Late Winter 2020: Art + Food

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MEMBER OF EDIBLE COMMUNITIES

NEW MEXICO THE STORY OF LOCAL FOOD, SEASON BY SEASON IN NEW MEXICO

Art + Food

ISSUE 66 · LATE WINTER • FEBRUARY / MARCH 2020

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NEW LOCATION: 505 CERRILLOS, SANTA FE AT THE LUNA CENTER

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photos: doug merriam

FA RM I NSPIRED C UI SI NE

Photo by Eric O'Connell

ROASTERY | TASTING ROOM | COFFEE BAR

Agua es Vida café es amor

1208 RIO GRANDE BLVD NW, ALBUQUERQUE • CUTBOWCOFFEE.COM • OPEN DAILY UNTIL 3PM

LATE WINTER: FEBRUARY / MARCH DEPARTMENTS 2

GRIST FOR THE MILL

74 EDIBLE COCKTAIL

Wedded Bliss by Natalie Bovis

By Nancy Zastudil

75 WEDDING GUIDE

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CONTRIBUTORS

76 SOURCE GUIDE / EAT LOCAL GUIDE

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LOCAL HEROES 2020 Local Hero Announcement, Bow & Arrow Brewing Co., The Burque Bakehouse, and Vida Verde Farm Culinary Fluidity by Robert Salas

In Conversation with Jami Porter Lara

by Briana Olson

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FERMENTI'S PARADOX

60 THE ART OF INDUSTRIAL FOOD

EDIBLE ARTISAN Artful Table

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COOKING FRESH

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EIGHT AROUND THE STATE

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THE PLATE

The Art of the Cheese Board Carne Adovada

NEW MEXICO

®

THE STORY OF LOCAL FOOD, SEASON BY SEASON IN NEW MEXICO

56 WITNESS WHITENESS

AT THE CHEF'S TABLE

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edible

MEMBER OF EDIBLE COMMUNITIES

FEATURES

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Arts and Crafts by Michael Dax

ON THE COVER

A Conversation with Three Roswell Artists

by Willy Carleton

66 CREATIVE POLLINATION

Artists Educate on Bees, Bats, and the Importance of Local Ecosystems to Food Sovereignty

by Robin Babb

Art + Food

ISSUE 66 · LATE WINTER • FEBRUARY / MARCH 2020

Art of the Cheese Board.

Styled by Picnic Catering and photo by Stephanie Cameron.

70 EATING AT EDIBLE CARNIVAL

A Traveling Farm Spectacle Educates on the Origins of Our Food by Claude Smith

Family Meal by Douglas Merriam WWW.EDIBLENM.COM

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GRIST FOR THE MILL PUBLISHERS

Some of the most personally compelling experiences I have had with globally relevant issues I owe to contemporary artists engaging with food—how it is produced, packaged, and distributed, whether in nature or society. Through those experiences, I have found that the making and sharing of food and art share numerous joys . . . and challenges. That is not to say they’re the same, far from it, but one of the things I am drawn to is that both creative forms are rooted in expanding our understanding of what the things we make can be and do.

Today, I approach food and art as vehicles for ideas, and as representatives of ideals.

When I reached out to people in the local art community to ask what was new, ongoing, or resurfacing in the realm of art and food, I was quickly reminded that numerous artists in our region are continuously working with food as idea and material. The stories you will find among these pages feature a mere handful of the artists and makers throughout New Mexico who use food to engage identities, communities, relationships, histories, and futures. Each draws attention to how food—and ultimately, our social and cultural relationships with it—makes meaning, whether through natural or contrived actions.

It is that local community, especially the artists who compel us to dig deeper, to whom this issue owes its flavor.

Bite Size Media, LLC Stephanie and Walt Cameron

EDITORS Willy Carleton and Candolin Cook

GUEST EDITOR Nancy Zastudil

COPY EDITORS Margaret Marti and Briana Olson

DESIGN AND LAYOUT Stephanie Cameron

PHOTO EDITOR Stephanie Cameron

EVENT COORDINATOR Natalie Donnelly

DIGITAL CONTENT MANAGER Joshua Hinte

VIDEO PRODUCER Walt Cameron

SALES AND MARKETING Kate Collins, Melinda Esquibel, Gina Riccobono, and Cyndi Wood

Nancy Zastudil, Guest Editor

CONTACT US Mailing Address: 3301-R Coors Boulevard NW #152 Albuquerque, NM 87120 info@ediblenm.com www.ediblenm.com

SUBSCRIBE ∙ BUY AN AD ∙ LETTERS

New Mexico Beef Filet with potato rosti, vegetable ash, market vegetables, and black garlic balsamic reduction. at Corn Maiden. Photo by Stephanie Cameron.

Story on page 22.

505-375-1329 WWW.EDIBLENM.COM We welcome your letters. Write to us at the address above, or email us at INFO@EDIBLENM.COM Bite Size Media, LLC publishes edible New Mexico six times a year.

We distribute throughout New Mexico and nationally by subscription.

Subscriptions are $32 annually.

Printed at Courier Graphics Corporation Phoenix, Arizona

Willy Carleton and Candolin Cook, Editors

Stephanie and Walt Cameron, Publishers 2

edible New Mexico | LATE WINTER 2020

No part of this publication may be used without the written permission of the publisher. © 2019 All rights reserved.

B AR C ASTAÑED A

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L ITTL E B EAR C O FFEE C O.

CONTRIBUTORS ROBIN BABB Robin Babb is a writer and the owner of Harvest Moon Books. She lives in Albuquerque. @harvestmoonbooks STEPHANIE CAMERON Stephanie Cameron was raised in Albuquerque and earned a degree in fine arts at the University of New Mexico. After photographing, testing, and designing a cookbook in 2011, she and her husband Walt began pursuing Edible Communities and they found edible in their backyard. Today Cameron is the art director, head photographer, marketing guru, publisher, and owner of edible New Mexico.

WILLY CARLETON Willy Carleton is co-editor of edible New Mexico.

He recently completed his PhD in history at the University of New Mexico, with a dissertation examining the cultural history of twentieth-century agriculture in the Southwest.

CANDOLIN COOK Candolin Cook is co-editor of edible New Mexico; an associate editor for the New Mexico Historical Review; and a PhD candidate in history at the University of New Mexico, specializing in culture and myth in the American West. She loves all local farms, but especially Vida Verde Farm in Albuquerque.

MICHAEL J. DAX Michael J. Dax lives in Santa Fe and writes about environment and culture in the American West.

He is the author of Grizzly West: A Failed Attempt to Reintroduce Grizzly Bears in the Mountain West (2015).

DOUGLAS MERRIAM Douglas Merriam is a travel and lifestyle photographer with a passion for anything food-related. He published Farm Fresh Journey, The Santa Fe Farmers Market Cookbook (farmfreshjourney.com), now in its second printing. Merriam gives the Farmers Market a percentage of every book sold.

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CLAUDE SMITH Claude Smith is an Albuquerque-based arts administrator, curator, and writer. He is the exhibitions & Fulcrum Fund program manager at 516 ARTS, where he works directly with artists and other arts professionals to enhance the cultural landscape of Downtown Albuquerque and beyond.

BRIANA OLSON Briana Olson is a freelance writer and editor, and lead editor for the New Farmer’s Almanac, a miscellany of writings and art by farmers, ecologists, and other land-loving types. She enjoys long mountain walks, taking risks in the kitchen, and seeking out new and interesting things to eat, from Bangkok to Albuquerque.

ROBERT SALAS Robert Salas is a self-proclaimed foodie and craft beer lover. Since graduating from the University of New Mexico, he’s worked as a multimedia journalist for many online publications in New Mexico and Colorado. He recently won a first-place reporting prize from the New Mexico Press Women’s Association. Salas has worked in the health food industry for five years and he loves to combine his zeal for writing with his passion for tasty food.

NANCY ZASTUDIL Nancy Zastudil is an editor and curator working toward equitable representation in the arts. She is currently gallery director at Tamarind Institute and serves on the board of the City of Albuquerque Urban Enhancement Trust Fund. Prior to joining Tamarind, she held the position of administrative director at the Frederick Hammersley Foundation and owned/directed Central Features Contemporary Art. She contributes regularly to Arts and Culture Texas Magazine, edits artists' books and exhibition catalogues, and participates in artist award and grant proposal review committees throughout the US. thenecessarian.com

THROUGH APRIL 19

Join us as we explore the three stages of Christ’s life: his incarnation, in the form

of the Nativity; his Crucifixion; and finally the Resurrection in a rare opportunity to view traveling master works on paper. Through 53 drawings and prints from the British Museum, we examine the way that master artists differently envisioned these key moments of Christ’s life.

107 West Palace Ave. on the Plaza in Santa Fe · NMArtMuseum.org · 505-476-5072 Giovanni Battista Pasqualini, The Incredulity of St. Thomas, after Guercino, 1621. Image © The Trustees of the British Museum. This exhibition is presented in collaboration by the British Museum, the Museum of New Mexico Foundation and the New Mexico Museum of Art, a division of the New Mexico Department of Cultural Affairs.

LOCAL HEROES

C

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TO OUR 2020 LOCAL HEROES

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An edible Local Hero is an exceptional individual, business, or organization making a positive impact on New Mexico's food systems. These honorees nurture our communities through food, service, and socially and environmentally sustainable business practices. Edible New Mexico readers nominate and vote for their favorite local chefs, growers, artisans, advocates, and other food professionals in two dozen categories. In each issue of edible, we feature interviews with a handful of the winners, allowing us to get better acquainted with them and the important work they do. Please join us in thanking these Local Heroes for being at the forefront of New Mexico's local food movement.

BEST RESTAURANT Albuquerque Fork & Fig Santa Fe The Compound Greater New Mexico The Skillet, Las Vegas

BEST FARM

BEST CHEF

Albuquerque Vida Verde Farm

Albuquerque Steve Riley, Farm & Table

Santa Fe Revolution Farm

Santa Fe Nathan Mayes, Paloma

Greater New Mexico De Smet Dairy Farms and Creamery, Bosque Farms

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Greater New Mexico Sean Sinclair, Bar Castañeda / Kin, Las Vegas

BEST BEVERAGE ARTISAN

BEST BEVERAGE ARTISAN

Beer Bow & Arrow Brewing Co., Albuquerque

Spirits Tumbleroot Brewery & Distillery, Santa Fe

Wine Black Mesa Winery, Velarde

Non-Alcoholic Little Bear Coffee, Albuquerque

edible New Mexico | LATE WINTER 2020

For partnering with us to create 300 jobs and a $500 million investment in New Mexico

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LOCAL HEROES

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TO OUR 2020 LOCAL HEROES

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BEST GASTROPUB

BEST FOOD ARTISAN

Steel Bender Brewyard, Albuquerque

The Burque Bakehouse, Albuquerque

BEST FOOD TRUCK

BEST COCKTAIL PROGRAM

Oni Noodles, Albuquerque

Campo at Los Poblanos, Albuquerque

FOOD SHOP

BEST FOOD EVENT

PopFizz, Albuquerque

505 Food Fights

BEST CAFE Southern New Mexico Indulgence Bakery & Cafe, Las Cruces Northern New Mexico Charlie's Spic and Span, Las Vegas

BEST NONPROFIT

OLLA AWARD

The Food Depot, Santa Fe

Lois Ellen Frank, Red Mesa Cuisine, Santa Fe

BEST STORY

The Butcher’s Art by Briana Olson

INNOVATOR Three Sisters Kitchen, Albuquerque Photo by Gabriella Marks

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edible New Mexico | LATE WINTER 2020

1301 Cerrillos Rd ■ Santa Fe, NM 87505 ■ (505) 557-6654 ■ www.galleryethnica.com

LOCAL HEROES

Bow & Arrow Brewing Co. AN INTERVIEW WITH SHYLA SHEPPARD, OWNER/CEO BEST BEVERAGE ARTISAN, BEER Photos by Stacey M. Adams

Shyla Sheppard of Bow & Arrow Brewing Co.

Growing up, Shyla Sheppard recalls her grandmother working in her garden, making their traditional foods, and sharing stories of their Mandan/Hidatsa/Arikara people. These experiences ingrained in her an appreciation for the bounty of the land, its connection to a way of life and its history. Sheppard is today the founder and CEO of Bow & Arrow Brewing Co., a four-year-old Albuquerque brewery and beer hall specializing in wild, sour, and Southwest-inspired beers. With her love of funky and sour beers and the Great American Southwest, Sheppard enjoys bringing a diverse perspective to the craft beer industry.

How did you get to where you are now? What’s the backstory, and what was the moment that brought you to your current work?

I worked for almost a decade investing in other people’s businesses and loved working with passionate entrepreneurs. I took that experience and put it to use in starting Bow & Arrow. Back in college I 10

edible New Mexico | LATE WINTER 2020

developed a love for craft beer, eventually did some home brewing, and I'd seek out breweries whenever I traveled. I got to a point in my investing career where I was faced with either committing to raising another investment fund or taking the leap into starting my own business. That was in late 2013. I opened Bow & Arrow in February 2016 and here we are four years later!

How have your previous and outside professional experiences shaped your approach to running the brewery?

In terms of getting things off the ground, my experiences as an investor in small, privately-held businesses gave me some insight into getting a business started and some of the common pitfalls that new businesses often face.

How does your beer, and the spaces you’ve created to enjoy it, help tell the story of our corner of the Southwest?

featuring carmen at the anasazi restaurant VALENTINE’S DAY TASTING MENU Friday, February 14 – Sunday, February 16 5:30pm to 9:00pm 4-Course Prix Fixe Menu $100pp Including Wine Pairing $160pp NATIONAL MARGARITA DAY Saturday, February 22 Enjoy our Trio of Margaritas – Silver Coin Ultimate Gold, Sandia & Pepino $25 SANTA FE RESTAURANT WEEK Sunday, February 23 – Sunday, March 1 3-Course Lunch Menu $35pp 3-Course Dinner Menu $45pp MARDI GRAS Tuesday, February 25 Featuring Sazerac Cocktail Rye Whisky, Absinthe & Bitter $12ea PRE PERFORMANCE MENU In Partnership with Performance Santa Fe Tuesday, February 11 & Saturday, February 22 Tuesday, March 10 & Friday, March 27 3-Course Prix Fixe Dinner Menu $45pp ST. PATRICK’S DAY Tuesday, March 17 Enjoy The Irish Mule Irish Whiskey, Ginger Beer & Lime $12ea

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A NA SAZ I RESTAURANT BAR & LOUNGE

Shyla Sheppard at Bow & Arrow Brewing Co.

