Maggie since I was a little kid, so I think a lot of my artistic eye and the way that I draw and so many things have been inspired by Maggie,” she says. Still, she knows it will be a balancing act to keep the business true to Faralla’s vision while also infusing her own interests, passions, and style into the kitchen. “My goal here is to keep it going with as little disruption as possible,” says Southard. “To really just keep it going as Maggie would, in Maggie fashion, bravely and boldly and just, you know, rock it. And, of course, make brides happy.” 505-989-1416, www.maggiesweddingcakes.com
edible notables NEW TO THE SANTA FE CULINARY ACADEMY TEAM
Edible Ad...2015 3.65” W x 4.75” H, 300dpi, CYMK, delivered as PDF”
The Santa Fe Culinary Academy has added a new member to their family. Hailing from Kalispell, Montana, Hillary Ginepra moved to Santa Fe last October to join the SFCA faculty. She brings ideas, enthusiasm, and over a decade of experience teaching the culinary arts. She is proud to join such a unique culinary arts program that has a deep level of commitment to community and sustainability. The SFCA offers an intensive twelve-month curriculum that introduces students to all aspects of the business, including service, through experiential learning exercises. In addition to receiving a well-rounded foundation in both savory and pastry arts, students learn firsthand what is involved in running their own operation, from menu-planning, purchasing, and setting up and implementing cost controls to marketing and branding their enterprise. Students host both lunch and dinner à la carte service throughout the spring and summer at the beautiful dining space at SFCA called The Guesthouse. It is open for lunch service from February 5 to March 13 by reservation only. SFCA also offers pop-up dinners on the first Thursday of each month. Join Ginepra and Chef Rocky Durham for an exceptional dining experience and to meet the high caliber students behind it all.
TY G YM
www.libertygym.com no initiation fees | new members receive free personal training orientation 505.884.8012 | 2401 Jefferson NE, Albuquerque, NM 87110
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Above: Hillary Ginepra, photo by Jennifer Leighton.
Art Matters | Sustenance, March 13 - 22
food, conversation and art to nourish the body, mind and soul
ART MATTERS | SUSTENANCE
The Santa Fe Gallery Association (SFGA) announces Art Matfor more details & ters | Sustenance, the third installment of its successful Art Matters a schedule of all events: series, to be held March 14 to 23, 2014 in Santa Fe galleries, museArtMattersSantaFe.org ums, and other locations to be announced.................... separately. Sustenance can be anything that keeps someone alive by providing nourishment and strength. Therefore, the cornerstone of this event will be the unique exhibitions and discussions in the member galleries and museums that nourish the body, mind, and soul with both food and art. These events will range from exhibitions and critical discussions with artists, critics, and historians over a meal in the gallery to thematic exhibitions around food and its roll in art and culture. Throughout Art Matters | Sustenance, SFGA member galleries and museums will partner with Santa Fe’s celebrated chefs to host important art exhibitions and conversations with a world-class culinary presentation in their respective galleries and venues. The exhibitions will cover a wide range of art, historical periods, and related topics. Most in-gallery events are ticketed as this program is a fundraiser for Art Matters to create a lecture series and support educational and marketing efforts by SFGA. Information on the specific events, discussions, and exhibitions will be announced separately.
LA DOLCE VITA Since its inception in 2007, the Italian Film & Culture Festival has been the Italian community’s vehicle for helping UNM Children’s Hospital make miracles for sixty thousand kids each year. UNM Children’s Hospital remains the festival’s exclusive beneficiary, with more than $195,000 donated so far. One doesn't have to be Italian to enjoy this unique opportunity to experience the best of Italian cinema, food, music, wine, and tradition. Italian hospitality is legendary. Now in its eighth year, the festival brings a great lineup of recent, award-winning, and highly acclaimed Italian films in their local premieres. All films are in Italian with English subtitles and include a great mix of genres, from comedy to drama to romance. WWW.EDIBLESANTAFE.COM
edible notables In addition to a great program of films, you can also enjoy authentic Italian food prepared by some of the areas best Italian chefs. In Santa Fe on February 5, after the movie at the Jean Cocteau, Osteria dâ€™A ssisi's Executive Chef, Cristian Pontiggia, will prepare a meal to complement the evening's screening. On opening night, in Albuquerque on February 8, enjoy a meal prepared by Hyatt's Executive Chef, Phil Beltran. Support New Mexico's children and buy a ticket today for a taste of la dolce vita in the Land of Enchantment. www.italianfilmfest.org
ON THE MAP
575-758-8866 www.thegorgebarandgrill.com located in the historic Taos Plaza
EAT DRINK LAUGH
(NOT NECESSARILY IN THAT ORDER) 30
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Hosted by over twenty partnering organizations, On the Map: Unfolding Albuquerque Art + Design is an extraordinary cultural series that celebrates the art of central New Mexico. From January through June 2015, public institutions join private galleries to present exhibitions, lectures, performances, and educational programming that investigate the diverse art of the greater Albuquerque region. These events place a comprehensive focus on art and design created in the Middle Rio Grande Basin, contemporary to the earliest aesthetic objects created in the region.
Multiple venues including the Albuquerque Museum, 516 ARTS, Harwood Art Center, KiMo Theatre Gallery, Richard Levy Gallery, National Hispanic Cultural Center Art Museum, South Broadway Cultural Center, Tamarind Institute, UNM Art
Museum, and others will bring the best art and design the region has to offer. Further, they make it easy to find. Part of the project includes an easy to use guide for all venues, events, exhibitions, and more. www.visitalbuquerque.org/onthemap
ORGANIC FARMING CONFERENCE Organic farming and ranching has significantly increased in New Mexico and is the fastest growing segment of New Mexico agriculture. Last year organic food production in the state had an economic impact of more than $53 million, facilitating support to rural and semi-rural communities. Every year in late February growers from across the region gather at the New Mexico Organic Farming Conference. Organized annually through collaboration between Farm to Table, the New Mexico Department of Agricultureâ€™s Organic Program, and the New Mexico State University Cooperative Extension Service, the conference provides producers and researchers from around the Southwest an opportunity to share their experiences and expertise. The conference offers a vast array of workshops covering many topics and makes available exhibition space for a wide range of products and services. The goal of the conference is to provide a place to bring growers in the region together to explore and learn the unique aspects of farming in the Southwest. It also serves to reduce isolation by providing a forum to share innovative ideas and best practices. Mark Smallwood, executive director of the Rodale Institute, is the keynote speaker for the 2015 conference. Additionally, the Ag Collaborative, Rio Grande Farmers Coalition, the New Agrarian Program, and edible Santa Fe have teamed up to offer a Career Connection and Farmer & Rancher Social on the first night of the conference geared towards individuals seeking a farm apprentice or employee, or a farm job or apprenticeship. Register online at conta.cc/1IIJmKF.
CONTAINER COMMUNITY — FARM TO TABLE A Local Urban Place to Eat, Play, Shop, and Chill On a dusty city lot of one-and-a-half-acres at the intersection of Carlisle Boulevard and Cutler Avenue in Albuquerque, Roy Solomon is building a dream that started as a sketch on a barroom napkin. He is transforming repurposed shipping containers into a plaza of local eateries, neighborhood retailers, and hydroponic farms. The creation is Green Jeans Farmery, the state’s firstever shipping container community-retailfarming center. “For me healthy foods, relaxed lifestyles, and local businesses create the perfect synergy,” he explains. “I love farm-to-table concepts, and we are taking that a little further into an experiential tasting room environment for multiple businesses.” Santa Fe Brewing Company has already signed on as an anchor tenant; it will open its first-ever Albuquerque tap room at the Farmery. Solomon is looking for other local food, casual lifestyle, and health-
related businesses to expand the Green Jeans Farmery environment. The Green Jeans Farmery will be a year-round growers market where businesses can flourish and people can gather. At least one hydroponic container farm on the premises will produce vegetables from which Farmery vendors can purchase onsite. To grow this concept beyond the plaza, the Farmery will also offer the opportunity of container farming to schools and businesses throughout the state. Solomon’s past endeavors include Bailey’s on the Beach (a much beloved, local, fastcasual restaurant), 505 Southwestern (a popular restaurant and with its own chile products), and the Ryde Shack (a workout and health facility). For Solomon, the Farmery is about a healthy and relaxed social environment of community-centered businesses. Construction is underway and one of the container farm units is now yielding a remarkable crop of leafy greens and herbs. Green Jeans Farmery estimates a mid-summer opening date. www.greenjeansfarmery.com
Above: conceptual renderings of Roy Solomon's container community. WWW.EDIBLESANTAFE.COM
Women & Creativity by Sarah Wentzel-Fisher
Last year, edible Santa Fe’s first issue focused on the contributions of women to food systems in New Mexico. Inspiration for that issue was a burgeoning relationship with a group of amazing women who head a ten-year-old event series called Women & Creativity (W&C), an annual, month-long program that celebrates women’s creativity and entrepreneurship across the disciplines. Based in Albuquerque, W&C typically works in collaboration with over thirty-five local and regional partners to showcase how women, and support of women, can make great things happen in our state. Events take place during the month of March—to coincide with Women’s History Month—in theatres, galleries, performance spaces, retail businesses, museums, parks, neighborhoods, and other venues throughout New Mexico. Events include presentations, performances, art exhibitions, installations, workshops, classes, cinema, demonstrations, and interactive events. To learn a little more about the project, we talked with the founder, Shelle Sanchez, director of organizational expansion at Harwood Art Center. What was the inspiration? I started W&C ten years ago at the National Hispanic Cultural Center after attending an afternoon event that brought together a storyteller, a curandera, a belly dancer, and a poet. Creative expression and the fact that they were women were the only threads that tied the afternoon together. It was so beautiful. How did the project start? I decided to invite artists, entrepreneurs, and organizations to work cooperatively to create a week of programming celebrating all facets of women's creativity placed in March (which is National Women's History Month) as a contemporary response connecting what women have done and what they are doing right now.
