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Make. Bake. Cook. Book. Publisher: Independent Publishing Network. Publication date: Dec 2020 Author: Artists’ Tuck Shop Email: artiststuckshop@gmail.com Address: Studio 2-14/15, Rogart Street Campus, Glasgow, G40 2AA Website: www.artiststuckshop.co.uk Please direct all enquiries to the author. Copyright © 2020 Artists’ Tuck Shop Image copyright belongs to the respective artists.
Edited by David McDiarmid Design by Jon Nicolson Printed by Mixam in the UK
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by reviewers, who may quote brief passages in a review.
ISBN 9781800490086 Printed in United Kingdom
Contents.
Preface
p.3
p.59
Amuse-bouches Sweet
Savoury p.10
p.63
Fruit Leathers, Hannah Ayre
p.14 Swede Porridge Topped with Roasted Squash, Goat’s Cheese and a Walnut and Sage Garlic Oil, Harriet Jenkins
p.66
Fake Funfetti Cake, Kerry Samantha Boyes
p.70
Vegan Lime and Ginger Cheesecake, Emily Furneaux
Katsu Curry with Sweet Potato Korokke, Freya Allan
Twice Cooked Chips (Grown in Lockdown with Love) and Elote Corn, Rudy Kanhye
p.16
p.72
Celebration Party Hat Cakes, Julie Duffy & Hayley Mathers
Charred Leeks, Broccoli and Asparagus with Green Mole, p.19 David McDiarmid
p.75
Winter Pear and Cardamom Frangipane Tart, Didi Jellema
(Clay) Baked Trout with Fennel, Lemon and Capers, Kevin Andrew Morris
p.22
p.78
Rye-tous Chocolate Cookies, Ameena Nur
Nashville-eque Hot Tofu Burgers, Jon Nicolson
p.26
p.81
Vegan Spiced Carrot Cake, Emma Rogers
Vegan Mince Pies, Stuart C Noble
p.28
p.83
Tahini Caramel Cups, Rachel Rogers
Tinga Tacos Veggie Style, Greer Pester
p.31
p.87
Backyard Baked Alaska, salt collective
Seaweed Sourdough, Christina Riley
p.33
Halloumi Flatbreads, Hollie Russell
p.38
Hogmanay Chilli, Julie-Ann Simpson
p.40
Edible Screenprint, Saskia Jae Singer
p.44
Potato Waffle Ham and Cheese Sandwich, Sarah J Stanley
p.45
p.90
Bios
Foraged Mushroom Ramen, Philip Thompson
p.50 p.97
Recipe Index
Authentic Mixy Chinese Scottish Curry Sauce, Sean Wai Keung
p.52
Caldo Verde & Calamari, Alex Weir
p.55
p.102
Further Reading
p.104
Carpaccio of Giant African Land Snail, Domestic Godless
2
Preface. Let’s be frank, we couldn’t have had a worse start to 2020
than a global pandemic. But the ongoing crisis has given us all a chance to slow down and focus on the small pleasures we don’t usually make enough time for.
It’s also afforded us a valuable opportunity to be kind to ourselves and take stock; to focus on the most important things in life, reflect upon all we’ve achieved until now, and to contemplate how we want to approach the future.
For the last 8 months, the subject of food has been at the forefront of my mind. This is a subject I have been increasingly interested in since undertaking an MLitt in Curatorial Practice between the Glasgow School of Art and University of Glasgow from 2017-18 where my final project resulted in an artist-run pop-up restaurant called Artists’ Spread.
Prior to this I had spent 4 years balancing working 40+ hour working weeks at a Mexican restaurant, which I juggled with producing and exhibiting my own work while also Co-directing the voluntary artist-run initiative Visual Artist Unit along with 7 of my art school peers. I was looking to shift focus towards art and curation and thought undertaking a Masters would be my best bet to kick-starting a ‘proper’ career in the arts.
I wasn’t expecting my day job to impact my art practice (beyond the recurring thought that I was sick to the back teeth of serving tacos!), so I was surprised as anyone when my research interests ultimately settled on the subject of artists’ working in the hospitality industry, and for my final project to result in a pop-up restaurant! But with the downtime of lockdown to reflect, I’ve come to realise that food has in fact always been a major concurrence in my art practice.