We care about our special place in the Southwest. It’s a unique area and, for the most part, it’s arid and dry, so showcasing some of the local flora is fun and challenging. We also want to support local agriculture and the people/businesses committing themselves to this place. Some fun ingredients we’ve used include Navajo tea, sumac berries, and blue corn. You’ll also find visuals of the vast Southwest landscape in the beer hall that reinforce our connection to the land. There’s a careful balance struck between drawing from our Native backgrounds while being culturally appropriate and respectful. I think that gives us a unique style and look in the beer scene, and it also feels authentic.

when women or other people of color reach out and share that they’ve been watching us and have taken inspiration from what we’re doing with Bow & Arrow. So I’ve learned that representation matters and is essential to creating a more diverse industry.

You have recently developed a second taproom, the Rambler Taproom, in Farmington. What does it mean for you to expand to a new location in general, and to the Four Corners area in particular?

What is your favorite beer that you’ve made so far? What’s coming on tap that you’re particularly excited for?

What has been the biggest surprise about running the brewery?

What has been the best moment so far?

People aren’t necessarily looking for flagship beers anymore, so we are constantly dreaming up new beers and ingredients to experiment with. It definitely keeps us on our toes. The best moment so far was serving our first pint of beer and someone actually paid for it!

Is there an issue surrounding the craft beer movement that particularly motivates you?

I feel like every new beer release is my new favorite, but I tend to particularly love our fruited sour beers that are tart and complex. We just released Desert Revival, a golden sour ale with peaches we sourced from Three Dog Farm in Los Ranchos. The thing about these beers is they take patience and special care. Most of the barrels in this blend are aged for eighteen months and we later refermented the blended beer on the juiciest peaches I’ve ever had. So as the months pass while these special beers work their magic, they are worth the wait. We have a golden sour aged on cherries from Los Ranchos in the works to commemorate our four-year anniversary in February. I can’t wait!

We bring a unique perspective to an industry that has traditionally been dominated by people who don’t look like us. It’s motivating

608 McKnight NW, Albuquerque, 505-247-9800, bowandarrowbrewing.com

We are currently working on the new taproom and expect an early 2020 opening. An off-site taproom in Farmington will only deepen our roots in the Southwest. It’s very much in line with how we’ve positioned ourselves as a brand being about the American Southwest.

Farmington is essentially a gateway to the Four Corners. It’s also a market we currently do not serve, and we are excited to expand our reach into the Four Corners area with a brick-and-mortar location.

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MODERN SOUTHWESTERN CUISINE

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LOCAL HEROES

The Burque Bakehouse AN INTERVIEW WITH SARAH CICCOTELLO, OWNER/FOUNDER BEST FOOD ARTISAN Photos by Stacey M. Adams

The Burque Bakehouse pastries.

Sarah Ciccotello grew up both in Colorado and in Italy, where she picked up a deep-seated love of all things culinary. She moved to New Mexico in the late nineties to attend UNM, before studying culinary arts at CNM and then artisan breads and pastries at the San Francisco Baking Institute. Ciccotello went on to bake her way through New Mexico, including working as pastry chef for the James Beard Award– winning Compound Restaurant in Santa Fe and at the renowned Los Poblanos Historic Inn and Organic Farm. Ciccotello’s approach to baking is happy but disciplined, with a strong sense of purpose.

How did you get to where you are now? What’s the Burque Bakehouse backstory?

The Burque Bakehouse started as a stand selling baked goods at Albuquerque’s downtown farmers markets (the Downtown Growers 14

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Market and the Railyards Market) in 2015. I wanted to offer the best baked goods I could, that were baked thoroughly for flavor and crafted with care over time. We have been popping up almost every weekend since, churning out our handmade croissants, breads, and pastries. All that work is finally culminating in a Burque Bakehouse location opening this year near downtown Albuquerque.

What is your favorite baking memory?

The first time I made bread. It was a transformative experience and I have not looked back since. I fell deeply in love with the magic of turning simple ingredients like flour, water, and salt into something much greater than the sum of their parts, such as bread and pastries.

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Susan’s Fine Wine and Spirits One of the largest selections of wine, craft beer, and spirits in town!

Open for Dinner Tuesday Sunday

Chef's Prix Fixe Menu offered Sunday - Thursday 210 Don Gaspar Ave., Santa Fe NM 87501, Inside Hotel St. Francis

505-992-6354 www.marketsteersteakhouse.com

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1005 S. St. Francis, Suite 101 | 505-984-1582 sfwineandspirits.com | Mon–Sat 10am–7pm

Sarah Ciccotello rolling croissants.

Burque Bakehouse pastries are so beautiful, where do you draw inspiration?

What are some of your favorite flavor combinations? Do you have any favorite locally sourced ingredients?

There is some truth to “eating with your eyes first,” and crafting the pastries to look good is a lot of the fun. Both of my parents were artists, so maybe that is where some of the aesthetics come into play. We like to pull from classic baking traditions, yet have a character of our own. We love food and eating at the Bakehouse and we are always brainstorming flavor combinations. We also get inspiration from the farmers markets and getting to see the seasons change in the produce.

Our menu is made up of our favorite things to eat! Truthfully, I lean more toward the savory side of the flavor spectrum. Being a part of the growers market community in Albuquerque has been a great way for us to connect directly with farmers and showcase local fruits and produce in our goods.

What is one of your most challenging items, and can you describe the process?

A lot of preparation and craftsmanship goes into something that appears so simple and can be eaten so fast. Our croissant dough, which is the base for much of our menu’s lineup, uses multiple sourdough starters and takes us three days to make: On day one we mix the dough and let it ferment overnight; the next day we fold the dough with butter, making multiple folds over time to create the thin flaky layers; we then roll out and shape the dough into croissants and danishes, and finally let it ferment again before baking.

Do you face challenges cooking at our elevation?

I have definitely faced baking challenges, and our altitude can be a factor. You may need to consider decreasing leavening (baking soda, baking powder, and yeast) when adjusting for high altitude here in New Mexico. Take notes and make adjustments to recipes. Your trial and error will earn you experience.

Do you have any tips for local home bakers?

Bake. Every. Day. Bake the same thing over and over until you get it just right. Then bake that same recipe some more, making minor tweaks as you go along, so you can make it even better. So you can call it your own.

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What is a local food issue that is important to you?

As a bakery, our primary ingredients are grains and flours, so sustainable growing practices and Old World milling styles are some of the things that I am interested in. Since we started baking in 2015, we have built a network of regional offerings, including cornmeal from Santa Ana Pueblo, and flours from southern Colorado and Utah.

What do you love the most when it comes to your work?

The support we have received from Albuquerque has been humbling.

I started small and was unsure what to expect. What we discovered was a community ready for whatever we had to offer. The hard work feels worth it when we can finally connect the pastry with the person.

Fans of the Burque Bakehouse have been anxiously awaiting the opening of your new brick-and-mortar. What can we expect with the new space?

I don’t know if anyone is waiting as anxiously as we are! Expect a place to find our pastries and breads throughout the week and weekend!

We are renovating the old Dairy Queen building at 640 Broadway SE. Historically, the location had a walk-up style counter, and we will work to preserve this character. In addition to offering the Bakehouse classics, we will add a coffee and espresso program, as well as expand our bread offerings. We can’t wait to see the next steps for the Burque Bakehouse take shape! burquebakehouse.com

*Holidays & special events excluded

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LOCAL HEROES

Vida Verde Farm AN INTERVIEW WITH SETH MATLICK, OWNER/FARMER BEST FARM, ALBUQUERQUE Photos by Stephanie Cameron

Seth Matlick, Bennett Clark, and Alicia Robinson-Welsh in the hoop house at Vida Verde Farm.

Vida Verde Farm is a vegetable farm located in the Duranes and North Valley areas of Albuquerque. For eleven years, Vida Verde has focused on providing produce to their community through La Montañita Co-op, local chefs, CSAs, and the Downtown Growers Market.

The farm operates year-round with the help of unheated hoop houses, planting more than three hundred varieties of organic and heritage veggies, flowers, and herbs throughout the year.

How did you get to where you are now? What’s the Vida Verde backstory?

I moved to Albuquerque from NYC in 2008. At that time I was a zoo keeper at the Bronx Zoo, which I loved, but I wanted to travel somewhere new and experience life outside of the city where I 18

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grew up. A friend recommended farm internships as a means to travel while learning new skills. I had applied to several internships around the country, from a berry farm in California to a rabbit ranch in Tennessee. Luckily for me, the farm I applied to in Albuquerque responded first, and a week later I was on a bus to New Mexico.

I have always been an enthusiastic eater and a passionate cook, so growing food for the first time was amazing—it allowed me to discover another part of our food system. At the end of my internship, the farm I was working for was relocating and one of their fields became available. The owners offered to let us use the land and Vida Verde was born.

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Harvesting Little Gem lettuce.

Over the past eleven seasons, we have accumulated more land by renting neighboring properties, and we are excited this year to expand onto a larger parcel in the Duranes neighborhood, where we will begin planning for the next decade of Vida Verde—including planting an orchard, incorporating grazing animals into our crop rotation for improved, long-term soil health, and building permanent infrastructure to help us continue growing for our community.

What are your biggest challenges farming in Albuquerque?

Vida Verde has just started its twelfth season, what has been the secret to your success?

Describe a perfect day of eating in Albuquerque.

As a self-employed farmer, two things have gotten me this far more than anything else. The first is having a thick skin and (trying) not to take failures personally. Farming more often than not means being at the mercy of lots of external factors. Every season we try our best to plan ahead and create strategies to deal with inevitable and unforeseen problems, such as wind or hail, a population explosion of rabbits or squash bugs, and dozens of other challenges that we can’t anticipate or prevent. The second is really loving farming, even the parts that are unrewarding, exhausting, and a pain in the ass. Without a passion for growing food, I don’t think I could have made it this far.

What question do you get asked the most?

“Do you have any more hot sauce?” At the end of each summer, we use a portion of the hot peppers we grow to make a limited batch of hot sauces. The recipes change every season depending on the types of peppers we grow, as does the chef we collaborate with to create those recipes. This past year Chef David Gaspar de Alba of Oni made four amazing sauces with us, and it was definitely my favorite batch yet (I’m excited for Oni’s brick-and-mortar to open this spring). We also work with a different artist to make the labels, such as the amazing cartoonist Luke McGarry and Hanna Hedstrom aka The Velocicraftor.

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The main challenge we currently face, along with many of the farms in our state and across the country, is a shortage of capable and dependable labor. It’s often a tough job and some seasons it has been difficult to find people who want to spend their days working hard.

The farm can’t run without a dedicated team, and I feel very lucky to have had many great farmers work with me over the years.

One that starts early and ends late. One where I am cooked for and have a chance to cook for others. If it’s during the farmers market season when I get up super early, I’d have coffee and a snack before market begins (nothing is better than the seasonal offerings from Burque Bakehouse), share a second breakfast with my crew at the market booth, then go out for lunch with my wife after work (maybe Pollito con Papas or Coda Bakery), and, hopefully, end up grilling at our house and having people over—making use of what’s coming out of our farm and other goodies from our farmers market.

What do you love the most when it comes to your work?

I’m still in awe of the magic I experience every time I pull a root vegetable out of the ground. I remember the first time I harvested a carrot over a decade ago, and to this day I feel giddy seeing the colorful root emerge from the earth.

Is there anything else you’d like to share with edible readers?

Growing food for my community over the last decade has been my greatest joy and I’m very grateful to the edible community and our customers for nominating and voting for us. I’d also like to thank my entire team, both past and present, who have worked so hard to grow this farm into what it is today.

Follow Vida Verde Farm on Instagram @VidaVerdeFarmABQ

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El Monte Sagrado Resort & Spa 855.846.8267 ElMonteSagrado.com Palacio de Marquesa 855.997.8230 MarquesaTaos.com

SANTA FE

Eldorado Hotel & Spa 800.955.4455 EldoradoHotel.com Inn and Spa at Loretto 866.582.1646 HotelLoretto.com Hotel St. Francis 800.529.5700 HotelStFrancis.com Hotel Chimayo de Santa Fe 855.752.9273 HotelChimayo.com

ALBUQUERQUE

Hotel Chaco 855.997.8208 HotelChaco.com Hotel Albuquerque at Old Town 866.505.7829 HotelAbq.com

LAS CRUCES

Hotel Encanto de Las Cruces 866.383.0443 HotelEncanto.com

AT THE CHEF'S TABLE

Culinary Fluidity THE CORN MAIDEN SHOWCASES INDIGENOUS INGREDIENTS IN FINE DINING CUISINE

By Robert Salas · Photos by Stephanie Cameron

New Mexico Beef Filet with potato rosti, vegetable ash, market vegetables, and black garlic balsamic reduction.

At the Corn Maiden at the Hyatt Regency Tamaya Resort in Santa Ana, two New Mexico–born chefs are combining classic and modern techniques, locally sourced ingredients, and flavors rooted in Indigenous and New Mexican cultures to create an “Indigenousfusion cuisine.”

For both Corn Maiden’s executive chef, Patrick Mohn, and chef de cuisine, Ernesto Duran, the road to culinary excellence started in northern New Mexico—in their mothers’ kitchens. “I was always curious about how she would put different food combinations together,” Mohn says. “How she would make stuff spicy or sweet—[the] basics of 22

edible New Mexico | LATE WINTER 2020

cooking.” Mohn’s early curiosity in the culinary arts would lead him to the Scottsdale Culinary Institute and then to an internship at Tamaya Resort. He has never looked back. “Ascension came quick within the Hyatt. I went from intern to assistant sous chef to sous chef to executive sous chef to executive chef within a relatively short period of time,” he says. Mohn now oversees Tamaya Resort’s culinary operations, including the Santa Ana Café, the Corn Maiden, and the Rio Grande Lounge.