of W&C. We have no big funders, no cash sponsors—really no budget for the program. Each partnering organization plans and funds its event, and we all work to pull together the basic financial resources for hard costs like printing and website hosting. Each year I am reminded that we have incredible resources in our community. When we coordinate and leverage those resources we can accomplish any plan. Equally, I love the creative connections and projects, for myself and others, that have grown from W&C. Many casual conversations have evolved into collaborations that show up the next year on the W&C calendar, or at an exhibit, conference, or performance that feeds the vitality of our city. On a personal level, I feel deeply connected to the creative community in Albuquerque and Santa Fe because of the circles that I have entered through W&C. Where is W&C headed this year? We have looked for ways to build on past success. Additionally, we will evolve the entire initiative into something that inspires and supports creativity and community in new ways. To mark the end of a remarkable decade, W&C will embark on new initiatives with emphasis on innovation, collaboration, and leadership. This year, participants will focus increased attention on resource-sharing and inventive programming. W&C 2015 will offer Ten for the Tenth—ten collaborations that emerged from creative women brainstorming with other women to envision, design, and present innovative events. W&C also presents two additional initiatives—one traveling art installation and one annual art making exchange that will be featured as part of the series. In addition to the events detailed here, find a complete community calendar of W&C programming online. www.womenandcreativity.com
A week of programming quickly grew to a month, a dozen community partners to dozens, twenty events doubled, then doubled again. Valerie Martinez joined me in the third year, which I needed badly or I would not have had the time or energy to continue this particular creative labor. Julia Mandeville joined us in our fifth year. She represented a much-needed completion of our triad of coordinators. The coordination is key to the longevity of W&C as we celebrate our tenth year. We each bring different skills, we imagine and plan together, and we share the workload. What do you love most about W&C? I love its collaborative nature. Val, Julia, and I are an effective team because we share vision and commitment. I also love the collaboration and cooperation with all our community partners. W&C works each year because many organizations and individuals participate in the vision 32
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Many of the women collaborators of Women & Creativity. Photo by Stephanie Cameron.
WOMEN CREAT IVITY
Pop-up Dinners The Art of Food
In celebration of the creativity of great women, edible Santa Fe invites you to dine with great women artists, architects, designers, performers, poets, and others during five unique pop-up dinners. Women chefs will prepare inspired multi-course meals at galleries and maker spaces. Tuesday, March 3, 7 – 9p // 516 Arts Tuesday, March 10, 7 – 9p // National Hispanic Cultural Center Tuesday, March 17, 7 – 9p // Westbund West Tuesday, March 24, 7 – 9p // Santa Fe Art Institute Tuesday, March 31, 7 – 9p // Farm & Table Very limited seating; register now!
The Story of Food with Deborah Madison Saturday, March 7 at the National Hispanic Cultural Center
Have you ever dreamed of writing your family cookbook? Starting a recipe blog? Simply posting a few recipes on TasteSpotting? Or writing your memoir for yourself or publication? Join Deborah Madison and edible Santa Fe to learn to tell the Story of Food. Madison will conduct a three hour seminar on food writing and memoir. Following the writing workshop, eSF and Lois Ellen Frank will conduct a plating and food photography demonstration geared towards the home chef and blogger. Very limited seating; register now! ediblepopup.com WWW.EDIBLESANTAFE.COM
at the chef's table
An Artful Touch GEORGIA'S EXECUTIVE CHEF, BRETT SPARMAN
by Katherine Mast · Photos by Stephanie Cameron A brisk December wind hit my face as I walked the few blocks from my car to Georgia, one of Santa Fe’s newest fine-dining restaurants. Bundled in a warm hat and scarf, and shivering inside my down coat, I was glad to head indoors, past the bistro tables set on the large brick patio, and into the restaurant which opened for business on May 29 last year. Inside, a cozy bar welcomed me and led the way to an elegant dining room tucked well off the street. Neighboring the Georgia O’Keeffe Museum, the Georgia restaurant does things a bit differently in the City Different. Guests will find no adobe walls and no exposed vigas. Instead, the bar invites guests with roughly painted brick walls, brushed copper pendant lamps, and gently worn wood floors; white walls, black-and-white photographs, and cushioned benches adorn the bright and crisp dining room. The menu is different too: there's no green chile. “There are so many places in Santa Fe that do [green chile] so well,” says Brett Sparman, Georgia’s executive chef. Out-of-town guests and residents can get their fill of the delicious New Mexican staple elsewhere. “When they want a break, they can come to Georgia.” That break will offer a short, but varied, menu with simple dishes and service par excellence. “When you come in the door, we know your name,” says Sparman. “If you’re a regular, when you sit down at your table, your waiter just brings you (the) drink you enjoy.” The personalized attention has already made Georgia the kind of neighborhood establishment that keeps local diners coming back for more. The restaurant’s connection to the neighboring museum can be confusing given its name and proximity. “I can’t tell you how many people I have to tell, every day, ‘the museum’s over there,’” says Sparman. Although no official connection between the restaurant and the museum exists, Sparman says, “obviously, [the name is] an ode to our neighbor.” But the connection doesn’t end there—everything at Georgia, from the building’s aesthetic to the quality of service to the presentation of food, carries a richness of artistry. “We eat for pleasure, not just for survival,” says Sparman. His art, he says, is on the plate, and like a painter whose knowledge of paints is in constant evolution, so is a chef ’s knowledge of flavor and smell, of preparation and arrangement. While the restaurant has several dishes that remain constant, Sparman likes to keep his offerings interesting with regular adjustments to the menu and unique daily specials. With a background in cuisine spanning French, Japanese, and contemporary American, Sparman has a large repertoire. “I’ve worked with a lot of great people, and my ex-
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Top: Chef Brett Sparman plating. Below: bone-in pork chop with brussels sprouts, pickled mustard seeds, apples, and purple cabbage puree.
posure to different cuisines has enabled me to really adapt,” he says. He can keep things simple, with a melt-in-your-mouth tender lamb shank, but also enjoys special dinners where he can flex culinary muscle with delicacies like pig blood ganache with caramelized cantaloupe and scallops. The simple, elegant platters emerging from the kitchen reflect an artistic sensibility, and so do the creative drinks from the bar. At the top of the menu, a simple description belies the beauty and flavor of the Abiquiu Rose. Served in a martini glass, floating rose petals mark this signature sweet-yet-tart drink. For Sparman, who has worked with food most of his life, it’s the energy and crazy pace of the kitchen that he loves most. “I figure that by the time I’m fifty, I’m probably going to be half-deaf from all the noise in the kitchen,” he laughs. The kitchen is also a place of personal and collaborative creativity, where everyone contributes. “Everyone creates what happens [on the plate],” says Sparman, and that’s one of the great joys of being in the kitchen. “You get to be an artist. You get to create.” 225 Johnson Street, Santa Fe, 505-989-4367 www.georgiasantafe.com
Above: Chef Brett Sparman.
Red Tape ARTBAR
by Mike English
ArtBar co-founders from left to right: Julia Mandeville, Shastyn Friedman, David Hargis, Skye Morris-Devore. Photo by Amy Parrish Photography.
