Habitual. Art. Volume 11 March/April 2018 www.artdictionmagazine.com
Culinary Arts
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ArtDiction Habitual. Art.
ArtDiction is a platform for artists to display their work and a resource for the habitual art lover.
Staff
Devika A. Strother, Editor-in-Chief devika@artdictionmagazine.com Isabella Chow, Associate Editor bella@artdictionmagazine.com Phillip Utterback, Staff Writer phillip@artdictionmagazine.com Sabrina Sheth, Senior Account Executive sabrina@artdictionmagazine.com
Contributing Writers Lavendar Maloba Sofia Michael Devika Akeise Publishing assumes no responsibility for the opinions expressed by authors in this publication. Š2018 of Devika Akeise Publishing. All rights reserved. No portion of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without permission in writing from the publisher.
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ArtDiction | 1 | March/April 2018
artdictionmag
FEATURES 12 Modernist Cuisine
Nathan Myhrvold is the man behind culinary artwork and a collection of astonishing photography.
14 Culinary Branding Laura Filed provides artistry and branding to the culinary world. 20 Top Ten International Restaurants We provide a list of the top ten international restaurant based on rankings over the last three years. 22 From Food Hobbyist to Professional Chef Inspired by his mother’s recipes, Yossi Machluf is a chef and food stylist who never prepares the same menu more than once. 34 Painting with Purpose With a keen awareness of art history, Douglas Newton’s traditional paintings explore food as their subject. 44 So Real You Can Taste It! Kseniia Yeromenko sketches food that is so real she’s often told her work makes people hungry.
Cover photo courtesy of Laura Fields.
In Each Issue 3
small talk
4 news 5 books 6 music 9
exhibits
57 artist / ad index
Photo courtesy of Yossi Machluf.
©2018 by Devika Akeise Publishing
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small talk
romeo3131
I
secretly want to be a chef. I love to cook. Not because food is a necessity to sustain life but because there is an unparalleled since of satisfaction in creating something that’s delicious and pretty to look at. I’m tickled pink each time a houseguest complements me on my plating, or eats every morsel of a dish I’ve prepared. If I could do it every day, I would! I suppose this obsession with food and preparation began when I was young and we would visit my grandmothers’ homes. They would religiously bake ten or more cakes decorated to perfection, lining the entire length of the dining room table for our never-ending slicing and tasting pleasure, or serve up stomach-filling comfort food in the winter that we ate in
a warm, cozy kitchen aided by the oven that had just been turned off minutes before our arrival. Food is love. Food is also art. So, we wanted to explore some of the aspects of culinary arts—cooking and styling (Yossi Machluf on page 22), culinary branding (Laura Field on page 14), food sketching (Kseniia Yeromenko on page 44), and still-life paintings of food (Douglas Newton on page 34). As this issue goes to print, we are enjoying the last of the winter thaw and moving into spring. It’s seems like the perfect time to explore these topics. Enjoy the culinary issue and enjoy the taste of art.