Instead of going to culinary school, Duran cut his teeth cooking in restaurants around the state, until he, too, found his way to the Hyatt.

“Chef Patrick reached out to me and offered to bring me on at the

FRENCH

Posa's Tamale Factory & Restaurant • Posas on Zafarano 1514 Rodeo Road • 3538 Zafarano Drive santafetamales.com • Posaszafarano.com

Tuesday - Saturday Open at 5PM, Happy Hour: 5-6PM $39 Prix Fixe Tuesday-Wednesday, 1/2 Price bottle Wednesdays!

AT THE CHEF'S TABLE

Executive Chef Patrick Mohn and Chef de Cuisine Ernesto Duran.

Rotisserie with green chile potato au gratin.

Roasted prawns with chico risotto.

Corn Maiden,” Duran explains. “He knew I was really intrigued by the restaurant and, to me, it is a dream job.”

Coming together, these two chefs are creating a truly unique fine dining experience. The Corn Maiden is named after the corn maiden, or corn mother, who in Pueblo tradition represents sustenance, survival, and life. Mohn says that he wants diners to have “an amazing experience at a restaurant that is second to none in its skill set and in the quality of product we bring in.” Duran says the restaurant’s menus are “hyper-local and hyper-seasonal . . . [and are] created in tandem with what local farmers are producing.”

produce, Mohn and Duran say they love having direct access to fresh ingredients grown right on the Tamaya Resort grounds. “In the springtime we have above-ground planter boxes for specialty produce. We have three beehives that provided about forty pounds of honey this year. We also have a small orchard and an extensive herb garden,” Mohn says.

In addition to working with local partners like Romero Farms, Beneficial Farms, and Urban Rebel Farms in Santa Fe to source seasonal

Chef Mohn says that it’s also important for Indigenous and New Mexican cultures to be represented at the restaurant, because the

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Lavender orange duck breast with pommes frites.

Seasonal

Sustainable

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BOOK YOUR HOLIDAY PARTY NOW! Reservations available at Artichoke Cafe with

AT THE CHEF'S TABLE surrounding communities play a key role in inspiring the menus. From the Corn Maiden Classic K’uchininak’u (Native beef strip loin, buffalo sausage, and Fresno chicken breast) to the Earth and Water Tyini Kaisrpitra Ku Tsitsi (seared tuna, jumbo prawn, and duck breast, served with green chile potatoes au gratin), the Corn Maiden incorporates elements of Indigenous cuisine and New Mexican flavors in innovative dishes.

“There are a lot of components [in our local cuisine] that we [can] combine with international techniques and flavors,” says Mohn. “And that lends itself to creating something new for the modern palate.”

The culinary team at the Corn Maiden isn’t only incorporating Indigenous ingredients with a fine dining experience, they’re also utilizing Indigenous cooking methods, such as open-fire cooking.

“Having meats cooked over a rotisserie fire is definitely something near and dear to what I envision for Corn Maiden,” Mohn says. “We can take something like Native-raised beef from the Arizona–New Mexico border and cook it over a fire and pair with our risotto to make a dish that is simple yet brings a complexity to the palate.” The chefs don’t take all the credit when it comes to building a dynamic menu at the Corn Maiden. Duran says that the creative process is fluid and that there’s a whole team of white coats who contribute to building each dish. “[Mohn] has a think board in his office and we all jot our ideas down. Often, what starts there on that board, becomes a dish,” says

Duran. Both Mohn and Duran take pride in all the menu items but there’s one dish that they say embodies the creative concept of “Indigenous-fusion cuisine”: the corn risotto.

According to Duran, this dish takes a significant amount of prep time, which includes soaking a variety of untreated heirloom corn for hours. “It’s not like posole or hominy where you can cook it for a few hours and it pops open,” he says. The dish also incorporates other types of corn, including hominy, red corn, blue corn, and goya cracked corn, which all come together to create what Duran describes as a “cream of corn but also the best risotto you’ve ever had.”

“We cook this corn for about twenty-four hours, and it becomes soft and palatable, almost like arborio rice. So, we treat it like risotto.

We finish it with cream and herbs and cheese. It’s so popular and it’s something that I am super proud of,” Duran says.

Mohn is the first native New Mexican to run the culinary operations at Tamaya, and both he and Duran plan to continue to nurture and evolve the restaurant in the years to come. They want to focus their efforts on continuing to highlight local farms and showcasing New Mexico’s abundance. “What’s next is us staying true to the Corn Maiden spirit and moving it forward into a very ambitious realm,” says Duran. “We want it to be fluid and fun.”

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FERMENTI'S PARADOX

Arts and Crafts

KIM ARTHUN LOOKS AHEAD WITH THIRSTY EYE BREWING COMPANY

By Michael Dax · Photos by Stacey M. Adams

Kim Arthun at Thirsty Eye.

When Kim Arthun opened Exhibit 208 in Albuquerque twenty years ago on Central, the twentieth-century rules dictating the art market were still very much in effect. Artists largely depended on their work appearing in gallery exhibits in order to develop a following and generate interest among established and burgeoning collectors whose purchases were often driven by art openings. The gallery scene could be fickle, with its share of politics and favoritism, which is why Arthun and his two partners wanted a space of their own to display their work.

Exhibit 208 gained a following among local New Mexico artists for showcasing a wide variety of artistic genres and themes, and by working with a range of artists from the well-established to MFA students at the University of New Mexico. But following the recession of 2008, 28

edible New Mexico | LATE WINTER 2020

Arthun and his partners were forced to leave their space on Central and were temporarily without a home until fortuitously stumbling upon their current east downtown location at 208 Broadway Boulevard.

The gallery reopened with its stable of roughly forty artists excited for the opportunity to display their work once again, but since the gallery’s founding, the art market had experienced a notable shift. More and more, younger people don’t connect with the traditional brick-andmortar galleries that have long been the industry’s backbone.

According to Arthun, the recession has played some role in this phenomenon, but soaring student debt, declining wages, and other factors have colluded to relegate the young art collector a thing of the past. Today, when younger people do purchase art, it’s often from friends, and is not necessarily tied to a gallery. Outdoor art markets

EsCaPe To WiNtEr WeLlNeSs JaNuArY 17-19, 2020

PeRsIaN NeW YeAr In ThE VaLlEy Of ThE RiO GrAnDe

In honor of Nowruz, the Persian New Year celebration that begins on the spring equinox, our pastry chef Heather Guay, her husband Arman and our award-winning culinary team will prepare a feast highlighting favorites from Arman’s traditional family gatherings.

While traveling through Iran for their traditional wedding, Arman introduced Heather to the rich Persian cuisine and its parallels to the Los Poblanos culinary model, as both recognize the importance of local, organic ingredients. Featuring authentic Persian dishes, this feast will incorporate ingredients from our own farm and several across New Mexico, including Los Poblanos saffron, Shepherd’s Lamb, local honey and Heart of the Desert pistachios.

Join us in the La Quinta ballroom for this exciting dining event and learn about a history and culture that extends back thousands of years.

Visit lospoblanos.com for a detailed menu, information and tickets.

ThUrSdAy, MaRcH 19

|

6Pm — 9Pm

FERMENTI'S PARADOX

Left: Gallery installations at Exhibit 208. Right: Kim Arthun serves up brews at Thirsty Eye.

have become increasingly common and can often appear more accessible and less intimidating to millennials purchasing art for the first time.

At the same time Arthun witnessed this sea change, he also saw the increasing popularity of Albuquerque’s craft brewing scene. From the beginning, he has been a loyal customer to some of the city’s earliest microbreweries, but more recently he started taking note of the business potential they represent. When his neighbor and landlord, David Mahlman, decided to retire as an architect, Arthun saw an opportunity to open a brewery next door and capitalize on the synergy to be gained by such a dual identity.

Mahlman was excited by the idea and signed on as partner, lending his architectural skills to the brewery’s design and layout. Along with their third partner, Shawn Turung, an artist who has worked with the gallery for years, they spent two years building out the brewery, eventually opening early last year.

In just that short time, Thirsty Eye Brewing Company has successfully established a niche for itself—serving as a general arts facility as well as a neighborhood brewery. Backed by a lineup of standard and innovative beers like the Biscochito Liquido, a winter ale featuring spices like anise and cinnamon, Thirsty Eye frequently hosts artist talks, poetry readings, and live music. “We’re open to using this vessel for anything like that,” says Arthun.

And of course, the walls of the brewery feature art he has curated.

“There are breweries that have tried to become galleries,” Arthun notes. “We’re a gallery that became a brewery.”

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In addition to the fact that all of their servers are well-versed and educated about the art on display, for Arthun, the distinction lies in the care that is given to what works are shown and how they appear in the space—ensuring that each work contributes to the desired aesthetic. Whereas the gallery continues to be the twentieth-century space that caters to a more traditional art crowd, the brewery is the twenty-first century space that appeals to a younger crowd through a more multi-disciplinary approach.

But that doesn’t mean there hasn’t been some crossover. Exhibit 208 continues to host monthly openings, which Arthun acknowledges are less vehicles for sales and more socially-focused events. But naturally, each opening features beer from Thirsty Eye as well as a number of New Mexico–made wines.

As Thirsty Eye continues to build its following and learns how best to cater to its customer base, the focus remains on brewing good beer as well as new and distinctive recipes. Arthun hopes that, over time, other artists will follow their lead.

“I’d like to see more creatives be entrepreneurs, because creativity is the one thing most entrepreneurs lack in a lot of ways,” observes Arthun. “I think that we have the passion and ability to see through the mind’s eye and build toward that and build something that’s unique.” Adding, “I would just like to show other artists there’s another way forward.”

206 Broadway SE, Albuquerque, 505-639-5831, thirstyeyebrew.com

See our new website at farmandtablenm.com View special dinners and events or make a reservation.

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EDIBLE ARTISAN

Artful Table

CLAIRE KAHN'S EDIBLE NEW MEXICO–INSPIRED SERIES

Claire Kahn, Artful Table (Flint), 2019, bead crochet. Photo by Stephanie Cameron.

After having a conversation with Ali DeMoro of Patina Gallery in Santa Fe about the aesthetic beauty of food, and becoming inspired by the food photography featured in edible New Mexico, artist Claire Kahn decided to create a series of crocheted necklaces based on food for a series she calls Artful Table. Since 2004, Kahn has crocheted beadwork with precious and semi-precious stones, gold, coral, sea pebbles, and tiny Japanese cylindrical glass beads. Working inch by inch she creates a seamless wonder of color that she transforms into unique, unforgettable, wearable pieces of art.

ARTIST STATEMENT Claire Kahn’s Artful Table is a series of necklaces based on beautiful food. Living in New Mexico inspired two of the pieces, Ristra, with 32

edible New Mexico | LATE WINTER 2020

reds, blacks, and 18 karat gold accents, and Chile, a contrasting geometric pattern in green-yellow, orange, and red. Other pieces include Candy, using gemstones that remind Kahn of candy, including the multi-colored pinks and greens found in tourmaline, green peridot, and orange Mexican opal. Wild Asparagus is based on a secret place she knows where wild asparagus grows in early spring, and this necklace transitions from pale purple to green. Flint is inspired by the richness found in the mélange of colored, calico corn with white, light yellow, and red husks. Granita is inspired by Kahn’s mother’s favorite Italian dessert, Caffè Granita con Panna Montata, which swirls together frozen crystals of very strong espresso and whipped cream (see recipe on page 36).

131 W Palace, Santa Fe, patina-gallery.com

loving

local Treat those you love to a meal they’ll love.

Gift Cards Available Online

Old Town Albuquerque

Albuquerque Heights

Historic Nob Hill

seasonsabq.com 505.766.5100

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EDIBLE ARTISAN

Above: Claire Kahn, Wild Asparagus, Flint, Chile, Granita, Ristra, and Candy, 2019, bead crochet.

Left, clockwise: Claire Kahn, Candy (detail), 2019; Claire Kahn at her home in Jacona; beads and thread in box.

Photos by Stephanie Cameron.

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COME CELEBRATE WITH US-

20 20 20

photo credit | Daniel Nadelbach

CELEBRATING 20 YEARS IN 2020! #COMPOUND202020

“20 years ago I had a passion fueld drive to take a notable restaurant and make it legendary.”

Mark Kiffin James Beard Award Winning Chef

lunch • dinner • bar

653 CANYON ROAD | 505-982-4353 COMPOUNDRESTAURANT.COM reservations recommended

EDIBLE ARTISAN

CAFFÈ GRANITA CON PANNA MONTATA

By Claire Kahn Serves 4 Caffè Granita con Panna Montata (frozen coffee with whipped cream) was my mother’s favorite dessert. In the sixties and seventies, she would get it at a sweets shop in Florence, Italy, called Perchè No?, which translated means Why Not? In their version, the sugar was only added to the cream; the frozen espresso had no sugar in it.

4 cups espresso coffee, brewed, double strength 4 tablespoons sugar 1 cup heavy whipping cream

Claire Kahn, Granita, 2019, bead crochet.

Photo by Stephanie Cameron.

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Add 2 tablespoons sugar to the brewed coffee (to taste). Pour the brewed coffee into a cake pan. Let cool and then put it into the freezer.

Scrape the mixture with a fork every half hour, breaking up the icy chunks of coffee into crystals. Do this for 3–4 hours until coffee is completely frozen and crystallized. This step can be done the day before and kept in the freezer until served.

With a mixer, whip the cream and the remaining sugar (to taste) to stiff peaks. Serve in glasses, layering alternate scoops of frozen coffee crystals with dollops of cream.