Last spring, ArtBar gave downtown Albuquerque a glimpse of what its future could have entailed. Located one block off Central Avenue at Second Street and Gold Avenue in the old Jazzbah Space, and utilizing some of that bar's sleek design, ArtBar combined food, libations, art, and events in a setting that was nothing short of extraordinary. This short-lived endeavor ultimately drowned amidst a sea of red tape, but the project has brought a number of issues and solutions regarding innovative economic development to the fore. Julia Mandeville, Shastyn Friedman, Skye Morris-Devore, and David Hargis, a group of local art and food industry leaders operating under the moniker Catalyst Club, opened ArtBar in February 2013. The idea was to leverage 36
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the bar's non-profit membership statusâ€”and therefore less-expensive full liquor licenseâ€” into revenue that would be divvied up as grants and spread amongst a rotating roster of Albuquerque arts organizations each year. The creative business model demonstrated innovation by bringing Albuquerque's art communities together with the local food and beverage industry. The attempts to deepen those relationships and provide opportunities for collaboration were unlike anything the city had experienced. And people responded. On any given night, the ArtBar stage might have hosted a spoken word performance, flamenco dance, or an artist creating a live painting. Photographs, drawings,
and prints by local artists hung on the walls. Patrons flowed in, just out from a Tricklock stage show or from watching an improv comedy sketch team at The Box right across the street. The audience sat at tables or milled about with martinis, signature drinks, or craft beers in hand. The kitchen churned out a delicious menu from Pancho's BBQ and Supper Truck. "It created this real energy on Gold Street," says Mandeville. "It was about creating an ecosystem." But within months, ArtBar closed. The endgame for ArtBar played out behind the scenes for months, but news of its closure arrived abruptly in July 2014. "We are incredibly saddened to report that we
will be closing. ... The State of New Mexico's Alcohol and Gaming Department has made it impossible for us to continue this enterprise," the founders wrote in a petition and open letter and to the community, an oversize Xerox of which hung in the windows facing Second Street. The closing raised questions about New Mexico's regulatory approach at a time when politicians and business leaders tout innovation as a necessary—and desirable—solution to the state's economic woes. How and why ArtBar closed provides something of a cautionary tale for artists and entrepreneurs attempting to work creatively within and to bring innovation to the state's food and beverage industry, as well as for anyone invested in finding new and sustainable ways to support the arts. Specifically, Alcohol and Gaming issued two citations during ArtBar's first year. One was for the way in which the membership was structured, which ArtBar rectified. The other was for advertising in The Weekly Alibi, an alternative paper in Albuquerque. State law prohibits private membership bars from advertising in any form. The problem here? The piece in the Alibi was an editorial story, not an ad, and ArtBar had no control over editorial content at any publication. They did not pay for an ad, but it didn’t matter. To the credit of the City of Albuquerque and Mayor Richard Berry, efforts were made by city officials to help mediate things with the state and to keep ArtBar open. “We were fans of ArtBar and we want to do everything we can to support innovation in Downtown Albuquerque,” says Gary Oppendahl, the city’s director of economic development. Oppendahl says the way ArtBar fostered the arts from a position in the food and beverage industry was “unique and positive.” New Mexico Alcohol and Gaming, meanwhile, responded to media focus on the situation by offering a ninety-day reprieve while it conducted a review. Yet Mandeville and the other members of Catalyst Club said thanks but no thanks. They faced a new year of enlisting members (they had secured two thousand members in year one) and a number of
annual expenditures, with no assurance they could stay open for another year. “It was an issue of the regulatory environment,” says Mandeville, who, as chief programs officer of the Harwood Art Center, has a stellar reputation for championing the role of art and artists in the Albuquerque community and beyond. “We were happy to fulfill the standards, as long as they were clear and consistent.” Complaints by business owners about government regulation are nothing new, of course, but the closure of ArtBar focused attention on the extent to which the governmental regulatory environment in New Mexico helps or hurts business owners who attempt to innovate. It’s an issue made more urgent by the need to create more economic opportunity in the state—and the nagging sense that the status quo seems to reassert itself too often. But political awareness about the issue is growing, if slowly. Santa Fe Mayor Javier Gonzalez frequently expresses his support for innovation and a one-stop, streamlined approach at City Hall. And the City of Albuquerque recently installed development facilitator Randall Falkner in its planning department, where his sole job is to help developers navigate city regulations. Proponents have made efforts at the state level as well. While he was a state senator, State Auditor Tim Keller tried to push through a bill to create a Uniform Administrative Procedures Act for New Mexico. It would put all regulatory decisions by state agencies in full daylight and provide a standardized, open process for comments and appeals. Most states, in fact, already have this kind of act on the books.
The Rail Yards Market Project:
Last year a team of creative and committed Albuquerque citizens launched the Rail Yards Market, and what has now become one of the states most successful growers and artisan markets. Every Sunday from May through November in 2014 hundreds of vendors catered to thousands of residents, breathing life into a treasured, but otherwise vacant and dilapidated space at the rail yards. Against immense odds, the Railyards Market team, procured a two-year use agreement with the city to operate the market every Sunday. But recently the city changed its tune. On January 6 the Rail Yards Advisory Committee, a group set up by ordinance to advise the city council on redevelopment of the Rail Yards, voted to endorse having the market continue every week. The city administration would like to offer other groups a chance to book the space on Sundays, and ultimately, the final decision is theirs. While the using the space on a more regular basis seems like a wonderful opportunity to help small businesses grow and community events find a home, its curious that it must come at the expense of a well established market that relies on its regularity for success. Learn more on Facebook @RailYardsMarket.
“Until we have that in New Mexico, any government official can change the rules of the game [at any time],” Keller says. “The result is different rules for different folks, inconsistency, a lack of transparency, and no mechanism for public accountability.” It’s too late for ArtBar, but Keller thinks it’s the kind of regulatory reform New Mexico needs going forward. “It’s the only rootcause cure,” he says. WWW.EDIBLESANTAFE.COM
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The Ice Cream Olympics by Ann Lawlor · Photos by Alita Randolph
Artists surprise the rest of us when they employ off-beat or singular mediums. As the Rio Grande Del Norte National Monument’s first artist-in-residence, Anita McKeown used ice cream. That’s right! She conceived of the Ice Cream Olympics as a way to explore local food culture and ecology. At the Olympics, teams competed in a series of five field events involving an ice cream ball, a round device for churning ice cream, to make unique flavors judged by a panel of experts. What seemed like a whimsical endeavor was, in fact, a profound exercise focused on food security and related issues. The Olympics grew out of McKeown’s three-month residency, Intimate Ecologies: Tastes of the Monument, and from three years of research in the Taos County area. The Olympics was the culminating event of her residency, taking place as part of Neo Rio 2013, the fifth annual arts festival hosted by Land Experience and Art of Place (LEAP) in partnership with the Bureau of Land Management and Ocho Art & Event Space (OCHO) in Questa. According to the US Department of Agriculture, New Mexico produces more than fifty edible crops, most of which we export; yet New Mexico has just ranked extremely low in food security with one of the highest rates of childhood food insecurity. These facts, in contrast to the host of largely untapped wild edibles and abundance of locally grown produce, inspired McKeown to use her residency to explore more in depth New Mexico's food sovereignty and security. McKeown, from Ireland, first came to Taos in 2010 for a research residency related to her graduate work, which challenges the trend toward public art monuments. Her research considers how monumental public art impacts intimacy in public places, which she defines as a detailed process that shares the existing knowledge in and of a location and produces new knowledge through the remixing and re-imagining of that existing knowledge base. From this perspective, she considers the Olympics an open source public art project. She invited people to come together as both Olympic participants and audience members to exchange information and anecdotes about local food. The process, she hoped, would enhance, inform, and sometimes change prescribed or preconceived notions about food and where it comes from. The result: Neo Rio/LEAP founder Claire Coté explains, "The Ice Cream Olympics skillfully presented us with fun and delicious ways
to engage with the area’s ecology while at the same time touching on big issues." Leading up to the Olympics, McKeown created situations for participants to learn about the local ecology. For example, local herbal apothecary Cathy Hope led a number of exploratory walks to the Rio Grande del Norte National Monument for the purpose of identifying native and non-native plants, with an emphasis on ethical and mindful foraging. The coalescence of land and river results in a unique and diverse zone of hydrophilic vegetation and an uncommon canyon ecosystem where rim to river dips a dramatic five hundred feet. Through local resources and agencies, McKeown connected with participants and audiences in targeted ice cream events. For example, at the Taos County fair, ice creams du jour were pinto bean and vanilla served with biscochito; green chile; and piñon, chokecherry, and red chile with agave. She invited people to test ways to make the ice cream, including the double bag method which entailed combining ingredients in a ZipLock bag that was then placed in a bigger ZipLock bag packed with ice, requiring up to ten minutes of vigorous shaking. McKeown also created the Ice Cream Open Lab, situated at OCHO, and held drop-in days and events during which people came together to learn about accessible food sources and ingredients. Over the duration of the Open Lab, collective knowledge of the local ecology was culled into a variety of tableaus that evolved into an edible herbs wall, a flavor wall, and food wall. The walls included cutouts and other notes of ice cream flavors—real and imagined. She designed the Olympics to resonate with the local terrain and ecology. Participants played games using an ice cream ball, a metal canister for ice cream ingredients surrounded by ice and rock salt within a plastic sphere. By playing, Olympians also made ice cream. Games included Chamisa Canales, kicking an ice cream ball through teammates’ legs over a fifty foot distance; the Three Sisters Sack Race, feverishly hopping to glory while carrying an ice cream ball; the Rattler Relay, navigating a coned obstacle course while dribbling an ice cream ball; and the Golden Eagle Egg and Spoon Race, running with an ice cream ball held precariously on a super-sized spoon. McKeown encouraged teams of four to create imaginative recipes in advance, and to take dairy and sugar alternatives into consideration. Local judges assessed participants not on their speed and agility but rather on the combination of local ingredients, taste, and consistency