I think back fondly to my days studying painting at Gray’s School of Art, where half of our class would congregate for regular ‘corridor lunches’ during our Degree Show year, squatting on the linoleum floor outside our studio rooms (and just down the hall from the staff in the Departmental office, who must have been privy to all sorts of shite chat!) with our sandwiches and classic ‘kettle-based’ meals such as instant noodles and packets of cous cous. If we were feeling fancy, a large table would be whipped out with a selection of breads, dips, meats, cheeses, fruits, savoury snacks and sweet treats shared out among us. Sometimes the tutors would join us. On one hot summer’s day, we congregated on the rooftop to cool down where Make Bake Cook Book graphic designer Jon Nicolson and I dished out a tub of classic vanilla ice cream cones for all. I still wonder how on earth we managed to churn out a full body of work for our Degree Shows…
33 3
Make Bake Cook Book editor David McDiarmid and graphic designer Jon Nicolson sharing an ice cream on the roof of Gray's School of Art c. 2013. Image Credit: Vivian Ross-Smith
A classic dinner party served with members of the Australian and Welsh Pavilions' invigilator teams at Venice Biennale c. 2013. Image credit: Adam Benmakhlouf
A rare image from one of the famous Gray's School of Art Painting Dept. bake sales to raise money for our Degree Show. Image Credit: Vivian Ross-Smith
Speaking of Degree Shows, like most final year art school Undergrads, we would organise bake sales throughout the year in order to raise funds for ours. Needless to say, when the opportunity to out-do each other in the baking stakes arose, the actual work we had to do for the Show went out the window. As for the exhibition openings we would attend throughout the year, the food on offer was critiqued almost as much as the art! The ‘Spoon Cheese’ delights offered up at The Foyer in Aberdeen (sadly closed now) were a standout favourite of mine. These were a sort of amuse bouche involving some form of soft cheese like Brie or Stilton, served on a ceramic spoon. A group of my art friends took this love of exhibition preview spreads forward (buoyed in no small part by our success in negotiating 20 free bottles of gin for our Degree Show opening) when we formed Visual Artist Unit and started organising our own exhibitions with home baking featuring regularly.
Following art school I was lucky enough to be selected for an Information Assistant role for Scotland + Venice; the Scottish presentation at the Venice Biennale 2013 curated by The Common Guild. For 6 weeks I joined a team of 3 other recent graduates with the wonderful job of invigilating the works of Hayley Tompkins, Duncan Campbell and Corin Sworn, within an old Palazzo building in Venice. Aside from the obvious fantastic opportunity in having so many internationally renowned artists’ work on my doorstep, my fondest memories from this time surround the weekly feasts our team spent preparing together. This tradition soon extended to our counterpart delegates from other countries, and we took it in turns to share dishes from our home nations, with one night resulting in an experimental lentil version of mince and tatties to cater for a few vegetarians. So the story goes, it was (whisper it quietly) better than the meat version…!
I could go on for hours with many more fond food memories that have intersected my working experience as an artist, but it’s important to note this interest isn’t unique to me. Throughout my career I have observed that many artists form a similar engagement with food and cooking.
While for some artists food and cooking is just a hobby, for a growing number it directly feeds into what they do or make, emerging almost as a distinct discipline demanding almost as much focus towards research and development as their art. An increasing number of artists have also gone on to launch highly successful foodrelated businesses, a testament to how these parallel practices can help artists navigate what is normally a highly precarious creative career.
But what’s the inherent correlation between artists and food? There’s certainly an argument to be made that this could be explained by the ubiquity of the hospitality industry as a second career for many artists, but I think there’s more to it than that. The best chefs are devoted to their craft, constantly tinkering away with different flavour combinations, cooking techniques and plating methods, and they embrace failure as a process of learning. They also display a generosity and willingness to share their knowledge and interests through their work, engage with the public, collaborate with their peers and deliver public presentations and workshops. You don't need much imagination to realise how these methods and practices are analogous to an artist’s practice. My belief is that in fact the creative processes involved in producing food and art, are in fact both drawing from the same well, as Make Bake Cook Book will illustrate.