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Open for Dinner 7 Nights: Starting at 4:30pm Daily Happy Hour: 4:30pm–6pm Half Price Apps & Glasses of Wine!

Lunch: Wednesday– Friday 11:30–4:30 Featureing a $25, Three Course Prix Fixe Menu Option!

505-984-1091 · ilPiattoSantaFe.com 95 West Marcy Street, Downtown Santa Fe

COOKING FRESH

The Art of the Cheese Board

Pro Tips from Picnic Catering ∙ Photos by Stephanie Cameron

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For our Art + Food issue, we went to an expert for tips on the art of the cheese board, Lauren Stutzman of Picnic Catering. One look at Picnic Catering’s Instagram account and you will be in awe of the beauty of a pile of cheeses and veggies, each creation a unique work of art.

Picnic Catering started in early 2019 and offers customized cheese plates, grazing tables, and epic cheese and charcuterie spreads for events of all kinds. Stutzman got her start creating cheese boards at Cheesemongers in Santa Fe. There she was inspired and educated by her fellow mongers, Lilith Spencer and Oisín Young. When Spencer

and Young left Cheesemongers, Stutzman took on the catering and began making her own creations. With a longing to be in business for herself, she started Picnic Catering.

Stutzman focuses on sourcing artisan cheeses produced sustainably by conscious, committed farms and creameries all over the US and beyond. She also sources her vegetables, fruits, bread, and chocolate locally whenever possible. Supporting small businesses is a priority for her.

802-595-2251, hellopicnicnm@gmail.com, and find them on Instagram @picnic_nm.

Pro Tips for Creating an Interesting Board

Make a deconstructed apple: cut off the top of an apple, set aside. Core the apple; slice; and rub lemon on each slice to keep it from turning brown. Then reconstruct by offsetting slices.

Use rind of hard cheeses to make a cheese corral.

Choose a cheese where the cut is obvious so the work is already half done for you. Think wedges and triangles. Don’t necessarily throw away the rind—it can be a place of interest on your plate. With the exception of wax, all rinds are edible.

To create variety on your board, don’t break everything down. When cutting rounds, cut a sample piece for your guests to follow.

WWW.EDIBLENM.COM

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COOKING FRESH

Sourcing In addition to Cheesemongers in Santa Fe, you can find good quality cheeses at many supermarkets.

Murray’s cheeses are available at Smith’s; Market Street in Santa Fe and Whole Foods have great selections; and La Montañita Co-op carries New Mexico–made and vegan cheese options.

Cheese Board Condiments

Cheese pairings are suggested for each condiment recipe.

ROASTED GARLIC, ONION, AND BALSAMIC JAM Pairs with Ca de Ambros Taleggio 2 large sweet onions 2 tablespoons plus 2 teaspoons extra virgin olive oil 2 tablespoons butter 3 heads of garlic, roasted 1/4 cup honey 3 tablespoons balsamic vinegar (use high-quality balsamic created from grapes only, no added sugars) 1/8 teaspoon black pepper, freshly ground

Makes 12 ounces To roast garlic, preheat oven to 400°F. Peel most of the paper off the garlic, but leave the head itself intact, with all the cloves connected. Trim the top off the head of garlic, about 1/4 inch, to expose the tops of the garlic cloves. Drizzle 2 teaspoons olive oil over the exposed surface of the garlic, letting the oil sink down into the cloves. Wrap in foil and bake in the oven for 40 minutes.

Roughly chop the onions. Add 2 tablespoons olive oil and butter to a medium saucepan set over medium-high heat; after butter has melted, add onions and cook for 5 minutes, until soft. Squeeze garlic out of its casing into the onions, and continue to cook for another 10–15 minutes on medium-low, or until excess moisture cooks off. Add honey, balsamic vinegar, and pepper, and cook another 15–20 minutes, stirring often. The mixture should be thick and deep golden brown.

Use immediately or refrigerate for up to 1 week. Serve at room temperature.

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EXPERIENCE Oaxaca

The Festival of Guelaquetza!

July 23 - August 1, 2020

Edible Travels–Oaxaca! | February 6–18 2021

outdoor markets, artisans, archaeological sites,

around the tables of Oaxaca to share meals and

Discover Oaxaca's art, architecture, cuisine,

and the Festival of Guelaquetza— indigenous dance, culture and culinary celebration.

Experience Oaxaca and all its flavor while traveling with Edible New Mexico. We will come together stories, discover new culinary traditions, and

awaken our taste buds.

OPENHEARTTOURS.COM WWW.EDIBLENM.COM

41

COOKING FRESH ZESTY BEET DIP Pairs with El Trigal Dop Manchego 2 pounds large red beets 1 garlic clove 1 cup pecan halves 1/2 cup extra virgin olive oil 2 teaspoons lemon zest 1/4 cup lemon juice, fresh squeezed 1/2 teaspoon sea salt 1/3 cup finely crumbled feta cheese

RHUBARB CHUTNEY

Pairs with Dirt Lover Bloomy Rind Sheep’s Milk Cheese 1/2 pound rhubarb, fresh or frozen and thawed 1/2 cup onion, chopped 1/3 cup golden brown sugar 1/4 cup apple cider vinegar 1/2 teaspoon cinnamon, ground 1/4 teaspoon ginger, ground 1/4 teaspoon cardamom, ground 1/8 teaspoon cloves, ground 1/2 teaspoon salt

Makes 1 quart Preheat oven to 400°F. Wrap beets in heavy-duty aluminum foil, sealing completely. Place on a baking sheet and roast for 1 hour or until soft. Cool to room temperature. Peel the skin off and cut beets into fourths.

Pulse garlic in a food processor until finely minced. Add pecans and pulse until finely chopped. Add beets and pulse until broken up. Add olive oil, lemon zest and juice, and salt; process until smooth.

Transfer to a serving bowl and top with finely crumbled feta. Serve immediately or store in the refrigerator for up to 1 week.

Makes 1/2 pint Chop rhubarb into 1/2-inch pieces. Combine all ingredients in a large, heavy saucepan. Cook over medium heat until thickened, stirring often— about 30 minutes for fresh rhubarb and 20 minutes for frozen rhubarb.

Serve at room temperature. Use immediately or refrigerate for up to 1 week.

Planning Your Board • Choose your ingredients: three cheeses, two cured meats, olives, nuts, pickles, fruit, vegetables, and chocolate.

• Use similar color values to create a theme. Having colors in mind before shopping will help save money and eliminate waste.

• Plan on three ounces of cheese per adult; a little will go a long way. The cheese and meat should make up about thirty percent of your board.

• Use a variety of milks when selecting cheeses—one goat, one sheep, one cow. Sheep’s milk cheese is good for big audiences because it is mild and buttery.

• For beginners, start by arranging ramekins filled with condiments, then build around them.

• Predetermine where the top and bottom of the board will be.

• Anchor the board with cheese and large fruit, such as a bunch of grapes or a deconstructed apple.

• Fill in spaces with nuts, veggies, olives, and chocolate.

• Finish with edible flowers and herbs.

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Come in for breakfast or lunch.

Creative American classics made from local and organic ingredients.

NOW SERVING BEER & WINE!

BREAKFAST ‧ LUNCH ‧ CATERING ‧ 505-433-2795 2933 Monte Vista NE, Albuquerque ‧ Tuesday–Sunday, 8am–3pm @theshopbrealfastandlunch on Instagram and Facebook

COOKING FRESH THAI PEANUT SAUCE

Makes 12 ounces

Pairs with with Murray’s Mimolette

In a medium skillet, fry peanuts in vegetable oil over medium-high heat until browned. Transfer to a paper-towel-lined plate. In the same pan, brown red chiles, fresh ginger, and garlic. When golden brown and softened, remove and transfer to plate of peanuts. Let all ingredients cool, then add to a food processor with tamarind, sesame oil, brown sugar, and soy sauce; pulse until a paste is formed. Add coconut milk and process until blended.

1 cup peanuts, roasted and unsalted 1 1/2 tablespoons vegetable oil 4 red New Mexico chile pods, stems removed 1-inch fresh ginger, finely chopped 5 garlic cloves, smashed 1/2 teaspoon liquid tamarind paste concentrate 1 1/2 tablespoons sesame oil 3 tablespoons honey 2 tablespoons soy sauce 1/2 cup canned coconut milk, full-fat

BACON JAM Pairs with Super Bandage Cheddar 1 pound thick-cut bacon, cut into 1/2-inch pieces 2 large sweet onions, finely chopped 2 shallots, minced 2 garlic cloves, minced 1/2 cup brown sugar 1/2 teaspoon red chile caribe 1/3 cup strong brewed coffee 1/2 cup water 1 tablespoon balsamic vinegar (use highquality balsamic created from grapes only, no added sugars)

FERMENTED MUSTARD Pairs with Murray’s Estate Gouda 2 teaspoons coarse sea salt 1 1/4 cups non-chlorinated water 3 1/2 ounces organic yellow mustard seeds 3 1/2 ounces organic black mustard seeds 1/2 cup apple cider vinegar

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Use immediately or refrigerate for up to 1 month. Bring back to room temperature before serving.

Makes 1 pint In a medium saucepan over medium heat, cook bacon until crispy. Transfer bacon to a paper-towel-lined plate, reserving about a tablespoon of bacon fat in the pan.

Add onions, shallots, and garlic to the pan; cook for 8–10 minutes, then reduce heat to low. Add sugar and red chile caribe and stir. Continue to cook until onions are jammy, about 15 minutes. Add coffee, water, and reserved bacon, and increase heat to medium-low. Continue to cook, stirring about every 5 minutes, until the onions are thick and jam-like, about 30 minutes.

Remove from heat and stir in balsamic vinegar. Salt to taste.

Use immediately or refrigerate for up to 1 week. Bring back to room temperature before serving.

Makes 2 1/2 pints To create a brine, dissolve salt in the cold water. Place mustard seeds in a quart-sized jar, and add brine to cover mustard seeds by 1/4 inch. Close jar tightly, and allow to ferment for 5 days at room temperature. (After 48 hours, the mixture will become fizzy; this is normal.)

Have ready 2 thoroughly clean half-pint jars with lids. Drain three-quarters of the mustard seeds and transfer to a blender or food processor; pulse until coarsely crushed. Add vinegar and pulse again until you reach the consistency you like for mustard. Stir in reserved mustard seeds. Divide the mixture between the jars. Tap the jars on a wooden counter or board to remove any air pockets. Serve immediately or close tightly and keep refrigerated for up to 6 months.

EIGHT AROUND THE STATE

Carne Adovada

By Stephanie and Walt Cameron

Publishers Stephanie and Walt Cameron are sharing some of their favorite finds around New Mexico in edible’s Eight Around the State. For this issue, they searched for one of our state’s quintessential dishes: carne adovada.

Carne adovada, pork marinated in red chile, prevails in New Mexican cuisine. This meaty dish can come blazing with heat or be mild with a subtle kick. Some cube the raw pork before marinating, while others cook the whole pork shoulder before shredding or cubing the meat. Some serve the meat in burritos or stuffed sopaipillas and others serve it as the main course in all its glory. No matter the variation, technique, or delivery, one can taste New Mexico’s culinary spirit in its carne adovada.

Española LA COCINA What we are eating: Carne adovada plate with pork, marinated and slow-cooked with red chile, onion, and spices. Served with rice and cheddar-topped refried beans.

Worth noting: La Cocina got its start in 1970 when Eddie and Jessie Martinez opened what was then La Cocina Café. It is still a favorite among locals for northern New Mexican cuisine.

Find: 415 W Santa Clara Bridge Road, Española

Chimayó RANCHO DE CHIMAYÓ What we are eating: Combinación Picante—a combination plate with carne adovada, pork tamale, rolled cheese enchilada, rice, and posole, served with a choice of red or green chile.

Worth noting: Rancho de Chimayó’s carne adovada is one of the dishes that helped it land on the America's Classics list from the James Beard Foundation in 2016.

Find: 300 Juan Medina Road, Chimayó

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t e l l ki S e 623 12th St. LAS VEGAS, NM. h T

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NEW CHEF | NEW MENU | NEW MEXICO

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EIGHT AROUND THE STATE

Taos ORLANDO’S NEW MEXICAN CAFE What we are eating: Grilled Carne Adovada—grilled marinated pork medallions, topped with chile caribe and served with posole, beans, and a flour tortilla.

Worth noting: Orlando’s is a locals’ and visitors’ favorite, and there will often be a line, but it is well worth the wait. In the winter, wait in the warming hut; in the summer, the patio is the perfect setting to dine al fresco.

Find: 1114 Don Juan Valdez Lane, Taos

Albuquerque MARY & TITO'S CAFE What we are eating: Carne Adovada Mexican Turnover— stuffed sopaipilla served with carne adovada and cheese.

Worth noting: Operating since 1963, Mary & Tito’s won an America’s Classics Award from the James Beard Foundation in 2010. They have also been Gil's Thrilling (And Filling) Blog’s top-rated restaurant for decades.

Find: 2711 Fourth Street NW, Albuquerque

Santa Fe POSA'S EL MERENDERO TAMALE FACTORY & RESTAURANT What we are eating: Carne Adovada—carne adovada, rice, and beans served with a sopaipilla.

Worth noting: The Posa family has supplied their original tamales (a family recipe) and other specialties to restaurants and markets throughout Santa Fe and northern New Mexico for over thirty years.

Find: 1514 Rodeo Road and 3538 Zafarano Drive, Santa Fe

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Albuquerque THE SHOP BREAKFAST & LUNCH What we are eating: Carne Adovada Eggs Benny— poached eggs and carne adovada served on a buttermilk biscuit with avocado, pickled onions, and green-chile hollandaise.

Worth noting: The chilaquiles with carne adovada are just as sublime as the eggs benedict. Chef and owner Israel Rivera represented the Southwest on the Food Network’s Beat Bobby Flay in January.

Find: 2933 Monte Vista NE, Albuquerque

Mesilla ¡ÁNDELE! DOG HOUSE What we are eating: Carne Adovada—pork roast marinated in red chile. Served with corn tortillas, beans, and rice.