Left: Chamisa Canales, kicking an ice cream ball through teammates’ legs over a fifty foot distance. WWW.EDIBLESANTAFE.COM
Top left clockwise: The Golden Eagle Egg and Spoon; Ice Cream Olympians at the end of the day; playing The Golden Eagle Egg and Spoon and Prairie Dog Ten Pins; and Geezer Cream Team, with their Olympic flag and Sages of Wild River ice cream. Right: in it to win, sealing an ice cream ball. 40
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of the ice cream, and the successful completion of a game by each of the team members. The gold medal went to team Cutthroat for their tomatillo raspberry ice cream: a concoction of roasted tomatillo, raspberry soya yogurt, raspberry jam, stevia, and a blend of raspberry, almond, and vanilla extracts. Silver went to Wild Owls with honey flower: a fusion of chocolate milk, nasturtiums, and honey. The Trash Ladies won bronze with a roasted tomatillo and dill pickle ice cream, using a base of soya berry yogurt. The Rio Grande Del Norte National Monument residency provided an opportunity for McKeown to use her artistic research in public art to focus on something many people know and love—ice cream—and to create a unique participatory event that examined food, fostered an awareness of the availability of local ingredients, and encouraged engagement with good nutrition. Although the Olympics was a one-time event, McKeown engineered the overall project to have lasting effects which, to date, include the co-development of a greenhouse with Questa High School’s Envirothon chapter and its science and culinary art departments. Additionally, all local food knowledge gathered from the Open Lab and outreach are archived at University of New Mexico Southwest Research Center in Taos. www.icecreamolympics.info email@example.com
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Art & Ecology
EXPLORING THE ORIGIN OF FOOD THROUGH ART by Elizabeth Shores
Trans-species Repast, (2014) Performance at Wignall Museum of Art, Rancho Cucamonga, CA, with Dena, the chicken. Recycled cardboard tables, ceramic bowls, video, watermelon. Photo credit: Wignall Museum of Art. With thanks to Joe Ben, Leigh Jerrard, and Kylie Heikkila.
This year I inherited a garden. It was my first attempt, as an artist, to grow my own food. Like many people, my food experiences have been tied to industrial agriculture. I hoped that growing plants from seed and harvesting them would change my connection to food. However, it wasn’t until I met and spoke with University of New Mexico (UNM) faculty members in the Art & Ecology Department and the Land Arts of the American West program that I began to understand what it meant to be connected to food and the land. “Food is the most concrete product of the landscape that we use to communicate with the landscape,” said artist and UNM professor Catherine Page Harris as she recounted for me the inspirations behind one of her latest artworks, Trans-Species Repast. In this work, exploring
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hierarchy and agency, Harris designed a series of performative dinner dates with nonhuman animal collaborators. The meals were videotaped and included in a group exhibition titled Home ECOnomics: Communal Housekeeping for the Twentieth Century, curated by artist Danielle Giudici Wallis at the Wignall Museum of Contemporary Art at Chaffey College in Rancho Cucamonga, California. As an artist and a landscape architect, Harris strives to incorporate habitat design into her work, pointing to psychological research that shows nonhuman animals are capable of complex thought patterns and emotional responses. During the exhibition opening, Harris and Dena, a chicken, shared a locally grown watermelon from handmade ceramic bowls while sit-
ting at one of six laminated cardboard tables included in the multimedia installation. Outside the museum, identical cardboard tables held two bowls filled with local food for passing animals and gallery visitors to eat. In addition to Dena, Harris had a series of meals with animals, including a horse, a dairy cow, a goat, a flock of geese, and a dog. “I discovered that animals we treat as companions are quite easy to share a meal with and to actually feel like we are in the same space having a conversation of sorts.” She also observed that animals raised for slaughter seemed deeply suspicious of her. For example, Harris described a meal she attempted to share with a dairy cow that lived on a feedlot. The cow refused to engage with her. “Of course it makes sense, but on some level a transspecies idea offers us an understanding that animals actually recognize their potential future and their place in the world and have some sense of agency about it.” Harris, who is from California, came to New Mexico after living almost half of her life on the East Coast. In 2006, she joined the University of New Mexico’s Art & Ecology program, becoming its first
tenured professor in 2009. She also holds a joint position as associate professor within the School of Architecture and Planning. One of five academic areas of focus within the College of Fine Arts at UNM, Art & Ecology is an interdisciplinary contemporary art program designed by professor Bill Gilbert and professor emeritus Basia Irland to prepare students for careers as artists, activists, and educators. Several other professors in Art & Ecology work with food, including assistant professor Szu-Han Ho, and Andrea Polli, associate professor and Mesa Del Sol Endowed Chair of Digital Media. Ho cotaught the course Creating Change last spring during which students worked with the Albuquerque Barelas neighborhood to create a community garden and enjoy a meal together from the harvest. In a recent more theatrical project, Camarónes, Ho teamed up with artist and director Rafael Gallegos to DJ a live set of music while peeling, cooking, and serving shrimp to the audience. This well-attended performance took place at Tricklock Performance Laboratory in Albuquerque as part of Digital Latin America, organized by 516 ARTS. Ho and Gallegos mixed numerous music styles such as hip-hop, electrocumbia, and other Latin dance beats with references to some of the artist’s major influences from avant-garde art, theater, and literature.
Trans-species Repast, (2014) Performance at Wignall Museum of Art, Rancho Cucamonga, CA, eating watermelon with Dena, the chicken. With thanks to Joe Ben, Leigh Jerrard, and Kylie Heikkila.
Polli collaborated with architect John Donalds to create Biokitchen, a modular, mobile kitchen as a site for examining connections between architecture, culture, and the biological sciences. The Biokitchen offered participants a ‘tasting’ of beneficial microorganisms and a view of bioart videos on a screen grown from kombucha during the 2012 International Symposium on Electronic Art and at the Explora Museum in 2013. This past October, as part of Fermenta-tion Fest at the Wormfarm Institute, Polli and her students created Taste Lab, inviting visitors to investigate the biology of fermentation through all their senses. Taste Lab included conversations, screenings, performances, and presentations about the biology of fermented food and addressed topics like GMOs, the human microbiome, and antibiotics in food. Jeanette Hart-Mann is also using art to investigate the human relationship to food. She has been co-director of the Land Arts of the American West program since 2009, a non-traditional field research and studio art program in the Art & Ecology Department. HartMann is also the collective operative of Fodder Project, a collaborative
research farm in Anton Chico. For her, art and farming are interdependent and exist within an expanded view of ecology. “The farm is instrumental within my art practice, where art and life merge,” says Hart-Mann. “On the farm we (my family and visiting collaborators) experiment with four season polyculture production, plant breeding and seed saving, foraging and wildcrafting, alternative architecture and energy systems. This daily practice of committed labor and creativity provides my artistic research and practice with a grounded location to be deeply embedded in ecological processes, while giving me the opportunity to share these discoveries with others.” Hart-Mann is also collaborating with visual artist Chrissie Orr on SeedBroadcast, a mobile broadcasting station housed within a converted ice cream truck designed to allow the artists to travel to locations around the US both spontaneously and by invitation. SeedBroadcast operates by recording in-person interviews, swapping seeds, and providing a hub for people to share information about
SeedBroadcast and the Mobile Seed Story Broadcasting Station at the Pima County Seed Library, Tucson, AZ, 2013. Photo by, Chrissie Orr. 44
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seed saving. Hart-Mann described the format as “...literally rhizomatic…it’s about how people create, extract, and disperse information.” Hart-Mann suggested that information is not only didactic descriptions, such as how a seed will grow into a specific plant if given the right conditions, but that it is also a medium and symbol for the transfer of what she calls “radical information.” “[SeedBroadcast] is a mediator between multiple communities and types of cultural information artifacts that wouldn’t, necessarily, always make it through the complex network that we call popular culture.” SeedBroadcast exists in many different forms, such as a printed newsletter, an online archive of spoken interviews, maps of local seed-savers, and printed books, with new plans constantly in the works. Jay Salinas, co-founder of The Wormfarm Institute, coined the term “cultureshed” in 1998 to describe the links between local culture and agricultural activity. Salinas suggests that connections among communities, both urban and rural, circulate within and from the food chain. When used as the medium or subject of art practice, food allows us to investigate complex ecological associations between agriculture and cultural development. Through both art practices and coursework, faculty in the Art & Ecology program effectively research these connections and in many ways, enact new and alternative networks. Back home, as I begin to pull the last of the vegetables from my backyard garden, I remember Hart-Mann saying to me during our visit, “Farmers are the greatest optimists.” Maybe, if we can regain a connection to the land and the food that we grow from it, we might be able to regain, reinforce, or even re-imagine the relationships that we have with each other. www.seedbroadcast.org
Corn Morphology, selections from 2010 - 2014 Fodder Project Collaborative Research Farm archive. Digital scans and digital photographs, by Jeanette Hart-Mann. WWW.EDIBLESANTAFE.COM
EXPLORING THE ORIGIN OF FOOD THROUGH ART by Claude Smith
Valerie Roybal, Honey Alchemy, 2014. Six-color lithograph, 15 x 20 inches. Collaborating printer, Maria Erikson. Photo by Logan Bellew.