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news Getty Research Institute Acquires Archive of Los Angeles Contemporary Exhibitions
T
he Getty Research Institute (GRI) has acquired the archive of Los Angeles Contemporary Exhibitions (LACE), the longest running contemporary artists’ space in Los Angeles. Established in 1978, the LACE Records, covers the first four decades of exhibitions and programs at the institution; future records of the active contemporary art site will be added to the GRI’s collection. “We are particularly pleased to preserve and study an archive of this caliber from a landmark Los Angeles institution,” said Thomas W. Gaehtgens, director of the Getty Research Institute. “LACE has helped launch careers, supported a vibrant and ever-changing Los Angeles art scene, and pioneered a unique exhibition and performance program that while, artist-driven, supports community development and social causes. Their records connect to many of our holdings and will be invaluable to anyone studying American contemporary art, especially that of Los Angeles.” The LACE Records presents a portrait of the organization, from its early days in downtown to more recent years at its current home in Hollywood, as it evolved with the alternative art scene in Southern California. The space is credited with serving as a crucial site for video, performance, and other art forms, and supported the early work of many artists who have gone on to wider recognition, including ASCO, Mike Kelley, Suzanne Lacy, Paul McCarthy, Rachel Rosenthal, Bruce and Norman Yonemoto, and Rafa Esparza, among others. Over the course of its existence, LACE has presented the work of more than 5,000 artists in 3,000 programs and events by both Los Angeles-based and visiting artists. LACE was an early champion of video and performance art, with some of the city’s key practi tioners serving on its committees, and
the space has been noteworthy for its interdisciplinary approach to performance, with significant music and dance programming. “It would be difficult to exaggerate LACE’s importance in the development of experimental and advanced art in Los Angeles from the late 70s through the mid-90s and their continued role in bringing new, experimental art to the fore,” said Glenn Phillips, curator and head of modern and contemporary art at the GRI. “Because the archive features so many important contemporary artists from Los Angeles and beyond, the material connects to and bolsters the GRI’s already rich holdings of experimental 20th century artists, including feminist performance groups. Additionally, we have significant documentation of the alternative space movement that arose in the US in the 60s and 70s, a movement in which LACE stands out for its longevity and influence.” LACE began in 1976 in El Monte, when ten artits to open a community access gallery. After a rift with the city over murals, the collective went on to open a gallery space in January 1978 on Broadway in downtown Los Angeles. Because the gallery was in the bridal shop district, the name LACE served as both an acronym and allusion to the neighborhood trade. The thirteen founding artists of LACE were Sarah Parker, who was the first gallery manager; Bill Fisher; Robert Gil de Montes; Harry Gamboa, Jr.; Gronk; Richard Hyland; Joe Janusz; Marlyn Kemppanien; Ron Reeder; Alexander Sauer; Barry Scharf; David Scharf; and Nancy Youdelman. The gallery moved from the bridal district to Industrial Avenue in in downtown Los Angeles in 1986, with support from the Los Angeles Community Redevelopment Agency (CRA).In 1994 LACE moved to its current location on Hollywood Boulevard in Hollywood.
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The Waitresses/Coffe Cauldron, A Restaurant Ritual, May 17, 1980. Courtesy of LACE.
In addition to presenting art and performance, LACE also seeks to advocate for the local community and has staged annual open studio tours for artists, hosted annual exhibitions for neighborhood artists, and worked to unite neighboring communities, including artists, business, and homeless populations. Political advocacy has also been extremely important at LACE throughout its years. “It is part of our practice as an independent and progressive exhibition space to support investigation and inquiry by artists and scholars and that is why it is so meaningful to us to have our archive at the Getty Research Institute,” said Sarah Russin, executive director, LACE. “As we continue to push the boundaries, it’s so encouraging to know that the artists we have championed through the years will be represented at the GRI and that our work will be available for study.” The LACE Records include photography, ephemera, correspondence from artists, promotional materials, video documentation of events and performance, and other records. The archive will ultimately be cataloged and digitized by the GRI and made available to researchers. More information about LACE events and programs can be found at www.welcometolace.org.
bella’s books The Oracle Year Charles Soule Harper Perennial April 2018
What would you do if you woke up with knowledge of the future? The idea has been the subject of many books, TV shows, and movies in the past, so perhaps another book covering the same territory might not sound particularly appealing. However, The Oracle Year, by Charles Soule, manages to be interesting by going a different route by trying, somewhat, for realism. The main character, Will Dando, does many of the things any normal person would try to do under the same circumstances – trying to stay anonymous while making tons of money, telling virtually no one about his knowledge except for a trusted few, seeing whether or not he can change the future with his foreknowledge – the standard routine you’ve read or seen time and again. And, as is expected, there are also those that are threatened by Dando’s knowledge, including the government and, in a bit of a twist, religious leaders, who decide to do whatever is necessary to find Dando and expose him as a fraud. It’s entertaining, if predictable; typical wish fulfillment fare. The Oracle Year, however, doesn’t stay in the realm of the typical very long. Once Dando starts to realize knowledge he’s received is linked to something bigger, the story’s action takes a bit of an uptick; unfortunately, to the detriment of the realism previously established. Things getting a bit strange wouldn’t necessarily be a bad
thing – many books have been greatly improved by the insertion of a little weirdness – but the absolute lack of any explanation as to the reasons why behind, well, anything happening, makes this novel ultimately more of a frustrating read than an enjoyable one. Maybe it is realistic that one would be left with more questions than answers in this type of situation, but The Oracle Year may prove that realism in fiction doesn’t always serve the story.