Worth noting: Try not to stuff yourself at the selfserve salsa bar before your food comes—the hot tortilla chips keep you going back for more. We love the patios here; with lots of heating elements, even the coldest day is warm.

Find: 1983 Calle Del Norte, Mesilla

San Antonio SAN ANTONIO CRANE What we are eating: Huevos Rancheros with Carne Adovada served with potatoes, beans, and over-easy eggs.

Worth noting: Although San Antonio is famous for the green chile cheeseburgers at The Owl Cafe and Buckhorn Tavern, this café is definitely worth the visit for breakfast or lunch.

They have a lovely screened-in patio to enjoy your meal al fresco before or after heading off to see the cranes at the Bosque del Apache.

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THE PLATE

Family Meal

at Ardovino's Desert Crossing A PHOTO ESSAY BY DOUGLAS MERRIAM

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Ardovino's Desert Crossing proprietor Robert Ardovino.

Last October, eight chefs native to El Paso returned to their home region for a night of camaraderie and live-fire cooking under the scenic landscapes at Ardovino’s Desert Crossing in Sunland Park. Proceeds from the event went to the Annunciation House, supporting their efforts to provide shelter, food, and comfort to migrant families. Chefs included Alan Delgado and Gabe Erales of Comedor in Austin, André Natera of Fairmont Austin, Danny Calleros of Ardovino’s Desert Crossing in Sunland Park, Fermín Núñez of Suerte in Austin, Omar Flores of Whistle Britches and Muchacho in Dallas, Rico Torres of Mixtli in San Antonio, and Jake Rojos of Tallulah’s Taqueria in Providence, Rhode Island.

1 Ardovinos Drive, Sunland Park ardovinos.com

Witness Whiteness IN CONVERSATION WITH JAMI PORTER LARA

By Briana Olson

Jami Porter Lara, She's a Good Person, 2018, digitally printed muslin, wire hangers, threaded steel pipe, 48 x 24 x 72 inches. Photo courtesy of NHCC.

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rtist Jami Porter Lara has a history in the kitchen; @TravelNewMexico she started baking to entertain herself as a girl in the East Mountains of Albuquerque and once spent nine months working as a pastry chef for Jennifer James. But when she decided to whip up a batch of cookies for her fellow art students at the University of New Mexico, she wasn’t performing the motherly role of the older female student who showers her peers with sweets. For a week, Porter Lara had been recording her implicit biases, the myriad micro-judgements of others that ran through her mind as she moved through UNM’s campus. They were not her beliefs, she says, but they were part of her thought process—a cultural inheritance passed down not just at the macro level but also through her family. Recording the biases was first a way of seeing them. Then she cut them up and baked them into her cookies, presenting the treats to her peers with a recipe card marked with the wear and tear of loving re-use. Instead of all-purpose white flour, the ingredient list included two cups all-purpose white fear—a reference both to the implicit biases she’d mixed into the batter and to the racial connotations pervasive in early twentieth-century marketing campaigns for industrially processed white foods.

“You are what you eat,” the maxim goes, and not everyone would eat the cookies. As Porter Lara and I talk about her conceptual explorations of white fear as an ingredient (and product) of the home, I recall the film Like Water for Chocolate, and draw a parallel to the notion that a cook’s feelings can infect whoever dines on their food.

Porter Lara nods, but it’s clear that her work is less concerned with the magical or accidental transmission of emotions than a much more deliberate transmission of ideology. “You are what you make” might be a more fitting maxim—one that suggests a worldview is digested not with the aid of acids and enzymes, nor with the heart, but through the steadfast repetition known, in cooking as in art, as practice.

A fine layer of dust covers much of Porter Lara’s studio—traces of the practice behind another body of work, a ceramic installation currently on view at Gerald Peters Contemporary in Santa Fe— and she’s already warned me not to touch anything. On the wall facing us, a white neon sign flashes on and off, alternately illuminated as “whiteness” and “witness.” Paired, the words encapsulate an aim central to the artist’s accumulating body of work on this subject: “Witness whiteness.”

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The sign was conceived in response to the 2016 presidential election, which Porter Lara (like many people of color) immediately believed was about “the preservation of whiteness.” It was also conceived as a self-provocation. Her father is a second-generation MexicanAmerican, and her maternal grandmother was a first-generation German-American who grew up in Detroit. Baking and cooking—“that’s a big part of my identity,” Porter Lara says, “and I owe that to my grandmother. But she also wanted to teach me to be afraid of black people.” In other words, Porter Lara has what she calls “a complicated relationship with whiteness.”

“I pass,” Porter Lara says, with full awareness of the privilege that being taken for white entails. But she also takes it personally when the president characterizes Mexicans as rapists and murderers. And she questions white people who claim innocence and surprise. “If we’re going to deal with whiteness,” she asserts, “we have to confront our history.”

A month or so before visiting Porter Lara, I came across an essay on the Joy of Cooking in Electric Literature. Perhaps not surprisingly, it was a nostalgic piece of writing, one celebrating the cookbook’s author, Irma S. Rombauer, for her ingenuity and quirks, lauding her family for carrying on the tradition after she died, and speaking, above all, to the ubiquity and inter-generational popularity of the iconic cookbook. I have that in mind, along with a copy of The Settlement Cookbook inherited from my own grandmother, when Porter Lara and I sit down at her kitchen table to continue our conversation. On the cover page of The Settlement Cookbook is a photograph of a stout, grey-haired German woman who looks as fluent in expressing dissatisfaction as my own grandmother was, and there’s no doubt that I’ve imbued the pages with fond, if complicated, memories of the woman who instructed me in, among other things, the art of finely chopping nuts. But I never saw my grandmother use that book—she relied, often, on recipe cards—and the cookbook Porter Lara remembers learning from is the Betty Crocker Cookbook.

“Do you remember the pictures?” Porter Lara asks, laughing. I do, although I have to navigate my own set of associations with Betty Crocker first. The pictures illustrate an idealized white femininity that is also common to advertisements for the fabric used to make the flour sack dresses from which Porter Lara drew inspiration for her own set of flour sack dresses.

To grapple with white privilege does not require forgetting that (some) white people have endured hardship. It doesn’t require flatly villainizing one’s grandparents. But it does—like engaging with Jami Porter Lara’s work—require confronting some unsavory truths.

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Jami Porter Lara, She's a Good Person (detail), 2018. Photos by Stephanie Cameron.

In 2018, Porter Lara redesigned a vintage flour label, printed it onto muslin, and sewed (she had to learn how first) four fine dresses that hang, at the moment, from a rack on her back porch. As in the cookie recipe, “all-purpose white flour” has been replaced with “all-purpose white fear.” On the baby dress, “white fear” hides beneath the ruffle at the collar. On the shift dress, styled to be reminiscent of the 1950s and fit for a teenager or young mother, the words are brazen, fully visible across the front along with the deceptively innocent “Milled from American Wheat.” There’s also a princess-style girl’s dress—not a common design in the early twentieth century, when flour sack dresses were popular. Porter Lara explains the intention behind this anachronism: there’s a risk of nostalgia enabling people not to see what’s there, or not to see how it’s speaking to them. And, in fact, on one occasion when the dresses were exhibited, a visitor approached the artist with tears in her eyes, saying the dresses reminded her of her grandmother.

“Mothers’ transmission of values looks like care,” Porter Lara observes. “It’s like clothing.” She pulls up an image of a woman in a gingham dress that (if not for the text in the ad) I never would have guessed was made from a recycled flour sack. In another, a mother and daughter wear white gloves with their matching prints. These women wear effortless smiles, Barbie-doll figures, impeccable makeup and hairstyles. In a handful of photos repeated on various throwback-themed blogs and websites, five or more girls are rowed up, all wearing dresses sewn from repurposed flour and feed sacks. While this tradition speaks to the long-lost thriftiness of the era, it’s a naïve view that sees only thrift; flour and feed companies advertised their designs, and the quality of their cotton, in order to boost sales (and the cotton industry).

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“How did white supremacy get perpetuated?” Porter Lara asks, answering with a list of roles played by women: control of movement, policing behavior, deciding who you could be friends with. A lot of it, she says again, is under the guise of caring. In early twentiethcentury marketing for industrial foods like white flour, companies “capitalized on anxieties that stereotyped immigrants as unhygienic” by proclaiming the products “pure,” “all-natural,” and “superior,” she says. In the following decades, Porter Lara says, referring to Elizabeth Gillespie McRae’s book Mothers of Massive Resistance, women “were the foot soldiers in the fight to preserve segregation.” The stories I hear white people broadcast are the ones about white women—family members, friends, objects of admiration—who traveled to Birmingham to bravely stand up for integration, or who defied social norms and maternal warnings (see Hairspray) to befriend a black girl or kiss a black boy, but the fact is that many white women worked diligently to preserve segregation. As one example, Porter Lara cites community textbook revisions undertaken during the battle for integration.

Thanks to concerned mothers, history was revised to erase evidence of black resistance to slavery, to present a benevolent version of the antebellum era.

In 2018, while in residence at Tamarind Institute, Porter Lara created a set of lithographs to be hung in the manner of family photographs, all together in some cherished, homey space, “supposedly innocent of ideology.” Phrases like “they mean well” and “she’s a good person” are printed in white on a white background, with letters often split mid-syllable to compound the difficulty in simply reading the text. There’s an inclination, Porter Lara says, to see people as “of their time,” but she’s aware that even in her grandmother’s time there

Jami Porter Lara, She's a Good Person (detail), 2018. Photos by Stephanie Cameron.

were justice-minded white people. Her work on whiteness is, in part, a reckoning with the fact that her grandmother wasn’t one of them.

Is that privilege, the white defense wants to ask? What is whiteness, anyway?

Porter Lara has plans to make new artworks with flour sacks, filled and stacked like flood bags. She plans to depict the domestic sphere as a site of both offense and defense, to challenge the claims to moral authority that women have invoked not only to work their way into the public sphere but to perpetuate white supremacy and dominance.

In March, she travels to Oaxaca for a needlework residency. “I want to make this thing I call the states rights ‘couch,’” she explains, through which she will explore how arguments in the 1960s were “couched” in parental rights, in states’ rights, so that women could engage in a very deliberate, very political transmission of white dominance without ever speaking of race.

“American whiteness,” Porter Lara says when I pose that question, “has to be defined as created in opposition to blackness.” The law, she goes on, distinguished between indentured servants, often of European origin, and enslaved African peoples—a way for a group of people to maintain power over another group of people. “Whiteness is certainly adaptable,” she says. “It’s easy to look at the KKK and the alt-right as the real racists, but I don’t think that’s how it works.”

“There’s a lot of power in mothering,” Porter Lara says. Her twist on the more familiar analysis of gender norms reminds me, later, of an essay that impressed me as a young feminist. The author, Scott Russell Sanders, had grown up working-class and did not recognize masculinity as most feminists presented it—powerful, influential, with its hands on the levers that move capital and people. For him, masculinity was backbreaking, crippling, a lifetime of crushing labor and disease from which women, if nothing else, were protected.

There’s a temptation—and I can hear this counterargument form in the background noise of my mind even as Porter Lara and I talk about her work—to make a similar point about white people. Not all whites were equal, the argument goes. Some struggled; many still do.

In one of the vintage photos Porter Lara shows me, a line of white girls wear dingy flour sack dresses in a dusty, Depression-era yard.

Some might argue, I tell Porter Lara, that slogans like “pure” and “all natural” are innocuous, even invisible. I asked her what she would say to the contention that language can be transparent, without real impact.

“Isn’t that the power of whiteness?” she asks. “Whiteness isn’t visible to white people.”

To grapple with white privilege does not require forgetting that (some) white people have endured hardship. It doesn’t require flatly villainizing one’s grandparents. But it does—like engaging with Porter Lara’s work—require confronting some unsavory truths. It demands letting go of some of white America’s collective nostalgia for the hardscrabble existence of white settlers, for the rosy-eyed remembrance of the labor endured by (some) white women—perhaps our own grandmothers—who grew up before the microwave, and who counseled their daughters against befriending black girls.

“To change the future,” Porter Lara affirms, “we have to let go of allegiance to our past selves.” jamiporterlara.com WWW.EDIBLENM.COM

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The Art of Industrial Food A CONVERSATION WITH THREE ROSWELL ARTISTS

By Willy Carleton

Justin Richel, Endless Column (Toast), 2017–18, urethane plastic, acrylic, 36 x 4 x 4 inches. Photo courtesy of Justin Richel.

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ith my stomach rumbling and an $120,000-ducttaped banana suspended on the canvas of global headlines, I head to the Roswell Artist in Residency (RAiR) campus to share a meal with several artists, visit their studios, and learn how food shapes their work. Founded in 1967 by Roswell businessman and artist Don Anderson, today RAiR houses six full-time artists from around the world on its fifty-acre campus and has helped put the small town in New Mexico’s high plains on the fine art map. RAiR director Larry Bob Phillips greets me at the residency campus and welcomes me into the house where he lives with his wife and fellow artist, Tamara Zibners, and their one-year-old son.

Artists Micheal Waugh, Justin Richel, and Jeremy Howe, each of whom approaches food from a different angle in their work, soon join us, and we sit down to a salad and steaming red chile enchiladas.

“Why food?” I ask in reference to their artwork as we dig into the meal. The chilly purple twilight transforms into a frigid and star-filled December night as this simple query leads to a long conversation yielding more complex and nuanced questions about how we think about consumption, preservation, and the synthetic chemicals ubiquitous in all stages of industrial food systems.

“We’ve gotten really far away from what food is,” explains RAiR resident Justin Richel, running his fingers across the stubble on his chin. Richel, who raised food for himself for over a decade in rural Maine, laments the loss of connection to food he sees in today’s grocery stores. He views industrial food as an expedient convenience that we have, as a society, bought into and trusted in despite costs to human and environmental health that we are only beginning to understand. Through his work, he has tried to reflect this loss of connection and misplaced trust in industrial food through columns of meticulously painted plastic forms, such as his 2016–17 Tall Order (Bologna and Cheese), a sculpture of a ten-foot tall, 1:1 scale bologna sandwich.