Sitting at artist Valerie Roybal’s dining room table in her house in Albuquerque, our conversation alternates between discussing her artwork and her other passion—beekeeping. “The whole process of making honey is really nothing short of a miracle. Really everything about bees is truly quite miraculous,” she gushes. Over her shoulder I notice in her backyard a beehive: a block-like, filing-cabinet-lookingthing called a Langstroth hive that houses approximately forty thousand bees. As I stare through the window, I admit the beehive doesn’t 46
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look like much. Roybal, who has kept honey bees for five years, offers, “It’s a little too windy today for them though, they’re probably all inside the hive hunkered down.” Roybal explains that to make one pound of honey, bees tap approximately two million flowers and, in the process, fly about fifty thousand miles—a distance comparable to roughly two trips around the world. This astonishing feat represents the genesis of a fundamental process that allows us humans to grow and eat food.
Kenny Davis, Southwest Vernacular III, 2013. Four-color lithograph with hand-coloring, 22 x 15 inches. Collaborating printer, Maria Erikson. Photo by Shelly Smith.
Roybal has made a name for herself at home and abroad through her meticulous collage work that incorporates cut-up bits of old books, maps, and paper to create a blend of scientifically-rooted, self-referential narratives. She often uses her art as an avenue to explore things not readily visible: biological pathways, disease, cellular cycles, and even insect anatomy. In one of her recent bodies of artwork, bees received most of the attention. Roybal's local reputation as an art-maker and her honed skills as a beekeeper made her a highly desirable participant for Foodie: On Eats, Eating and Eateries in Albuquerque, a project spearheaded by the Tamarind Institute of Lithography and the Albuquerque Arts Council. She joins seven other local artists for this Tamarind series, in conjunction with a larger citywide collaboration planned for early 2015, On the Map: Unfolding Albuquerque Art + Design. On the Map is a long overdue look at the art and art history of Central New Mexico and the Middle Rio Grande Basin. Tamarind is one of more than twenty partnering organizations. “We had al-
ways wanted to do a food-related project, but the timing of the On the Map collaboration and our fifty-fifth anniversary seemed like the perfect opportunity,” shared Tamarind director Marjorie Devon. Foodie presented artists with a unique opportunity to create a brand-new, limited edition lithograph in the world-renowned Tamarind facility. Originally founded in 1960 in Los Angeles with the intent of revitalizing and elevating the status of lithography in the US, Tamarind moved to Albuquerque in 1970 where it became affiliated with the University of New Mexico. Today it remains one of the most highly regarded contemporary printmaking institutions in the world and continues to train master printers and provide creative opportunities for artists through lithography. Sometimes these creative opportunities come in the form of direct invitations from Tamarind to artists, and other times through a more public proposal-driven process. After Devon reached out to the City of Albuquerque’s Public Art Program, they proposed to market the
Marne Elmore, Husbandry, 2014. Two-color lithograph. 19 x 25 inches. Collaborating printer, Justin Andrews. Photo by Logan Bellew. 48
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opportunity to an expanded network of artists and provide some financial compensation for the artists’ efforts. Tamarind will feature the prints created during the various Foodie residencies in an exhibition opening March 6, 2015, in their gallery. During its month-long run, the public will have the opportunity to record their perspectives on a stone as part of a community lithograph to be printed for a closing reception. Given its vast interpretive potential, artists addressed the food theme in ways both personal and best suited to their artistic practice. Drawing inspiration from edible grasses and seeds, Anne Cooper used a grid-like format, painstakingly drawing scores of tiny, individual grains of rice. For Andrea Sanchez, her image of squash and squash blossoms expressed her personal connection to food grown in New Mexico as well as her family's generational ties to the state. Marne Elmore, artist and recent graduate of University of New Mexico’s MFA program, also responded to the Public Art Program’s call for artists and was selected to participate. Originally from southern Idaho, Elmore was drawn to the localness of food production in Albuquerque. “I’m interested in the idea of animal husbandry and the roles that many local farmers take on as being a partner in sustaining not only the livestock they look after but in a sense, also our food industry,” Elmore said. A printmaker herself, she worked at Tamarind during her time at UNM. Foodie presented an opportunity for Elmore to get back into their workshop. She also used the project to connect her artmaking to research into Albuquerque’s agricultural community as a hyper-local network of sustainable food production. “With my print, I wanted to depict something that spoke to the idea of both living off the land and the production of food itself,” says Elmore. “That also meant showing the love of animal husbandry and conveying the sentimentality of farming as a labor of love,” she added.