Countless art projects have emerged in recent years with food at their heart. Internationally renowned artist Olafur Eliasson’s studio houses a dedicated kitchen to feed around a hundred studio team members. Though it started life as a small communal space for about 15 studio members to cook for each other, the kitchen has emerged into a fully-fledged artistic project in of itself known as SOE Kitchen. In recent years, SOE Kitchen has branched out to releasing a cookbook, The Kitchen, first published in 2013, and in 2019 undertaken a kitchen residency of the Terrace Bar within the Tate Modern, to coincide with Eliasson’s exhibition In Real Life.
4
Brussels-based Swiss artist Nicholas Party is another with a practice heavily rooted in food, an example being his 2017 commission Café Party, for which he transformed the restaurant building in Jupiter Artland with decorative wall paintings, custom furniture and serveware, hand-painted tables and crockery. But this wasn’t the first time Party had paired painting with food. In both Dinner for 24 Elephants at the Modern Institute (2011) and Dinner for 24 Dogs at Salon 94 (2012), he organised dinner parties as exhibitions. In a similar vein to Café Party, he designed the furniture, tableware and décor, with guests being served a seven-course meal of individual items including a single sausage with mustard on a plate.
And you don’t need to look too hard to find yet more recent examples out in the wild that echo the innovation of Eliasson and Party, blending the boundaries between food and art. These include Narture, an experimental bakery/kitchen in Ayr, The Domestic Godless, a Cork-based artist collective and Deveron Projects, an arts organisation based in the small market village of Huntly.
A classic 'corridor lunch' with some of the painters during 4th year at Gray's School of Art. Image Credit: Vivian Ross-Smith
Narture explore the notions of food as art and art as food, raising the ‘dough’ from sales of real bread baked freshly on the premises, in order to fund art projects in their gallery space.
Founded by artists Stephen Brande, Mick O’Shea and Irene Murphy, The Domestic Godless produce recipes, installations and public presentations with food being used as both a concept and a medium through which to explore artistic irrerevance.
Deveron Projects are a community-minded arts organisation, producing projects that connect artists, communities and places. One example is their partnership last year with Scots-Iraqi artist-chef Kawther Luay to initiate a local hospitality project called Neep & Okra Kitchen. This aimed to regenerate the local area by offering locals a place to explore new tastes, exchange ideas and develop new friendships and connections, with food as the vehicle.
David and artist Adam Benmakhlouf making chips for dinner at the Palazzo Pisani during some downtime from invigilating Scotland + Venice in 2013. Image Credit: Vivian Ross-Smith
In terms of publishing, Issue 205 of Frieze Magazine, otherwise known as The Food Issue, released in 2019, set out to explore the role of food in contemporary culture with considerations towards the human and environmental implications of its supply and cultivation. The issue included a mix of specially commissioned texts, recipes and contributions from a broad range of artists and writers around the world.
On a more local level, Artists’ Cookbook by Rudy Kanhye, whose work features in Make Bake Cook Book, which was released in 2017 and compiled from artists’ contributions, aims to explore cultural contexts and rituals surrounding cooking and eating.
Another image from one of the Painting class of 2013's Degree Show fundraiser bake sales. Image Credit: Vivian Ross-Smith
5
The projects I have listed above form only a small selection of recent examples of artist-centred food projects, however, once you scratch beneath the surface, you soon begin to uncover a wealth of exciting foodbased art projects in existence around the world!
I launched Artists’ Tuck Shop last year as an initiative to encourage Scotlandbased artists’ dual interests in food and art, supporting them to increase income generation from art-related activities. With ongoing cuts being made to arts organisations and artists struggling to juggle their creative careers with jobs in other sectors, especially in the current crisis, I wanted to help make things a bit easier! We aim to enable artists to reduce time spent working in unrelated employment and thus focus more time on developing their creative careers.