Impossible to ingest in both its material (silicone, urethane plastic, acrylic) and size, Tall Order comically jabs at the near inedibility of industrial food, its unnatural preservability, and the overconsumption it both caters to and drives. Yet behind its irreverent and absurd parody, the plastic sandwich tower represents an earnest lament for the loss of a relationship to the foods that can truly sustain us and, with that, the loss of a sense of sacredness in our daily meals.

“I think of [Tall Order] as a failed monument,” Richel explains. “It’s heavily preserved garbage in this repeating form. It’s an obelisk to something, it’s phallic in nature, so you know it’s that patriarchal viewpoint. . . . But it’s a failed monument to a failed society of wrong turns.”

“God, that’s wonderful and totally depressing,” responds Roswell Museum and Art Center planetarium director Jeremy Howe, smiling as he looks up from his plate of enchiladas.

“Yeah, I know, it’s depressing as shit, but, yeah, it makes me laugh,” Richel continues, his expression part wry smile and part prolonged sigh. “That’s the thing. I see a lot of humor in it too. I also see a return to better ways in it, too, for anyone who’s really conscious.” Then Richel’s eyes grow a shade more serious. “I’m trying to wake people up through the ridiculousness of a ten-foot-tall sandwich, but some people tell me they get hungry when they see it. I go, ‘That’s messed up. I want to throw up when I see it, but okay. I’m trying to wake you up the best I know how without hitting you over the head with it too.

I don’t want to preach to you . . . but a ten-foot-tall sandwich should get you thinking.’”

We chuckle, but a contemplative silence descends on the table as we return to our plates, digesting Richel’s suggestion that perhaps the larger tragedy of the sculpture is not the message it carries but the ways that message has been lost on many who view it.

The conversation shifts to Howe’s work, which, unlike Richel’s use of nonfood to depict food, uses food products to depict more abstract designs. Using a range of materials, from condensed milk and seaweed and chile powder to cream cheese filling and Pepto-Bismol and Vegamite, Howe repurposes preservative-laden industrial foods as art materials.

He has produced more than fifty canvases of richly colored and textured designs, transforming the ubiquitous and unhealthy into unique, abstract, and aesthetically pleasing designs. He works with the preservatives and the chemical properties to create new forms, new designs, and new meanings. “They are all dynamic and in various processes of chemical reaction, and you have to just embrace that.” For Howe, embracing these materials was driven by a sense of novelty and experiment, but implicit to the designs is the notion that such materials—the main or only form of sustenance that many Americans have access to—might function better as art than food in a more equitable world.

“It was just pure art material,” Howe explains of the first time he considered using food ingredients in his work, fifteen years ago. “It

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We chuckle, but a contemplative silence descends on the table as we return to our plates, digesting Justin Richel’s suggestion that perhaps the larger tragedy of the sculpture is not the message it carries but the ways that message has been lost on many who view it.

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Justin Richel, Tall Order (Bologna and Cheese), 2016–17, silicone, acrylic, urethane plastic, 108 x 4 x 4 inches. Photo courtesy of Justin Richel.

Top left: Justin Richel, photo by Willy Carleton. Bottom left: Justin Richel, Endless Column (Cupcakes) (detail), 2013, slip cast vitreous china.

Top right: Justin Richel, Burnt Offering (S'mores), 2018, charcoal, Hydrocal, 44 x 2 x 2 inches. Bottom right: Justin Richel, Bologna and Cheese Sandwich, 2019, silicone, urethane plastic, acrylic, 4 x 4 x 4 inches. Photos courtesy of Justin Richel.

was really nice as an art material to start with, then I was aware of all the horrible preservatives, and then I thought, well, great, this is fantastic. . . . We call it food but it’s really a better material to put on a canvas. It just lasts because the ants won’t even get it and the rats won’t even get it.”

“It’s poison!” he recalls realizing when he noticed that not even the rats were touching a recent exhibit in which he covered a large square space on the floor entirely with artificial cheese powder. “Then, that led to a whole different thought,” he adds, “which is that we’re eating poison all the time.”

Unlike the food-centered works of Richel and Howe, food is only implied, not used or represented, in the recent work of Michael Waugh. Waugh, who descends from a long line of farmers in New England, is currently a RAiR resident working on a series of drawings depicting a man, a dog, and birds in a bucolic riverside scene,

with the drawn lines of the images entirely formed from the words of Rachel Carson’s 1962 Silent Spring. For Waugh, this ancient artistic form, known as micrography, creates a conceptual relationship between the text and the image that can give greater meaning to both.

By using Silent Spring, a landmark book that awakened the world to the ecological harm of chemicals such as DDT and helped spur the pushback against chemical pesticides and herbicides that led to the emergence of the modern organic farming movement, Waugh hopes to engage his audience with the long-standing conversation on the costs of synthetic chemicals in our food system. “As much as I want people to read Silent Spring,” he explains, “I want this to be a conversation starter wherever it goes. . . . Just getting people talking in an expansive way is important.”

The following day, the conversation continues as I tour each artist’s studio. I notice notes of redemption—subtle, hard-fought, WWW.EDIBLENM.COM

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Top left: Jeremy Howe, photo by Willy Carleton. Bottom left: Jeremy Howe, Moon Flowers, 2019, automotive paint, colored smoke from fireworks, pressed flowers, evaporative cooler undercoating, bailing wire, marshmallow Peeps, dark chocolate syrup, silicone, card stock, sweetened condensed milk, powdered white cheddar cheese, magnesium, and polyurethane on paper, 30 x 22 inches. Top right: Michael Waugh, A Fable for Tomorrow (Silent Spring, part 1-GM.HC) (detail), 2019, gouache on Mylar with pigment ink overprinting.

Bottom right: Michael Waugh in front of A Fable for Tomorrow (Silent Spring, part 1-GM.HF) (detail), 2019, gouache on Mylar with pigment ink overprinting.

and qualified—running through each artist’s work, notes that had not been prominent in the conversation the night before. I am particularly struck by one of Richel’s more recent works, Burnt Offering (2018), which is a plaster- and charcoal-dusted tower of blackened s’mores. Four feet tall and vaguely resembling an altar, the sculpture reflects a collective attempt at forgiveness, Richel explains, albeit a childishly clumsy and misguided one, for the type of grotesqueness and unabashed self-aggrandizement depicted in Tall Order. “You are not forgiven,” Richel laughed, as he imagined it as an offering to a deity, and then asked, “What god would want this?” And yet, behind this dry joke, the self-effacing sculpture suggests a drive for humility and a search for atonement by and for the “society of wrong turns.”

synthetic chemicals—from pesticides to artificial preservatives—in our industrial food system. More broadly, there is a hope inherent to each artist’s work that the power of art—whether through Howe’s playful, mesmerizing, and abstract work, Richel’s comedic and grotesque “monuments to garbage,” or Waugh’s intricate and novelistic landscapes—can inspire new ways to look at what has been long in plain sight. From an environmental text first published fifty-eight years ago to a packet of cream cheese or a bologna sandwich, these artists add urgency and new meaning to what has become familiar. Taken together, the chemistry of our current foodscape can be rearranged or reexamined to provide new vantages, at times lighthearted and at times somber, into the immense beauty of the natural world and our tragedy-prone relationship to it.

If there is a common thread among these three artists’ approaches to food and art, it might be their concern for the rise in a reliance on

justinrichel.com, michaelwaugh.com, jeremyhoweart.com

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A Wonderful Mix of Friendship and Philanthropy

Become a Member of The Circles The Circles is the premier membership of the Museum of New Mexico Foundation.

Join us and enjoy an exclusive calendar of events that is especially designed to enhance your appreciation of the art, history and culture of New Mexico and folk art traditions worldwide.

You’ll discover unparalleled camaraderie with an intimate group of fellow members.

For more information contact Cara O’Brien at 505.982.6366, ext. 118 or email cara@museumfoundation.org or visit museumfoundation.org/circles.

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Creative Pollination ARTISTS EDUCATE ON BEES, BATS, AND THE IMPORTANCE OF LOCAL ECOSYSTEMS TO FOOD SOVEREIGNTY

By Robin Babb

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Ana MacArthur, Pollinator Concentrator (detail), 2019–2020, 256 cement tiles, 10 ft x 12 inch cast concrete parabolic dish, 6 feet x 7 inch sundial, glass dish, UV LEDs, drain and plumbing, pollinator garden, bat monitor. Photo by Robin Babb.

Native pollinators, as a whole, are an often overlooked cornerstone of food sovereignty. If you want to plant the crops your ancestors planted, you’re going to need the pollinators they had back then, too. But native pollinator species are being threatened by habitat destruction, pesticide use, and encroachment by the highly adaptable honey bee.

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n the past several years, honeybees have justifiably received a lot of press as a threatened species and a cornerstone of our food system that’s crucial to the viable future of agriculture in the US. But what often goes unmentioned in these “save the bees” campaigns is that the honeybees most of us are used to seeing, the ones now largely responsible for crop pollination, are a European import.

The presence of Apis mellifera, or European honeybees, in North America is a product of colonization. According to the USDA Forest Service publication, Bee Basics: An Introduction to Our Native Bees, “Most people do not realize that there were no honeybees in [the United States] before European settlers brought hives from Europe.

These resourceful animals promptly managed to escape from domestication.” The ramifications of this escape are incalculably vast: honeybees have become a huge part of every ecosystem in North America, supplanting many native bee species in the process. “With our help, honeybees live as far north as Alaska (though they have to be mailed there and reintroduced every spring) and south across the tropics as well,” reports Daniel Rubinoff in Scientific American. “It’s a wildly adaptable species: willing and able to thrive on, and harvest nectar from, almost anything that blooms, everywhere from the deserts around Palm Springs, to the Chesapeake wetlands to the middle of our biggest cities.” We’ve used this adaptability to our advantage by creating an entire industry around breeding and shipping these bees all over the continent to serve farmers who, with the dwindling native pollinator populations, would be up a creek without them.

But this one species is not cut out for the job of many. The approximately four thousand species of bees native to North America have each evolved to specialize in pollinating specific plants native to their region, such as the sunflower leafcutting bee (Megachile fortis), who exclusively pollinates sunflowers. The relationship between pollinator and plant is forged through centuries of coevolution, and European honeybees evolved to pollinate—you guessed it—European crops.

Modern North American agriculture has largely adapted to fit their preferences, at the exclusion of native plants that grow more easily and are better fare for native pollinators.

Native pollinators, as a whole, are an often overlooked cornerstone of food sovereignty. If you want to plant the crops your ancestors planted, you’re going to need the pollinators they had back then, too.

But native pollinator species are being threatened by habitat destruction, pesticide use, and encroachment by the highly adaptable honey bee. Nationwide, one in three wild native bee species is at risk of extinction, according to a study from the Center for Biological Diversity. And bees are only one part of the equation.

In New Mexico, where food sovereignty is an increasingly important facet of local culture and politics, turning a spotlight on native pollinators and their role in the regional foodshed is past due. Thankfully, some artists and conservationists are stepping up to shine that light.

ANA MACARTHUR AND POLLINATOR CONCENTRATOR Native pollinators are the focus of Ana MacArthur’s latest artwork, Pollinator Concentrator. The Santa Fe-based artist created the installation at the Taos Land Trust to both feature and attract pollinators indigenous to the Taos Valley, along with a pollinator garden planted nearby.

To see the artwork, you’ve got to visit the Taos Land Trust at Rio Fernando Park and walk out from the visitor’s center about a quarter mile, cutting through fields planted in rye and wheat during the spring. You won’t see it until you’re right on it. The parabolic dish is laid into the land like a bowl, lined all around with blue hexagonal tiles featuring images of native pollinator species that fade from a deep cobalt in the center to a pale robin’s egg blue at the edges.

When I visited the Land Trust in December, half of the dish was covered in snow and the pollinator garden was dead for the winter.

The splash of color in the cold ground looked like a reminder that things would bloom here again, and soon.

The tiles depict seven different native (and one non-native) pollinator species, from the tarantula wasp to the swallowtail butterfly.

Macarthur chose a simple, non-species-specific image of a bat for one tile, and the long, curled tongue of the sphinx moth for another.

The pollinator garden that curves around half the dish in a crescent contains flowering plants that attract native pollinators, such as firewheel, Rocky Mountain bee plant, and prairie sunflowers.

In addition to the pollinator garden, the artwork has another way of attracting native pollinators. MacArthur installed a dim UV light around the lip of the dish, which is hooked up to a “bat detector” located nearby. This detector, a homemade system of arduinos and ultrasonic sensors, will flip on the light when bats are detected nearby.

The light attracts some of the bats’ primary prey insects, and thus, ideally, the bats themselves. This summer, the Land Trust plans on hosting several nighttime events for the public to come see the bats in action and learn about the biological diversity they support regionally.

Before working on this project, MacArthur says she didn’t realize the importance of bats as pollinators in New Mexico. Bats don’t collect pollen for food like bees do, but several species eat nectar—and frequently end up inadvertently carrying pollen from flower to flower in the process. During her research, MacArthur learned that 14 different species of bat frequent the Taos Land Trust, including the Mexican long-tongued bat, which pollinates agave and several kinds of cacti.

Though she’d researched butterfly species before on a separate project, MacArthur says she had never focused explicitly on pollinators.

But, as she told me, her “artistic practice involves a lot of research,” and tackling this project was another opportunity for her to make artwork that heralded something that usually went under the radar.

“I’ve always been interested in the invisible,” she told me, referring to her many years of working with lightwaves as her medium of choice.

Working with the small, at-risk species that are commonly skipped over in conservation dialogues seemed like a good fit in her practice.

WWW.EDIBLENM.COM

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Construction of Pollinator Concentrator in conjunction with Mark Goldman of UNM Taos and students Stephen Herrera, Daniel Torres, and Jesse Riggs (shown). Photos courtesy of Ana MacArthur.