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For both Roybal and Elmore, their respective approaches to this project meant looking to, and critically examining the origin of food. The root of Elmore’s inspiration stemmed from her interest in pig farming and our often-complex relationship with meat. “I think of a career in the meat industry as a hard but admirable line of work. People eat meat all the time but when I really think about all that goes into it, I’m just in awe.” Elmore said. As a beekeeper, Roybal constantly observes bees at work and watches them fly from flower to flower, collecting pollen and feeding their young. Pointing to the trial proof of her lithograph now awaiting final printing, she notes, “It’s about the interworking of the bee as an abstraction and about how plants feed insects and how plants feed us. It’s a very natural, mechanical process.” She adds, “For me, it was all about using art to convey the magic of the bee, underscoring what an integral part they are to our food.” www.tamarind.unm.edu
Edibles and Identity ONE LANDSCAPE DESIGNER’S “RADICLE” ACT by Susanna Space
The facade of radicle, a landscape design studio in Santa Fe, isn’t what you’d call pretty. Occupying the northernmost slice of a low-slung building facing Lena Street, its most notable aesthetic features are a wooden sign set in industrial wire and a garage door that opens to a rustic interior. But what the studio building lacks in superficial refinement, radicle’s founder Christie Green makes up for with a welcoming atmosphere, creative material surroundings, and an innovative roster of programs and events including talks and demonstrations by local artists and activists. Green started cultivating radicle’s roots in 1999, when she launched Down to Earth, a landscape design firm focused on the proliferation of edible gardens as a powerful antidote to industrial agriculture. After fifteen successful years, Green was restless. She returned to school, earning her a graduate degree in landscape architecture from the University of New Mexico. She thrived in the academic environment, delving more deeply into her craft; her passion for land art and activism emerged. “I understood what, in a way, I always knew: if I wanted to make change I had to stir emotions and evoke feelings—real, visceral responses. I began to see that the best way to do it—the way that spoke to me—was through artistic expression.” And so radicle was born, taking its name from a horticultural term for the first root that emerges from a germinated seed. “I created radicle to design and implement artful, regenerative small- and largescale land projects that inspire stewardship of natural resources and appreciation of nature’s gifts,” she said. “And I also wanted Christie Green in radicle body paint. Photo by Gabriella Marks. 50
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“Beauty is important,” Green said, “but it’s only meaningful to me when it incorporates elements of ecology, culture, art, and activism.” something more. When people join together and discuss issues that challenge all of us while they enjoy local foods and celebrate, I just think, ‘Yes. This is the reason I created radicle.’ It’s the old and the new of my life and vision.” With its raw atmosphere and land art installations intended to intrigue passersby, radicle may seem, well, radical, especially for a well-established and polished practitioner like Green. Her projects include the eightyfive-acre Academy for the Love of Learning in Santa Fe, a five million dollar project at the Sonoma Mountain Zen Center in Santa Rosa, California, and countless residential projects across the Southwest and California. But Green is far from alone in her drive to question designers’ traditional role of mere beautification and confront a difficult global ecological and political climate. This winter, she is one of several artists-in-residence at the Santa Fe Art Institute, participating in their food justice–focused residency. “Beauty is important,” Green said, “but it’s only meaningful to me when it incorporates elements of ecology, culture, art, and activism.” Raised in Alaska, Green spent her childhood living in close relationship to natural cycles: the harvest, hunting, and fishing seasons. “We would fish for days on the Kenai River,” she remembers. During the summers, Green lived on her grandfather’s west Texas farm. “I’d spend hours plowing the wheat field, every day absorbing my grandfather’s pragmatic methods of working the land,” she recalled. “I was keenly aware of temperature, precipitation, soil, water, wildlife, and the hard work required to grow and harvest food.” "In Between" land art installation by Christie Green. Photo by Christie Green. WWW.EDIBLESANTAFE.COM
In her twenties, after earning a undergraduate degree in cultural history from the University of California at Berkeley, Green joined the Bioneers’ Restorative Development Initiative. There she worked with small-scale farmers from across the US, and began to envision a livelihood built around celebrating edibles. “I understood that my role was in the practical connection to place through natural resources, food, and people. That’s what landscape is to me. I’m fascinated by how our identities shape the land and the land, in turn, shapes us.” This same concept that Green brings to radicle resonates with locals. Northern New Mexico communities are well versed in issues of land use and natural resources, from concerns about drought to the increased demand for local and artisanal foods. For example, this past summer, radicle offered a series of Friday evening demonstrations, talks, and installations on the themes of consumption and waste. The public events offered visitors an array of gourmet foods Green had grown, wild harvested, and prepared, such as garlic scapes, wild elk, and
white tail deer. One guest speaker, Adrienne Barrett, demonstrated uses for normally discarded foods, like carrot tops and broccoli stems. “Events at radicle are an opportunity to share the bounty, as people have done for millennia,” Green said. “And it allows us to educate the public about local foods which may be unfamiliar.” A second series of talks is scheduled for the spring. Themed “Edible Canvas,” it will focus on using food and art as a way of making connections between youth and elders in the community. Programming will include opportunities for local youth and elders to share recipes and learn about artistic presentations of food, cooking together, and celebrating through communal feasts. Green envisions inviting local chefs and artists to participate. Since opening radicle, Green’s calendar has been full with client work and collaborative projects, including Love Transfer Station created in collaboration with artist Don Kennell and YouthWorks, with support from PNM, the City of Santa Fe and MIX.
Top left clockwise: "Consumption and Waste" series participants at radicle, radicle culinary herb colander planter, radicle culinary herb bread box planter. Photos by Christie Green.
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The installation—a ship-like repurposed dumpster adorned with steel hearts and painted red, overflows with edible and native plants carefully selected by Green. She also collaborated with local businesses to create a series of “pollinator parklets” to beautify neglected areas of the city and educate local youth. The first parklet, at radicle, launched during the winter solstice Lena Street Holiday Faire celebration in 2014. Green looks forward to her first winter in her new space, and to playing with new and intriguing installations. “People ask if they can take photos of my work,” she mused, laughing a little at the idea. “Of course! Take photos, ask questions, walk in it, touch it, feel it, change it around with your own hands. I want to inspire inquiry and dialogue. Pique interest. And most of all,” she adds, “Inspire people to see and relate to their environment differently.” 1703 Lena St, Santa Fe, 505-474-8000 www.beradicle.com Facebook @radicleseed
Winter is here. Are you ready? With temperatures dropping, your garden is probably the last thing on your mind. But now is the time to make sure your watering system is ready to go next spring. Water expands when it freezes and frozen pipes can ruin your outdoor plumbling. • Turn off the timer. • Close the main valve. • Drain the pipes. • Insulate above-ground pipes.
Save Water Santa Fe
Saving Water Is Always in Season City of Santa Fe Water Conservation Office 505.955.4225 savewatersantafe.com WWW.EDIBLESANTAFE.COM
A Recipe for Justice SANTA FE ART INSTITUTE by Matthew Irwin
Last growing season, New Mexico farmer and artist Alexis Elton sent squash seeds to Colorado, New York, Oregon, and Washington. She prompted the recipients, all experienced farmers, to document how the seeds performed through a series of questions about their land, soil and experience preparing and eating squash. Nestled in these rather technical questions, she also asked what they knew about or how they experienced the idea of food security. Their answers, which tended toward issues of accessibility, comprise one part of an art installation Elton began developing in 2014 as an artist-in-residence at the Santa Fe Art Institute (SFAI) where Executive Director Sanjit Sethi has initiated a new series of socially engaged residencies. SFAI plans to announce the full list of themes in March 2015 at the earliest, and each theme will run eight months to 54
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a year, with an additional year of educational programming through a corresponding series called Project 8. The first theme focuses on food justice. Elton is a member of the inaugural cohort. Just as she left it up to her farmers to define food security, SFAI has given its residents the clearing to describe food justice through artistic practice and community engagement. Sethi has, however, asked them to consider how their work confronts social, cultural, and economic problems in our food system, and how they work in an interdisciplinary way to address these problems trans-regionally. “Critical inquiry is where we start,” Sethi says. “It’s not about art, not about design, not about architecture. It’s about people who are
“We wanted to reach out to [companies like EXO] because we realized that the problem with entomography—raising insects for food for human consumption—is cultural,” says St. Martin, who’s from Mexico City, but recently relocated to New York. “It’s still taboo in places like Europe and the US. In Mexico, it’s a common food. And the numbers are out there regarding protein and the ease of doing this.” Understanding how food production and consumption move across cultures, communities, and generations is part of SFAI’s goal, Sethi says, emphasizing that he and his staff do not claim to be experts. Rather, SFAI has partnered with an impressive list of New Mexico food, education, and arts organizations: Hamaatsa, an “indigenous continuum learning center” and farm; SeedBroadcast, which takes an interdisciplinary approach to examining seed networks, agricultural systems, and food production; Moving Arts, which provides low-cost arts instruction to children; Dancing Earth, a widely talented contemporary indigenous dance company; Santa Fe Innovation Park, a research and development institute for social innovation; and several others. “We don’t want to say that a bunch of outsiders can come in and fix local problems,” Sethi says. “We’re not trying to pretend we have all the answers around food justice. But, we are saying that this is a place where we can learn a lot from individuals and organizations working together.”
Santa Fe Art Institute Food Justice resident Alexis Elton, artist and farmer of Gemini Farms, working with students of La Tierra Montessori School in Española. Photos courtesy of SFAI.
asking critical questions, and then defining themselves as being creative practitioners in some way, shape, or form.” For one year, approximately July 2014 to July 2015, thirty individual artists and art collectives from around the world will use SFAI as a hub to explore food justice through art. The list includes a number of art-world heavyweights like Fallen Fruit, M12 Collective, and Fictilis, as well as local farmers, artists, and writers, such as Albuquerque’s former poet laureate Hakim Bellamy. SFAI requires residents to engage with communities in New Mexico, but the issues they address don’t have to—and in some cases, shouldn’t—be limited to the local context. Take, for instance, Rodrigo St. Martin, a new media artist who will use his summer 2015 residency to design, build, and implement a “cricket coop” to harvest crickets for protein. St. Martin has teamed up with faculty in the biology department at the University of New Mexico to identify edible cricket and grasshopper species in New Mexico. Recently, EXO, a start-up that sells insect-based protein bars, offered to sponsor the project.