Image from a dinner party feast held at Jon’s flat for his birthday during 4th year at Gray's. Image Credit: Vivian Ross-Smith
We do this by commissioning artists to make unique, affordable art objects for us to sell on their behalf at markets, events, festivals and popups via our tuck trolley, wholesale and online shop. We also produce homemade snacks with artists using responsibly sourced ingredients and packaged using environmentally friendly materials to sell at markets and pop-ups or via wholesale and catering services.
10% of all sales and wholesale orders go to Artists’ Tuck Shop’s art commission fund to keep the project running by enabling us to commission artists on an ongoing basis.
Earlier this year, Artists’ Tuck Shop received National Lottery funding administered through Creative Scotland enabling us to undertake the ambitious project of producing Make Bake Cook Book, featuring the artworks and recipes of 25 artists based in Scotland and further text contributions from a select group of creative individuals. It is hoped that with the funds we raise from sales of Make Bake Cook Book that we will be able to commission each of the 25 artists involved in the project to produce a new artwork to be stocked and sold via Artists’ Tuck Shop.
In a time where the new norms of long queues at supermarkets, food stockpiling and distribution issues and the temporary closures of places to dine out, have made home-cooking a greater necessity than ever before with cookbooks providing an important creative outlet during these times of lockdown. Furthermore, with the current crisis posing a huge threat to the future of galleries and opportunities to exhibit work, I hope Make Bake Cook Book will enable readers to engage in a physical art experience from home, with artists enjoying the challenge of creating and sharing physical artwork remotely for a familiar but unusual format.
However, as you might expect with artists at the helm, what you are about to experience is not your run of the mill cookbook. Some recipes are simple to follow, while others are deeply impractical. In some cases, artists have subverted the brief by supplying readers with additional instructions to follow in order to make their own origami or glaze recipe from home. Make Bake Cook Book compiles a fantastic array of creative responses from 25 artists based in Scotland, tasked with sharing a sense of the artwork they make, the food they like to cook and bake, while detailing their interests in both food and art.
Gray's Painters waiting patiently in the microwave queue in preparation for another delicious 'corridor lunch'. Image Credit: Vivian Ross-Smith
6
Tuck in and enjoy!
David McDiarmid Director of Artists’ Tuck Shop Nov 2020
7
Savoury.
8
Freya Allan 9
recipe 10
Freya art
RECIPE OVERLEAF: SWEDE PORRIDGE TOPPED WITH ROASTED SQUASH, GOATS CHEESE AND A WALNUT, SAGE, GARLIC OIL
HARRIET JENKINS Food is essential for all living organisms survival. It’s interwoven into our lives, environmentally, socially and politically: connecting people to land through farming, uniting us to one another through shared meals, recipes and produce, and, facilitating global trade through its use as a commodity good. This demonstrates its intrinsic link to everything around us, which fascinates me. Observing this interconnectedness has highlighted the impact of my daily actions, including the way I eat. For this reason, I try to align the way I consume with my values: Choosing produce that is mutually beneficial for both me, nutritionally, and the environment too, by selecting seasonal and locally grown goods, where possible. Thus, the use of food in my art practice has become a means through which I explore and share matters of importance to me. Through the use of precious metals, my tableware designs seek to bring forth the beauty of everyday ingredients, in an effort to highlight their value. Similarly to The Cooks Candlestick (pictured left), the format for my chosen recipe also references these ideas, by encouraging the user to think creatively. Presented as a template, the key components of this savoury porridge are interchangeable, allowing the cook to select ingredients that are both to taste, and seasonally, or locally available. Included, is a suggestion using swede, squash, goats cheese, walnuts and sage - a personal favourite! This variation is perfect for autumnal, or winter months, when the days grow colder and darker. A time of year when I most enjoy tucking into a bowl of warming porridge.