Education is another common part of MacArthur’s art practice. In the research and design period of the Pollinator Concentrator project she conducted educational workshops with students from Taos Integrated School for the Arts, teaching them research skills and how to share their findings with their peers. The students learned about 68

edible New Mexico | LATE WINTER 2020

their regional ecosystem in the process, and made preliminary designs of the pollinator tiles. MacArthur hopes that they feel a sense of pride and ownership in the resulting artwork, and that they visit the Land Trust and the pollinator garden often to see the real-life pollinators they learned so much about.

Agnes Chavez collecting water samples at Rio Fernando Park. Photo by Elizabeth Burns.

The BioSTEAM project at Rio Fernando Park teaches local students about their regional foodshed and the interconnections as a crucial part of ensuring the health of that ecosystem. In this interest, Agnes has created an intercultural team including Taos Pueblo Education Center with Henrietta Gomez and Sheryl Romero from Red Willow Farm. Together they are developing a curriculum that combines traditional ecological knowledge of their region with modern tech and new scientific discoveries, ensuring that students remain interested and can carry that knowledge with them as future stewards of the land.

Biology and a team of advisers, she collected samples of water from the Rio Fernando and analyzed the biodiversity loss of algae present in the river through DNA sequencing. The resulting installation at the 516 gallery included a custom-made transparent vessel containing some of those living algae samples, along with a constantly scrolling projected feed of the hundreds of microbial species present in the Rio Fernando, along with their respective abundance levels. This use of research and data in installation art is a hallmark of Chavez’s work, who, similarly to MacArthur, is as concerned with the process of the work as its result.

“The next unit that I’ll be bringing to the BioSTEAM lab is on genetic engineering and DNA, and understanding what the whole CRISPR [gene editing technology] movement is about... These are things that are real, they're going to be coming to our everyday life, so for the kids to understand it and to make ethical decisions is important. How do we use this technology in a way that's for good, and for the community?”

With this in mind it’s not surprising that Chavez, also concerned with the artistic capabilities of rendering visible what is typically invisible, gravitated towards MacArthur. When Chavez first began outlining the project, she knew that she wanted to use art and tech to address environmental education, and MacArthur’s work seemed like a fitting first embodiment of this idea. In the coming years, the BioSTEAM Lab will continue to solicit artists to “design a site specific or some other kind of art installation for the land” that involve the Taos community in their research and construction. With this collaboration and interdisciplinary approach, the BioSTEAM folks hope to give younger generations a new set of tools for local ecological conservation work.

AGNES CHAVEZ AND BIOSTEAM LAB Agnes Chaves, the founder of the BioSteam project and an artist herself, had an artwork that also related to species preservation in New Mexico at 516 Art’s recent exhibition Species in Peril Along the Rio Grande. For BIOTA, a research-based installation piece that Chavez worked on with the help of the Museum of Southwestern

taoslandtrust.org, anamacarthur.com, agneschavez.com WWW.EDIBLENM.COM

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Eating at Edible Carnival A TRAVELING FARM SPECTACLE EDUCATES ON THE ORIGINS OF OUR FOOD

By Claude Smith

Edible Carnival, Rolling Field, 2019, pipe, steel, trailer wheels, rubber, wheat, burlap, coir, stilts, weed whip, solar panel, plumbing, water, 6 x 17 x 12 feet. Photo by Russell Bauer.

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M

inutes after walking through the front door of Russell Bauer and Ayrton Chapman’s Los Lunas homestead, I see that Bauer is eagerly fanning out a few sheets of graph paper on their dining room table.

His hand-drawn blueprints show an awning that will provide a covered outdoor work space. Bauer and Chapman—normally early risers—are already taking a break and coming back inside for a second cup of coffee by the time I arrive early one Saturday morning, and I can tell they are keen to get back to their work. As we walk outside to survey the construction area, Chapman says, “We’re really excited about the possibilities for creation that this space will give us,” gesturing to a roughly twenty-by-twenty-square-foot concrete pad beside their house. Nearby, there’s a flatbed trailer loaded down with twenty-foot-long oil well stem tubes and a couple of massive I-beams destined to become the joists for the roof. As I scan the yard for some kind of machinery that would be capable of lifting these hefty beams, Bauer seems to read my mind and says, “We’re going to build a crane on the back of my truck to rig those guys into place.” For the time being, six lonely poles demark the outer perimeter of the workspace that will eventually shelter fabrication equipment and tools, along with the ever expanding fleet of interactive sculptures that comprises the Edible Carnival, a project that bridges agriculture, ecology, art, and technology.

A rural New Mexico homestead might not seem like the most opportune place for two art school graduates, but for Bauer and Chapman, this was the most logical outcome they could have imagined.

“I’ve wanted a farm since forever—probably since I was a little kid,” Chapman says as we walk the perimeter of their almost two-acre backyard. Between discussing natural uses for invasive plant species and composting, and pointing out the varieties of eighty-something fledgling fruit and nut trees that they planted the previous seasons, it’s clear that they both know a thing or two about what they’ve gotten into. As we watch their dogs wander just out of view behind some overgrown tumble brush, Bauer recalls having a crisis of conscience and walking out of an undergraduate class on biotechnology at Michigan State University. “I just couldn’t do it,” he says, shaking his head.

“The ethics were compromising and there are so many problematic things about food and food systems in this country that I realized I couldn’t work for ‘Big Ag,’ but I realized I could make art that was kind of about it.” Bauer eventually finished his undergraduate work at

“C

MSU with a degree in art and then enrolled in the University of New Mexico’s Art & Ecology program, where he found himself returning to food and food-related issues time and time again.

As an undergraduate at the University of North Texas, Chapman, whose early primary interests included analog photography, felt increasingly unsatisfied and limited by the medium and started making videos centered on food and consumption, along with collages rooted in what has often been considered “women’s work” and the perceived roles of women in domestic spaces. Performative aspects naturally evolved into the work and she found herself headed in an entirely new direction. It was while visiting UNM as a prospective MFA student that she first saw Bauer’s work. “I didn’t know anything about Land art or Art & Ecology, and I was walking around the art building and saw the kinds of things people were making and was like, ‘That guy!’”

Chapman recalls, laughing. “I didn’t know who he was, let alone even what he looked like, but all I knew was that was the kind of work I wanted to be engaged with.” Coincidentally, they hit it off and began to collaborate on various projects, eventually turning the bulk of their attention to Bauer’s brainchild, Edible Carnival.

Comprising a series of mobile interactive sculptures, Edible Carnival began as a wildly conceptual, ambitious idea that presents the possibility to grow and prepare foods using a variety of contraptions that take their cues from carnival-type games and attractions. Bauer’s MFA thesis project, entitled Livestock, proved generative by laying the foundation for much of what was to come. It included three hanging hydroponic pods equipped with LED lights that grew wheat grass during the month it was on view to the public. Bauer outfitted the pods with cameras and custom electronics that sensed movement; if a viewer got too close, it prompted the pods to recoil or pull away.

As a culminating event, aerialist performers harvested the wheatgrass while dangling above the ground, pressed it, and passed out the juice to viewers to enjoy.

In 2016, after receiving funding from the Fulcrum Fund—a regional regranting program of The Andy Warhol Foundation for the Visual Arts, administered by 516 ARTS, that supports experimental, artist-led projects––Bauer designed and created Rotisserie Rickshaw, the first attraction in Edible Carnival. As the name implies, the piece co-opted the portability of a hand-drawn cart and combined it with the rotating spits of a fire-roasting mechanism as a means of cooking

Comprising a series of mobile interactive sculptures, Edible Carnival began as a wildly conceptual, ambitious idea that presents the possibility to grow and prepare foods using a variety of contraptions that take their cues from carnival-type games and attractions.

WWW.EDIBLENM.COM

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Left and top right: Edible Carnival, Rotisserie Rickshaw, 2016, bike parts, steel, stainless steel, aluminum, peltier modules, propane, vegetables, herbs/spices, fiberglass, plumbing, ripstop nylon, 5 x 7 x 8 feet. Photo by Ayrton Chapman. Bottom right: Edible Carnival, Livestock, 2015, stainless steel, plastic, LEDs, wiring, computer components, motors, plumbing, rubber, wheatgrass, aerialist performers, dimensions variable. Photo by Ray Ewing.

food. A mobile grill housed inside half of a five-gallon propane tank uses convection hot air to turn a turbine and rotate the spit. Bauer’s design harnesses excess heat as it dissipates through thermoelectric generators to power LED lights. “It’s the kind of thing you see on the street and people just gravitate to it,” Chapman says, “Russell is there just cooking vegetables and explaining the technology and people just love it.” One of the core aspects of the project is accessibility—to both food knowledge and technology. Bauer’s designs are all publicly available for download as open-sourced plans, theoretically replicable by anyone with tools and some building knowledge.

Earlier this year, Bauer spent a month in Nebraska while in residence at the Sandhills Institute, where Chapman joined him to complete Edible Carnival’s largest and most ambitious sculpture to date.

The Rolling Field consists of an elevated cylindrical support wrapped in a twelve-by-twelve-foot length of burlap or “field” coated in sphagnum moss, which serves as a substrate for growing plants. A solarpowered watering system provides regular irrigation to the interior of the cylinder which, in turn, causes the cylinder to rotate as the mossand-burlap substrate becomes weighted with water. Bauer designed and fabricated the piece mainly using scavenged and repurposed steel from a variety of sources, including an old flatbed trailer, oil well stem 72

edible New Mexico | LATE WINTER 2020

piping, and various ranchers’ scrap piles. While the piece is intended to be mobile, moving it requires some serious effort. Chapman, gesturing to the massive sculpture in their yard, says, “Sure, moving this thing around is hard, but what we want to convey is the excitement that comes with putting something in the ground and enjoying the fruits of your labor, because that’s the fun part.” The Rolling Field is not only a spectacle, but a conceptual work that pairs the idea of sustainable agriculture with the possibility for integration in urban settings where access to garden space might be more limited.

In late 2019, the duo secured a second grant from the Fulcrum Fund to expand the project further. They are conceptualizing the next phase of activities as a play on classic carnival games, adaptable to virtually any location––festivals, bars, or public parks––as a means of connecting with diverse populations. Chapman names two projects that are in various stages of development: Popcorn Plinko, a custom Plinko board equipped with a hot air popper which will challenge participants to catch as much popcorn as they can, and Grass-Roots Claw Machine, with which, instead of stuffed animals or plastic toys, participants will attempt to grab herbs or local seed mixes. In both cases, produce used in the projects will be grown and harvested directly from Bauer and Chapman’s farm. Chapman has become an advocate of gardening and

Edible Carnival, Rolling Field, 2019. Photos courtesy of Edible Carnival.

sees it as a logical entry point into their work, saying, “It made me so happy to come out in the morning and just harvest stuff from the garden, and in a lot of ways, that’s what we’re trying to accomplish with the Carnival––trying to marry the joy of agriculture, learning about plants with the interactivity of the artworks, and bringing that to the public.”

For Bauer it’s all about the interactions that he has with participants and creating atmospheres to facilitate dialogue regarding food and power systems in our country. Recalling his experience in that fateful biotechnology class at MSU, he says, “The professor was heralding advances in genetic engineering—mainly splicing ethanol genes in corn, and making crops more bug or pesticide resistant—but here there are millions of starving people and these industrial farms are being paid by the government to turn food into fuel, or farmers are buying these GMO seeds that produce crops that are less appetizing to bugs. If bugs can’t eat it, imagine what it does to us!”

For Bauer and Chapman, art and art making aren’t just something that gets completed in the studio. While they both also have talents for traditional fine art practices and make objects that could satisfy conventional notions of art, they are constantly bringing art into other aspects of their daily lives. Fed by relentless creativity and ingenious desire to use all the tools and knowledge at their disposal, they strive

to create a multi-sensory experience that translates their passion and excitement for working with living systems. Art has become so integrated into what they do that at times it’s difficult to see where the art ends and “regular” life takes over.

Whether it’s building complex architectural projects at home or strategizing what to plant to improve the soil pH at their farm, Bauer says, “I think it’s the process of continually learning how to do new things and being pushed in new directions that make this [Edible Carnival] in particular so exciting for us.” Considering the variety of work in which they are invested, one can’t help but be compelled by their confidence and enthusiasm to dive headfirst into their pursuits. In a way, their own mutualism has evolved to be perfectly suited for the kind of work Edible Carnival requires, each bringing something unique to their collaboration. “From the get-go, I’ve never really thought of Edible Carnival––this traveling farm spectacle thing––as something that is necessarily possible,” Bauer says, laughing. He goes on to clarify but is quickly interrupted by Chapman who enthusiastically offers, “This is where he and I disagree. I’m always like, ‘This is going to happen, there’s absolutely no question that we can do this!’” ediblecarnival.org WWW.EDIBLENM.COM

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CRAFT COCKTAIL

Wedded Bliss

By Natalie Bovis, The Liquid Muse Serves 1 2 ounces OM Vanilla & Rose Liqueur* 3/4 ounce Caravedo Pisco 1/2 ounce pomegranate juice 2 ounces Gruet Brut Lemon twist for garnish In a shaker filled with ice, add OM Vanilla & Rose Liqueur, pomegranate juice, and Caravedo Pisco, and shake. Strain into a cocktail glass and top with Gruet Brut. Garnish with a lemon twist. *OM Liqueurs can be sourced at Susan’s Fine Wine & Spirits in Santa Fe and at Jubilation Wine & Spirits in Albuquerque.

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Wedding Guide

HHandR.com/Weddings Heritage Hotels & Resorts HHandR.com/Weddings

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Y O U R LO C A L S O URCE G UID E FOOD ARTISANS / RETAILER AlbuKirky Seasonings

AlbuKirky Seasonings specializes in finely crafted rubs, sauces, and jellies featuring red and green chile and other Southwest flavors.