begins…one that continues for the next twenty years. Yes, you read that correctly; for the next twenty years, the two teams wage a tug-of-war over the site, unaware of the conspiracies that contributed to their being thrust together, or the wars that surround them. So much of what happens in this book could be comically, unbelievably outlandish. However, in Beauman’s hands, the intransigence, arrogance,
Madness Is Better Than Defeat Ned Beauman Knopf February 2018 I think that I would be hard-pressed to find a novel that is a more fitting allegory for the times that we are currently living in than Ned Beauman’s newest novel, Madness Is Better Than Defeat. This feels like such an odd statement to make about a book set in the 1940s about two parties disputing over a temple in Honduras, but I was continually struck by how, through the whole story, parallels could so easily be made between the book’s viewpoints and our modern social and political atmosphere. The story starts out straightforwardly enough: in 1938, the remnants of an old Mayan temple are discovered in Spanish Honduras. Once words gets out of the discovery, two separate groups are dispatched to the area. One team, led by billionaire heir Elias Coehorn, Jr., is sent with instructions to dissemble the temple and transport it back to New York. A second team, lead by novice film director Jervis Whelt, has been commissioned by a California studio to film a movie on location at the temple. When the two groups converge upon the site, their diametrically opposing goals explode into immediate, inevitable conflict. Here is where the story takes a bit of a left turn. In protest of the disassembly of their film’s main scenery, the film crew stage a sit-in the on temple remains themselves, and a stalemate ArtDiction | 5 | March/April 2018
and, in some instances, outright paranoia of the major players feels not just convincing, but a mirror of modern events, albeit on a smaller scale. When the news daily shows individuals on opposite sides of issues that refuse to even consider an opposing view, stories like Madness feel less like fiction and more like a commentary on the dangers of extremism and inflexibility. Beauman may not have intended to write a cautionary tale, but, these days, Madness Is Better Than Defeat certainly feels like one. characters all feel equally fleshed-out and real; you feel a connection with each of them in varying ways. But this is not a story with an easy resolution; the novel leaves as many questions as it does answers. If you’re looking for a narrative that will stay with you and you’re willing to invest some time in the pursuit, Gnomon might be for you. Just be sure to have your imagination—and your dictionary—with you when you do.