Whereas SFAI’s traditional studio residency program tended to attract out-of-staters looking for a getaway, the food justice program elicited a number of applications from regional practitioners concerned about local food. For SFAI’s residency program manager, Nina Elder, these in-state applicants not only confirmed the direction of the new, more regional, community-engaged residency program, but also brought specificity to this year’s theme. “We have such a different identity here in New Mexico that wasn’t picked up on by the international community,” she says. “There’s still a romantic, land-based, individualist notion of Northern New Mexico that is not always accurate, but the world still sees us that way.” Among the local artists-in-residence, Elton is a partner in Gemini Farms, located up in Las Trampas, with a sister farm in Chimayó. She is a recognizable part of the Santa Fe Farmers Market, where Gemini roosts year-round, relying on a sizable squash harvest to get them and their customers through the winter. That squash, a Hubbard variety known as calabasa mexicana, dates back more than three hundred years in the high mountains of Northern New Mexico, Elton says. It has a blue, pink, or marbled exterior with a brilliant orange meat. The taste is sweet, perfect for sweet or savory pies and soups. Elton prefers it simply roasted. A large part of her project is about spreading the seed across the country and the process of cultivating it. She also sees the squash as a site for discourses on the origin of food, the legacy of colonial agricultural practices, and ongoing food security issues in New Mexico, all of which underlie the sensory experience of her installation involving New Mexico–grown corn, beans, and squash (known together as the Three Sisters) in Chimayó. WWW.EDIBLESANTAFE.COM
Above: Santa Fe Art Institute Food Justice resident Rodrigo St. Martin's concept sketches for cricket coop. Right: fried crickets. 56
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“This is a food source,” Elton says of the squash, “but it also carries a story.” Sethi sees food and art as living, growing systems with common languages related to identity and sustainability. Importantly, they can both critique social, political, and economic systems. “The commonality [between art and food] is in people who are searching for a critical, often misunderstood dialogue, that exists in both fields,” Sethi says. “Bringing [food and art] together is what we’re trying to synthesize with the food justice residency.” 1600 St. Michael's Drive, Santa Fe, 505-424-5050 www.sfai.org
CRICKET FLOUR CHIPOTLE CREAM SAUCE WITH CRICKETS by Rodrigo St. Martin Serves 4 1 1/2 chipotle peppers (use canned chipotle peppers in adobo sauce preferably) 4 – 5 medium size champignon mushrooms, washed and sliced 1/2 white onion, chopped
1 Roma tomato 1 tablespoon of butter 1 tablespoon of cricket flour 1/2 cup of milk, whole or reduced fat 3 – 4 tablespoons of sour cream 1 1/2 cups of crickets Acheta domestica [small] or Gryllus bimaculatus [big] (preferably cooked and/or dehydrated) Salt and pepper Fry the onion and the champignons in a pan with some oil (add a bit of salt) for about 5 minutes over medium heat. Do not let the onion get brown. Put the onions with the champignons in the blender, let cool. Melt the butter and add the cricket flour to brown over medium heat. Add the milk and mix. Remove from heat. In a blender combine the chipotle peppers, the milk with the butter-cricket flour, the tomato (chopped), the sour cream, and salt and pepper to taste. Blend everything to liquefy. Taste sauce, if too spicy or too thick, add more milk or water. If too liquid, add more sour cream. In a saucepan over medium heat, combine sauce and crickets, and stir for 5 minutes. Serve hot. Enjoy with: white rice, quinoa, or boiled vegetables (zucchini, broccoli, or eggplant go perfect!)
L LY S O U R
EAT LOCAL GUIDE CE
3216 Silver SE, Albuquerque 505-266-2305, www. ajiacobistro.com
2929 Monte Vista NE, Albuquerque 505-554-1967, www.amoreabq.com
Ajiaco’s varied Colombian cuisine is influenced by a diverse flora and fauna found around Colombia. Cultural traditions of different Colombian ethnic groups play a roll in our choice of ingredients.
New Mexico's only certified authentic, handcrafted, wood-fired Neapolitan pizza. Handmade mozzarella, dessert pizzas, local beers, Italian wines. Casual atmosphere and rooftop patio.
311 Gold SW, Albuquerque 505-814-1599, www.villamyriam.com
8917 4th NW, Albuquerque 505-503-7124, www.farmandtablenm.com
Family owned from farm to cup, we are steeped in three generations of coffee excellence.
A wonderful dining experience! Enjoy delectable seasonal dishes created from scratch, sourced from local farmers and our beautiful on-site farm.
300 Broadway NE, Albuquerque 505-265-4933, www.hartfordsq.com
6855 4th NW, Albuquerque 505-369-1561, wwwlajoliesse.com
Our seasonal menu features local ingredients and changes weekly—enjoy the variety! Breakfast, lunch, and dinners-to-go. Sunday Brunch. Specialty coffee. Wonderful baked goods. Catering.
Come visit us for exceptional coffee and chocolate drinks, phenomenal artisan truffles, succulent toffees, and dragees. We also offer chocolatemaking workshops and wine-pairing events.
4003 Carlisle NE, Albuquerque 505-884-3625, www.nmpiecompany.com
1403 Girard NE, Albuquerque 505-792-1700, www.piattininm.com
Handmade sweet and savory pies with an emphasis on simple, pure flavors, and premium ingredients. Locally roasted coffee and espresso drinks compliment our pies.
Piattini, “small plates” in Italian, serves small and large plate Italian creations in a warm and friendly neighborhood atmosphere, using local, fresh ingredients and featuring a beer and wine bar.
edible Santa Fe | LATE WINTER 2015
5901 Wyoming NE, Albuquerque NEW: 1710 Central SW, Albuquerque 505-821-1909, www.5starburgers.com Fresh beef, free of hormones or antibiotics. Best burger in New Mexico says USA TODAY. A wide selection of sandwiches, salads, a kid’s menu, beer and wine. Happy hour 4 - 6 every day.
4803 Rio Grande NW, Albuquerque 505-344-9297, www.lospoblanos.com Rooted in organic ingredients from our own farm and the Rio Grande Valley region. Join us at La Merienda, Wed-Sat 6-9pm, by reservation only.
10601 Montgomery NE, Albuquerque 505-294-9463, www.savoyabq.com California wine country in the Northeast Heights. Farm-to-table dining from the area's best farms. Wine tastings and happy hour.
ALBUQUERQUE eat local guide
2031 Mountain NW, Albuquerque 505-766-5100, www.seasonsabq.com
109 Gold, Albuquerque 505-244-3344, www.soulandvine.com
Oak fired grill, local ingredients, and the best patio dining Old Town has to offer!
Come experience traditional American-style tapas. We serve beautiful wines and local craft beers. We invite you to fall in love with our ambiance, food, drink, and staff. Cheers!
88 Louisiana SE, Albuquerque 505-268-0206, www.talinmarket.com
600 Central SE, Albuquerque 505-248-9800, www.thegrovecafemarket.com
Talin T-Bar Traditional flavors Made quickly and with love Ramen. Thursdays and Fridays: Dumplings!
The Grove features a bustling café experience serving breakfast, brunch and lunch. Local, seasonal, organic foods, Intelligentsia, coffee and tea, beer, wine, and signature sweets.
3109 Central NE, Albuquerque 505-268-9250, www.yannisandlemoni.com Yanni’s and Lemoni Lounge, located in Nob Hill for twenty years, serve the freshest seafood, steaks, chops, pasta, gourmet pizza, and homemade desserts.
3423 Central NE, Albuquerque 505-255-8226, www.zacatecastacos.com Zacatecas features recipes handed down from generation to generation with flavors that are true to the history and culture of Mexico. Zacatecas is a real taqueria.
New Mexico has its own unique food traditions —from Hatch to Chimayó—and we’d like to help you find some of the area restaurants and chefs that create the distinctively New Mexico dining experience. Restaurants are chosen for this dining guide because of their emphasis on using local, seasonal ingredients in their menus and their commitment to real food.
Support these restaurants, and support local food communities.
2933 Monte Vista NE, Albuquerque 505-433-2795, theshopbreakfastandlunch.com Come in for breakfast or lunch, creative American classics with Latin and creole influences, made from local and organic ingredients.
3009 Central NE, Albuquerque 505-254-9462, www.zincabq.com A three level bistro featuring contemporary cuisine with a French flair. Dinner daily, weekend brunch, fabulous cocktails, and tasty bar bites!
Creative Casual Cuisine
5 Thomas, Los Lunas 505-866-1936, www.greenhousebistro.com Good food always puts you in a good mood! Fresh, seasonal ingredients provide the basis for a meal that promotes healthy living.
221 Highway 165, Placitas 505-771-0695, www.bladesbistro.com
4056 Cerrillos, Santa Fe 505-438-1800, www.bluecornbrewery.com
Chef and owner Kevin Bladegroen brings together fine and fresh ingredients, artistic vision, and European flair in every dish. Sunday brunch, fabulous cocktails, and an award-winning wine list.
A local favorite since 1997! Featuring awardwinning, handcrafted beers brewed on location. Northern New Mexican cuisine and contemporary comfort food highlighting local, sustainable ingredients.