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Barrio Brinery

Bringing fine fermented foods to Santa Fe. We make our products by handcrafting small batches of flavorful goodness using only the finest ingredients.1413-B W Alameda, Santa Fe, 505-699-9812, barriobrinery.com

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Eldora Chocolate

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Finches

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Heidi's Raspberry Farm

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Buffalo Thunder, Hilton Santa Fe

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Casa Gallina

Discover the art of a slow vacation. 609/613 Callejon, Taos, 575-758-2306, casagallina.net

Hotel Andaluz

A Curio Collection by Hilton. 125 Second Street NW, Albuquerque, 505-388-0088, hotelandaluz.com

Los Poblanos Historic Inn & Organic Farm

4803 Rio Grande NW, Los Ranchos de Albuquerque, 505-344-9297, lospoblanos.com

Rosewood Inn of the Anasazi

Sophisticated modern aesthetic celebrating the Southwestern spirit. 113 Washington, Santa Fe, 505-988-3030

Sarabande B & B

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The Parador

Our 200-year-old farmhouse, Santa Fe's oldest inn, is located in historic downtown Santa Fe. 220 West Manhattan, Santa Fe, 505-988-1177, elparadero.com

Slow Food Santa Fe

Slow Food is about enjoying food and the community it creates. Intrigued? Learn more at slowfoodsantafe.org.

OTHER SERVICES Garcia Auto Group

8449 Lomas NE, Albuquerque, garciacars.com

Sparky's

3216 Los Arboles NE, Albuquerque, 505750-3740, sparkysabq.com

Rio Grande Credit Union

Our goal is to find the best financing options for your budget at the payment that's right for you. riograndecu.org

RETAILERS

Gallery Ethnica

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Kitchenality

Irresistible and gently used gourmet cooking and entertaining ware. 1222 Siler, Santa Fe, 505-471-7780, kitchenangels.org

Max + Jane

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La Montañita Co-op

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New Mexico Ferments

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A family-owned and operated nursery, gardening center, and landscaping company. 501 Osuna NE, Albuquerque, 505345-6644, osunanursery.com

Handcrafted plant-powered skincare and CBD products. All organic, small batches crafted using pure, plant-based ingredients.

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La Montañita Co-op is New Mexico's largest community-owned natural and organic food market. Locations in Albuquerque, Gallup, and Santa Fe, lamontanita.coop Local, fresh, probiotic kombucha. Find us on tap at Albuquerque farmers markets as well as breweries and distilleries in Albuquerque, Santa Fe, and Taos. newmexicoferments.com

Santa Fe Olive Oil & Balsamic Co

This local interactive tasting room offers the finest quality extra virgin olive oils, balsamic vinegars, gourmet salts, and specialty foods.

Shop in-store or online. santafeoliveoil.com

Savory Spice Shop

Spice specialist with a variety of blends as well as extracts, sauces, and specialty foods.

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Skarsgard Farms

Alameda Greenhouse

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ORGANIZATIONS, EVENTS, & EDUCATION

Tin-Nee-Ann Trading Co.

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Delivering fresh, local, and organically grown produce and natural groceries to doorsteps across New Mexico. 505-681-4060, skarsgardfarms.com

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Talin Market

Open Heart Tours

88 Louisiana SE, Albuquerque, 505-268-0206, talinmarket.com

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New Mexico Museum Foundation

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WINE STORES Arroyo Vino

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E A T & DRI N K LOCAL G UID E colombian bistro

now open

tuesday-saturday 11am-8pm

3216 Silver SE, Albuquerque 505-266-2305, www.ajiacobistro.com

comfort food

seasonal • local • organic 218 Gold Ave SW, ABQ 505-265-4933, hartfordsq.com

ALBUQUERQUE

Ajiaco Colombian Bistro

Ajiaco’s varied Colombian cuisine is influenced by the diverse flora and fauna found around Colombia. 3216 Silver SE, 505-2662305, ajiacobistro.com

Artichoke Café

Fresh, local, seasonal ingredients, classic French techniques, extensive wine list, private dining, catering, and great atmosphere. 424 Central SE, 505-243-0200, artichokecafe.com

Campo at Los Poblanos Historic Inn & Organic Farm

Rio Grande Valley cuisine rooted in seasonal organic ingredients from our own farm. 4803 Rio Grande NW, 505-344-9297, lospoblanos.com

Cutbow Coffee

The culmination of more than 25 years' experience by one of the nation's most accomplished artisan coffee roasters, Paul Gallegos.

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Farina

11225 Montgomery and 5600 Coors NW, eatgrassburger.com

Hartford Square

Cozy downtown eatery; local, organic, and seasonal menu. Breakfast, brunch, lunch, & dinner-to-go. 218 Gold SW, 505-265-4933, hartfordsq.com

Little Bear Coffee Co.

Nob Hill cafe now open! 5123 Central NE and 2652 Pennsylvania NE, littlebearcoffee.co.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 role in our choice of ingredients.

Trifecta Coffee Company

We roast coffee and brew it in unique ways utilizing some of the best methods available.

All of our baked goods are made in house.

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Zinc Restaurant & Wine Bar

A three-level bistro featuring contemporary cuisine and late night bar bites.

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MAS Tapas y Vino

MÁS is a full-service restaurant and tapas bar located in the Hotel Andaluz, 125 Second Street NW, 505-388-0088, hotelandaluz.com/mas-tapas-y-vino

Nob Hill Bar + Grill

A collaboration between the owners of Bar Castañeda and Little Bear Coffee.

3128 Central, nobhillgrill.com

Salt and Board

Salt and Board, a charcuterie-based cork and tap room in the heart of the Brick Light District. 115 Harvard SE, 505-219-2001, saltandboard.com

SANTA FE

Anasazi Restaurant & Bar

Contemporary American cuisine inspired by locally sourced seasonal ingredients.

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Arroyo Vino

We serve progressive American fare inspired by our on-premise garden and local purveyors. 218 Camino La Tierra, 505-983-2100, arroyovino.com

Cafecito

Starting with the finest organic flour, our pizza crusts are made by hand and topped with the freshest ingredients, including artisan cured meats. 510 Central SE, 505243-0130, farinapizzeria.com

Savoy Bar & Grill

Farina Alto

Seasons Rotisserie & Grill

Dolina

The Grove Cafe & Market

Dr. Field Goods Kitchen / Butcher Shop & Bakery

Farina Alto offers fresh, creative fare. Gather over a glass of wine, a good story, and a phenomenal plate of food.

10721 Montgomery NE, 505-298-0035, farinaalto.com

Farm & Table

Enjoy delectable seasonal dishes created from scratch, sourced from local farmers and our beautiful on-site farm. 8917 Fourth Street NW, 505-503-7124, farmandtablenm.com

Grassburger

The feel-good, award-winning burger— 100% grassfed beef, vegan, or poultry!

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California wine country in the Northeast Heights. Farm-to-table dining and a casual patio. 10601 Montgomery NE, 505-294-9463, savoyabq.com

Cafecito is a family-owned business blending the cultures to bring you a delicious menu in a beautiful gathering space. 922 Shoofly, Santa Fe, 505-310-0089, cafecitosantafe.com

Oak-fired grill, local and seasonal ingredients, and the best patio dining in Old Town.

2031 Mountain NW, 505-766-5100, seasonsabq.com

We serve modern American brunch with Eastern European influences. Open 7 days a week. 402 N Guadalupe, 505-982-9394, dolinasantafe.com

The Grove features a bustling café experience serving breakfast, brunch, and lunch.

600 Central SE, 505-248-9800, thegrovecafemarket.com

2860 Cerrillos, 505-471-0043 and 505-474-6081, drfieldgoods.com

The Shop Breakfast & Lunch

Serving breakfast and lunch Tuesday through Sunday. 2933 Monte Vista NE, 505-433-2795

Eloisa

Creative, elevated takes on traditional New Mexican fare plus tasting menus and craft cocktails. 228 E Palace, 505-982-0883, eloisasantafe.com

Est. 1984

Wholesale Specialty Cheese/Meats/Provisions 300+ Cheeses from around the World www.b-cow.com · 505-473-7911

Elevated Rooibos. Elevating Health.

Celebrating Café. Celebrating Community.

Espresso ground Rooibos. Antioxidant rich.

Coffee alternative. Caffeine-free or caffeinated.

Pure • Chai • Blossom • Earl finchescafe.com

TRIFECTA COFFEE COMPANY

413 Montano NE, Albuquerque 505-803-7579, trifectacoffeecompany.com We roast coffee, and brew it in unique ways utilizing some of the best methods available. All of our baked goods, sweet, and savory are made in house.

Genuine Food & Drink Enchanting, Dusty...

Wild West Style 28 MAIN STREET LOS CERRILLOS 505.438.1821 Thursday - Sunday blackbirdsaloon.com WWW.EDIBLENM.COM

79

Creative Casual Cuisine

Café & Bakery

221 Highway 165, Placitas 505-771-0695, www.bladesbistro.com

505-204-7869 1291 San Felipe Ave, Santa Fe

Chef and owner Kevin Bladergroen brings together fine and fresh ingredients, artistic vision, and European flair in every dish.

Sunday brunch, fabulous cocktails, and an award-winning wine list.

South Indian cuisine

E A T & DRI N K LOCAL G UID E Hervé Wine Bar

Enjoy a glass of locally produced D.H. Lescombes wine with your meal in our spacious comfortable lounge.

139 W San Francisco, 505-795-7075, lescombeswinery.com/santa-fe-herve

Il Piatto

An authentic Italian farmhouse experience, sourcing its ingredients directly from local farms and ranches. 95 West Marcy, 505-984-1091, ilpiattosantafe.com

L’Olivier

Serving classic French dishes made with local ingredients and Southwest influences.

229 Galisteo, 505-989-1919, loliviersantafe.com

Loyal Hound

Radish & Rye

Farm-inspired cuisine: simple yet innovative food and drinks sourced locally whenever possible. 548 Agua Fria, 505-930-5325, radishandrye.com

Red Sage

Red Sage at Buffalo Thunder is perfect for your next romantic night out. Fare rotates seasonally. 20 Buffalo Thunder Trail, 505-819-2056, buffalothunderresort.com

TerraCotta

Seasonally changing, globally inspired cuisine and an extensive, value-priced wine list.

304 Johnson, 505-989-1166, terracottawinebistro.com

The Compound Restaurant

Locally sourced modern comfort food paired with craft beer, cider, and wine. 730 St. Michaels, 505-471-0440, loyalhoundpub.com

Chef Mark Kiffin preserves a landmark tradition of elegant food and service at his Canyon Road institution. 653 Canyon Road, 505-982-4353, compoundrestaurant.com

A cafe and bakery with French specialties.

1291 San Felipe, 505-204-7869, madamematisse.com

GREATER NEW MEXICO

Madame Matisse

Ohori's Coffee Roasters

The original source for locally roasted coffee beans, gifts, and gathering. 505 Cerrillos and 1098 St. Francis, 505-982-9692, 507 Old Santa Fe Trail, ohoriscoffee.com

Paper Dosa

Bringing fresh, authentic homestyle South Indian dishes to your table. These bright and exciting flavors will leave you wanting more.

551 W Cordova, 505-930-5521, paper-dosa.com

Plaza Cafe Southside

Born from our family's tradition— we're ready to welcome yours. 3466 Zafarano, 505-424-0755, plazacafesouth.com

Posa’s Restaurants

Posa’s tamales—our New Mexican tradition since 1995. 1514 Rodeo and 3538 Zafarano, 505-820-7672 or 505-473-3454, santafetamales.com

80

edible New Mexico | LATE WINTER 2020

Bar Castañeda

Fresh takes on Fred Harvey classics.

524 Railroad Avenue, Las Vegas, kinlvnm.com

Michael's Kitchen Restaurant and Bakery

Regionally inspired eats with a tongue-incheek menu in a casual space decorated with knickknacks. 304-C N Pueblo, Taos, 575-758-4178, michaelskitchen.com

Pajarito Brewpub & Grill

Open for lunch Tuesday–Sunday. Open for dinner every day. Happy hour Tuesday– Sunday 2–5pm. 30 craft beers on tap.

614 Trinity, Los Alamos, 505-662-8877, pajaritobrewpubandgrill.com

Parcht

/pärCHt/= the physical condition resulting from the need to drink wine, eat good food, and shop…in Taos. 103 E Plaza, 575-758-1994, parcht.com

Revel

Farm to table, elevated comfort food, in a fast-casual environment. 304 N Bullard, Silver City, 575-388-4920, eatdrinkrevel.com

Doc Martin’s

30+ year Wine Spectator Award Winner.

Patio dining, fresh local foods, and live entertainment. 125 Paseo Del Pueblo Norte, 575-758-1977, taosinn.com

The Gorge: Bar and Grill

Genuine food and drink, wild west style.

28 Main Street, Los Cerrillos, 505-438-1821, blackbirdsaloon.com

Our menu is straightforward, yet eclectic, and chock-full of favorites made from scratch using as many fresh and local ingredients as possible. 103 E Plaza, 575-758-8866, thegorgebarandgrill.com

Black Mesa Winery

The Skillet

Black Bird Saloon

Black Mesa Winery is an award-winning New Mexican winery using only New Mexican grapes. 1502 Highway 68, Velarde, 505-8522820, blackmesawinery.com

Blades’ Bistro

Chef and owner Kevin Bladergroen brings together fine and fresh ingredients, artistic vision, and European flair in every dish. 221 Highway 165, Placitas, 505-771-0695, bladesbistro.com

American, Southwest, vegetarian friendly.

619 12th Street, Las Vegas, 505-563-0477, giant-skillet.com

M I C H A E L “ U N R E A L” B I R C H E F F

ARROYO VINO Restaurant and Wine Shop

Committed to the best seasonal & local ingredients On-site two acre garden Weekly wine seminars, wine dinners, half-price wine nights & more

R E STAU R A N T: T U E S DAY– SAT U R DAY S E RV I C E B E G I N S W I N E S H O P: M O N

11AM–4 PM,

T U E S - S AT

5:30PM

11AM–7PM

A R R OYOV I N O.C O M

218 CHEF ALLISON JENKINS

C A M I N O L A T I E R R A , S A N TA F E

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