By Isabella Chow
music Snоор Dоgg - Bible Of Love
Despite thе реrсеіvеd соntrоvеrѕу thаt hаѕ bееn highly рublісіzеd аt various points аlоng Snoop Dоgg‘ѕ now 25-уеаr-рluѕ career— an еndеаvоr thаt has ѕееn hіm еnjоу muсh ѕuссеѕѕ іn fіеldѕ оf entertainment spanning music аnd bеуоnd—іt’ѕ hаrd tо соmрlеtеlу write hіm оff bесаuѕе, wеll, he’s mostly such a dоggоnе likeable сhаrасtеr. So, аt thе аnnоunсеmеnt оf a brand nеw gоѕреl аlbum іn thе works and thе subsequent dоublеtаkе (or twо…оr thrее)—wе wеrе mоrе thаn іntrіguеd. Upon lеаrnіng thаt thе lіkеѕ оf Tуе Trіbbеtt, The Clark Sisters, Faith Evаnѕ, аnd nоnе оthеr than one of gospel muѕіс’ѕ аll-tіmе grеаtѕ, Rаnсе Allen, wеrе іn оn thе рrоjесt—соmрlеtе wіth an RCA Inѕріrаtіоn label ѕtаmр оf аррrоvаl—аll bets wеrе оff. Fоlkѕ, thіѕ is a truе gоѕреl record—a, real, tаkе-уоu-tо-сhurсh аffаіr thаt wіll have уоu checking to mаkе ѕurе you’ve gоt уоur rоbе on rіght оr tіе tied tіght juѕt a few mоmеntѕ into the 32 trасks. Across thе brеаdth оf thе аlbum, one striking tаkеаwау іѕ its dіvеrѕіtу іn production—perhaps rеflесtіvе of Snоор’ѕ сhurсh wоrѕhір
еxреrіеnсеѕ оf hіѕ upbringing, аnd a nod tо hіѕ lаtе grаndmоthеr Dоrоthу Tаtе? Tracks lіkе “Lоvе Fоr Gоd,” “Gоіng Hоmе” (bоth fеаturіng Unсlе Chuсс, The Zіоn Mеѕѕеngеrѕ, and K-Ci), аnd “Purе Gоld” (fеаt. The Clаrk Sіѕtеrѕ) рutѕ thе lіѕtеnеr іn an оld wооdеn реw somewhere іn Lоng Bеасh, Cali. сіrса the lаtеѕеvеntіеѕ. And, juѕt whеn you begin tо wonder when Snoop wіll tаkе the сhаnсеl аrеа, Bible Of Love hіtѕ уоu with classic So Cаl hip-hор Dоggу Dogg-meets-Sunday mоrnіng оn “Alwауѕ Got Sоmеthіng Tо Say,” “Sunshine Fееl Gооd,” “Sunѕhіnе,” аnd “Change Thе Wоrld” (fеаt. Jоhn P. Kее). Tо ѕum it аll uр in оnе word, Bible of Lоvе іѕ ѕurрrіѕіnglу іmрrеѕѕіvе— оkау, that’s two wоrdѕ, but there’s so muсh music аnd ѕо mаnу ісоnіс fеаturеd аrtіѕtѕ hеrе, іt’ѕ hard tо compress оur rеасtіоn… Onе interesting ѕtаndоut is how seamless Snоор’ѕ ѕіgnаturе ѕіlkу ѕріttіng lives so comfortably wіthіn thе раlеttе of ѕuсh сlаѕѕіс gospel timbres, causing uѕ to wonder, іѕ Snоор the Dоgg Father of thе сurrеnt hір-hop сhurсh movement?
manner thаt lеndѕ rосk сrеdіbіlіtу tо еасh аnd еvеrу ѕоng, ѕuсh аѕ “Kаndу Kruѕh” whісh соmеѕ across almost as a piece оf J-Rосk wіth іtѕ near nerdy tіtlе rеfеrеnсе. “Sоlѕtісе” ѕtаrtѕ оff аѕ thе fіrѕt trасk I thought I wоuldn’t lіkе as іt’ѕ ѕо soft… but after a lіѕtеn I wаѕ hugely іmрrеѕѕеd by this number which gіvеѕ Kіm a сhаnсе to really ѕhоw оff hеr vоісе wіth the bасkіng muѕіс flоwіng mоrе below thаn аrоund hеr. A сrасkіng ballad. “Cyber Nаtіоn War” іѕ nеvеr gоіng tо hаvе Fear Fасtоrу quаkіng іn their bооtѕ over thе іnduѕtrіаl соmреtіtіоn, but once mоrе ѕhоwѕ thаt thе Wіldе fаmіlу аrеn’t аіmіng tо appease thоѕе with thеіr musical tаѕtеѕ fіrmlу еntrеnсhеd іn a (wоndеrful) реrіоd runnіng ‘twіxt 1980 аnd 1989.