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SWEDE PORRIDGE TOPPED WITH ROASTED SQUASH, GOATS CHEESE AND A WALNUT, SAGE, GARLIC OIL for artists favoured ingredients, refer to bold
INGREDIENTS (serves 2)
200g Topping vegetables eg. seasonal squash, brassicas, parsnip, beetroot, pepper
2OOg Root vegetable, roughly chopped eg. swede, carrot, parsnip, turnip, beetroot, butternut squash
550ml Vegetable Stock 150g Jumbo Oats 4 tbsp Olive Oil 2 x garlic cloves, finely sliced 1 x handful of fresh herbs, finely chopped
METHOD Preheat oven to 180°C, fan Slice and roast topping veg to desired size / taste. Allow 20 minutes before they’re fully cooked, to prepare the rest of your meal. Roughly chop the root veg for the porridge. Place in a medium pan, cover with stock and simmer on a high heat for 5 minutes, or until veg is tender. Remove from the heat and set aside. Meanwhile, place the oil, garlic, herbs and nuts / seeds into a frying pan and cook on a low-med heat for roughly 10 minutes, or until it smells aromatic and the nuts are beginning to golden.
eg. sage, thyme, rosemary, parsley
30g of nuts, roughly chopped eg. walnut, chestnut, hazelnut, pumpkin seed, sunflower seed
1 x large handful of fresh greens, finely sliced eg. cavolo nero, spinach, kale, chard
1 x tbsp Cider vinegar
Using a stick blender, blitz the veg and stock together in the pan, to a smooth consistency. Add the oats and return the hob, cooking on a low heat for 5 mins, stirring regularly and adding a splash more water, if required. Remove from heat and stir in the fresh greens, cider vinegar, salt, pepper. Cover, and set aside whilst you prepare to serve. Gather the roasted veg, garlic oil and cheese. Dish the porridge between bowls and dress with toppings.
100g cheese, roughly chopped eg. goats cheese, parmesan, stilton, feta
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16
Charred Leeks, Broccoli and Asparagus with Green Mole by David McDiarmid Highly inspired by the amazing chefs Enrique Olvera and René Redzepi! You can make the mole the day before and indeed this actually allows the flavours more time to develop together. Ingredients
Method
Green Mole
Green Mole
200g Broccoli cut into large chunks 1 large Garlic Clove 1 Serrano Chile 240ml Water 20g Coriander 100g Asparagus chopped into chunks 60ml Olive oil ½ white onion cut into large pieces
1. 2. 3. 4. 5. 6. 7. 8.
Charred Veggies
Charred Veggies
2x Leeks (cut into batons and half lengthways) 1 bunch Spring Onions (top and tailed) 200g x Tenderstem broccoli (blanched for a few mins in boiling water and dried with a towel) 150g Brussel sprouts (peeled and halved – blanch for a few mins in boiling water and leave to dry) 2 Tbsp Pumpkin seeds - lightly toasted (for garnish)
1. Heat your frying pan on a high heat and lightly coat with oil, use a cloth to wipe any excess off, being careful not to burn oneself! 2. Pop your veggies on the pan, cut side down where applicable and leave. Do not be tempted to poke them. You can lightly lift them with a spatula to check the colour underneath, but you’re basically looking to char one side of the veggie. 3. Once charred, pop a small glug of flavoured oil (you could infuse a jar of olive oil with any dried herbs for a few days ahead of this!) into an air-lock plastic tub large enough to fit all your veggies in. 4. Pop your veggies straight from the pan into the plastic tub, close the lid immeditately and then gently shoogle the tub to coat the veggies in the oil. 5. Leave for 5/10 minutes to allow the residual heat to further cook the vegetables. 6. To plate, put a ladleful of mole in the middle of your plate and spread in a circular motion outwards with the base of the ladle, like you would apply tomato sauce on a pizza base. 7. Arrange your blackened veggies on the plate. Top with lightly toasted pumpkin seeds.
Serves 4
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Sauté the onion and garlic in oil on a medium-high heat. Add the broccoli, asparagus, chile and sauté. Add water to de-glaze the pan and bring to the boil. Remove from heat and add coriander. Pop in a blender and blitz until the mixture is smooth. Strain through a fine mesh sieve into a pan. Bring to a boil and then remove from the heat and, adjust the seasoning. Use straight away or store in a glass jar until ready to use or freeze.