5 604 North Guadalupe, Santa Fe 505-983-8977, www.5starburgers.com
95 West Marcy, Santa Fe 505-984-1091, www.ilpiattosantafe.com
Upscale pub food in a casual setting. Eleven craft beers on tap, select wines, and artisanal ciders.
Fresh beef, free of hormones or antibiotics. Best burger in New Mexico says USA TODAY. A wide selection of sandwiches, salads, a kid’s menu, beer, and wine. Happy hour 4 - 6 every day.
A local favorite since 1996, boasting an authentic Italian farmhouse experience, sourcing its ingredients directly from local farms, dairies, and ranches. Extensive wine list.
428 Agua Fria, Santa Fe 505-982-1272, www.josephsofsantafe.com
125 East Palace, Santa Fe 505-988-5232, www.lacasasena.com
100 East San Francisco, Santa Fe 505-982-5511, www.lafondasantafe.com
Joseph's is the latest incarnation of Chef Joseph Wrede's mission to bring together the finest ingredients, artistic vision, and delightful, surprising flavor to every dish.
A local favorite for over thirty years! Chef Gharrity features New American West cuisine infused with fresh, local, and seasonal ingredients. We also feature an award-winning wine list.
Showcasing contemporary interpretations of old favorites with New World influences and classic New Mexican cuisine, accompanied by an award-winning wine list.
222 North Guadalupe, Santa Fe 505-954-1635, fireandhopsgastropub.com
CAFFÉ BAR TRATTORIA
228 Old Santa Fe Trail, Santa Fe 505-989-1904, www.mangiamopronto.com
505 Cerrillos and 1098 South St. Francis, Santa Fe 505-982-9692, www.ohoriscoffee.com
A little slice of Tuscany in Santa Fe. Enjoy italian comfort food, gelato, espresso, wine, and beer all day long on our beautiful sidewalk patio.
The original specialty, local micro-roasted coffee source since 1984. Along with our fresh beans, we serve espresso, pour-over, teas, pastries, donuts, burritos, chocolates, and more.
20 Buffalo Thunder, Santa Fe 505-819-2056, www.buffalothunderresort.com Red Sage at Buffalo Thunder is perfect for your next romantic night out. Fare rotates seasonally. Enjoy the extensive wine list.
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505 Cerrillos, Santa Fe 505-780-5073, www.talinmarket.com Talin T-Bar Traditional flavors Made quickly and with love Ramen. Monday: Dumplings!
815 Early, Santa Fe 505-989-1288, www.rasajuice.com An organic juice bar and café committed to offering delicious plant-based foods, cold pressed juices, and innovative cleansing and detox programs.
198 State Road 592, Santa Fe 877-262-4666, www.fourseasons.com/santafe Terra combines a sense of place, local farm-fresh ingredients, and New Mexican culinary traditions, with chef Andrew Cooper at the helm.
1814 Second Street, Santa Fe 505-982-3030, www.secondstreetbrewery.com
1607 Paseo De Peralta, Santa Fe 505-989-3278, www.secondstreetbrewery.com
304 Johnson, Santa Fe 505-989-1166, www.terracottawinebistro.com
Second Street offers a welcoming, friendly environment where you can enjoy handcrafted beer and delicious food. Gluten-intolerant friends can enjoy gluten-removed handcrafted Kolsch and IPA.
Located near the Railrunner train depot, Second Street Railyard offers comfortable atmosphere, good food and delicious micro brewed beer. Now brewing gluten-removed Kolsch and IPA.
A smart, casual restaurant located in a charming one-hundred-year-old adobe. Seasonallychanging, globally-inspired cuisine and an extensive, valued-priced wine list.
653 Canyon Road, Santa Fe 505-982-4353, www.compoundrestaurant.com
112 West San Francisco, Santa Fe 505-983-7445, santafeculinaryacademy.com
124 F Bent Street, Taos 575-758-0606
The Compound Restaurant has a heritage rich in history and regional influences. Chef Mark Kiffin continues to preserve a landmark tradition of elegant food and service at his Canyon Road institution.
The Guesthouse is a student workshop and showcase through the SFCA. The menu reflects the curriculum and changes regularly to embrace local, seasonal products. Reservations recommended.
THE BEST COFFEE IN TAOS! Fair trade, organic espresso, chai frappes, smoothies, gelato, and pastries. Featuring the only ROCKBAR ever! Come on in and drop a rock in YOUR drink!
5 125 Paseo Del Pueblo Norte, Taos 575-758-1977, www.taosinn.com
Serving lunch, dinner, and weekend brunch. Patio dining, fresh local foods, award-wining wines, and margaritas. Try our signature chile rellenos.
1405 Paseo del Pueblo Norte, Taos 575-758-LOVE, farmhousecafeandbakery.com
1032 Paseo Del Pueblo Sur, Taos 575-758-8484, www.5starburgers.com
Organic and local baked goods, breakfast, lunch, and dinner on a beautiful patio overlooking our on-site garden. Farm-to-table dining featuring beef, bison, vegetarian, and vegan entrees.
Fresh beef, free of hormones or antibiotics. Best burger in New Mexico says USA TODAY. A wide selection of sandwiches, salads, a kidâ€™s menu, beer, and wine. Happy hour 4 - 6 every day.
TAOS DINER I & II
123 Bent Street, Taos 575-758-1009, www.lambertsoftaos.com Lambertâ€™s strives to create a sanctuary for our guests, where they can enjoy delicious food, wine, and cocktails in a relaxed, yet refined, atmosphere.
908 Paseo del Pueblo Norte, 575-758-2374 216B Paseo del Pueblo Sur, 575-751-1989 www.taosdinner.com
103 East Taos Plaza, Taos 575-758-8866, www.thegorgebarandgrill.com
Home to New Mexican and American homemade, homegrown, and organic breakfast, lunch, and dinners. Gluten-free choices. Beer and wine.
Our menu is straightforward yet eclectic, and chock full of favorites made from scratch using as many fresh and local ingredients as possible.
Celebrating the Local Food Culture of the Capitol Region, Season by Season
Mick Klug on Peaches
Refresh: Cold Summer Soups T H E H E I R LO O M TO M ATO
A MEMBER OF EDIBLE COMMUNITIES
Support Local Community, Food & Drink Member of Edible Communtiies
Good food. Good drink. Good read. • No. 25 • Summer 2014
Javier Plascencia | Organic Beer | Smit Farms | No-dirt Gardening Tulloch Farms | Crime in the Fields | Native Plant Gardening
edible Toronto Member of Edible Communities
AND THE GOLDEN HORSESHOE No. 15 • Spring 2011
Inspired | Informative | Influential
Spring’s Bean Sprung! Overindulge in Asparagus while the Local Pickings are Good Romance the Palate, Latin American Style Taste Prince Edward County Resurrect Tradition
edible Santa Fe | LATE WINTER 2015
Support Local Community, Food & Drink Member of Edible Communities
TO DRINK SPICY CARROT SUNRISE MIMOSA 1 ounce carrot juice, fresh squeezed 1 ounce orange juice, fresh squeezed 3 ounces Champagne or Prosecco Dash of cayenne Combine all ingredients and serve in chilled champagne glass. Garnish with fresh orange slices.
BLOODY MARY WITH PICKLE-INFUSED VODKA Serves 6 PICKLE-INFUSED VODKA 1 1/2 cups vodka 1/2 cup pickle juice 1 cup pickles Combine ingredients in a quart Mason jar. Seal and store in a cool, dark place or the refrigerator for 3 days. BLOODY MARY MIX 6 cups tomato juice 3 tablespoons horseradish 3 tablespoons Worcestershire sauce 1 teaspoon celery salt 1 teaspoon garlic salt 1/2 teaspoon black pepper 1 teaspoon hot sauce In a large pitcher combine all ingredients and refrigerate until ready to serve. BLOODY MARY 1 tablespoon celery salt 1 tablespoon kosher salt 2 ounces pickle-infused vodka or regular vodka if you prefer Bloody Mary mix Pickled vegetables Celery ribs Flavored bacon strips Olives Cheese chunks Lemon and lime wedges Mix the salts on a small plate. Dip the rim of your glass in a shallow amount of water, then dip into the salt mix and twist. Fill an 8-ounce glass to the top with ice. Add 2 ounces of pickle-infused vodka or regular vodka then top with Bloody Mary tomato mixture. Garnish with limes, lemons, celery ribs, olives, bacon strips, pickles, cheese, andFeanything else your heart desires. edible Santa | LATE WINTER 2015 64
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Published on Jan 30, 2015
For the first time ever at edible, this issue is collaboratively edited. We, Sarah Wentzel-Fisher and Nancy Zastudil, owner and director of...