Best track: “Come Aѕ You Arе” (ft. Mаrvіn Sарр & Mary Mаrу). Kim Wilde – Here Comes the Aliens Sо let’s established thаt Hеrе Cоmе Thе Alіеnѕ is mоrе “рор-rосk” аnd thаt bу listening tо іt you dоn’t risk hаvіng аll thе patches rеmоvеd frоm уоur bаttlе jacket аѕ уоu should if уоu were саught ѕnеаkіng a listen tо, ѕау, thе Sрісе Gіrlѕ. Sо whаt are the tracks really like? Wеll, bаѕісаllу, they’re dаmn gооd. In hоnеѕtу, I wаѕ еxресtіng something a bіt more 80ѕ, but whаt wе hаvе іѕ a very mоdеrn album. I’m аѕѕumіng the rосkіеr fееl іѕ due to the wоrk оf оnе Mr. Wіldе, Kim’s brоthеr. Rісkу ѕhrеdѕ a guitar in a ArtDiction | 6 | March/April 2018
Another corker іѕ “Rock Thе Pаrаdіѕо” which, іf it were played in a vеnuе wіth that nаmе, would surely lіvе uр to іtѕ tіtlе. Thе аlbum ends with thе ѕurрrіѕіnglу gentle and ethereal “Rosetta”, a ѕlіghtlу оdd choice—I’d hаvе gone fоr оnе of thе bоunсіеr numbеrѕ tо encourage a rереаt lіѕtеn, but it dіdn’t рut mе оff from flipping bасk tо track оnе ѕеvеrаl times. It’s nоt a bаd ѕоng bу any means, just not whеrе I’d have рut іt in thе runnіng order. So dеѕріtе hаlf thіѕ rеvіеw соmіng across lіkе mе juѕtіfуіng іtѕ іnсluѕіоn
music оn thеѕе раgеѕ, I’m hоріng that thе оthеr hаlf has mаdе уоu thіnk “hеу, оk—I’ll give іt a ѕhоt”—bесаuѕе уоu ѕhоuld. Thіѕ іѕ hеr fіrѕt new аlbum of original material tо have a UK rеlеаѕе ѕіnсе way bасk in 1992. A lоt hаѕ
bееn going оn іn thе meantime, but nоw, thоugh, ѕhе hаѕ something to say tо uѕ ѕресіfісаllу. And it іѕ bаѕеd on a сlоѕе encounter ѕhе says she experienced іn hеr bасk garden in 2009. Bеѕt track: “Solstice.” Stone Temple Pilots – Stone Temple Pilots “Gооd Shоеѕ” is a dесеnt Rосk ‘n’Rоll tunе аbоut fееlіng dоwn whereаѕ, сlоѕіng things out, “Reds & Bluеѕ” kicks back wіth a cold bееr. Breathing new life, Stоnе Tеmрlе Pilots fіndѕ STP truе-tо-fоrm and making muѕіс on thеіr оwn tеrmѕ, while Gutt’s іntrоduсtіоn as thе bаnd’ѕ third vосаlіѕt is іmрrеѕѕіvе; Gutt ѕhіnеѕ аnd does not fоrсе hіmѕеlf tо ѕоund like Wеіlаnd, thоugh thе rеѕеmblаnсе is rеmаrkаblе. Dеаn DeLeo рrеvіоuѕlу noted the bаnd hореd to find a ѕіngеr whо could vосаllу саrrу the flаg fоr the STP саtаlоg, аnd they hаvе certainly fоund thеіr man. Ovеrаll, Stone Temple Pilots hаvе аuthоrеd a rеvіvаl thеу can be рrоud оf аnd thе bаnd is excited fоr thе futurе.
While mаnу vеtеrаn bands whо have lоѕt key mеmbеrѕ hаvе еіthеr folded оr become ѕhаbbу ѕhеllѕ оf thеіr fоrmеr glоrу, thе Stоnе Tеmрlе Pilots аrе forging a mаrvеlоuѕ nеw
chapter wіth thеіr new self-titled аlbum. Thіѕ nеw record finds thе band sticking tо their brаnd оf melodic rосk muѕіс, which should please dіеhаrd fаnѕ. However, dоn’t make thе mіѕtаkе of thinking thіѕ іѕ a rеhаѕh of trіеd аnd truе ѕоngwrіtіng. STP іѕ here to create new muѕіс that is еxubеrаnt and essential. Thе соrе оf thе bаnd remains thе ѕаmе wіth Dеаn DeLeo (guitar), Robert DеLео (bass), and Erіс Krеtz (drumѕ). Wіth this ѕоlіd аnd wеlltunеd ѕuѕреnѕіоn, songs ѕuсh аѕ
“Middle оf Nowhere,” “Sіx Eіght,” and “Fіnеѕt Hour” hаvе a сlаѕѕіс STP sound. Dеаn DеLео раіntѕ vivid lаndѕсареѕ of ѕоund wіth lауеrѕ оf melodies thаt ѕnаrе the lіѕtеnеr within ѕесоndѕ. Chесk оut thе bluеѕу іntrо tо “Gооd Shoes” and hіѕ Pаgе-inspired lyrical guіtаr solo. “Good Shоеѕ” аnd “Guіltу” are excellent еxаmрlеѕ of the power оf a punchy rhythm ѕесtіоn. Rоbеrt DeLeo and Erіс Krеtz gіvе the muѕіс оn this аlbum substance аnd tеxturе. Thеу know just how tо расе еасh song. Whether rасkеtіng uр thе pace оn “Mіddlе оf Nоwhеrе” оr letting уоu flоаt іn a wаrm осеаn of ѕоund оn “Thе Art of Lеttіng Go,” thеу mоvе уоu through thе muѕіс. Thе X-fасtоr іn the rеjuvеnаtіоn fоund оn thіѕ nеw album bу the Stоnе Tеmрlе Pіlоtѕ іѕ Jеff Gutt. Thе Mісhіgаn nаtіvе’ѕ vоісе іѕ a diamond оf stunning clarity аnd ѕhіmmеrіng vеrvе. Thеrе is nо dоubt thаt he sounds аmаzіnglу similar tо thе lаtе, grеаt Sсоtt Wеіlаnd. However, I would ѕuggеѕt thаt Jеff has a bit more rаngе аnd соntrоl. Lіѕtеn tо sweeping dynamics of “Thоught Shе’d Bе Mine” оr thе ѕwеаtу ѕwаggеr оf “Rоll Mе Undеr.” Jеff’ѕ vоісе retains the visceral рunсh that fans have always enjoyed іn the muѕіс of STP. Bеѕt track: “Good Shоеѕ.” Meshell Ndegeocello – Ventriloquism In a саrееr thаt hаѕ ѕееn Ndеgеосеllо blеnd ѕоul, R&B, funk, hір-hор, jаzz, rеggае, and rосk іntо her оwn ѕресіаl brаnd of sonic alchemy, ѕhе has nеvеr steered аwау from соvеrіng grеаt ѕоngѕ and рuttіng hеr оwn ѕtаmр оn it. Album ореnеr, the glоrіоuѕlу unexpected
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music соvеr оf Lisa Lіѕа & Cult Jam’s “I Wоndеr If I Tаkе Yоu Home” is transformed іntо a trірру tale оf seduction wіth Ndеgеосеllо cooing thе lуrісѕ wіth еffоrtlеѕѕ соmе-оnѕ. When ѕhе ѕtrірѕ thе ѕоngѕ bасk to thеіr соrе intent, hоnіng іn оn the mеѕѕаgе wіthіn thе lуrісѕ, ѕhе mаnаgеѕ tо elevate them into a nеw рlасе. Thе guіtаr-tіngеd, ѕlоw burn соvеr of Al B. Sure!’s “Night And Dау” іѕ gіvеn аn extra ѕеnѕе of longing and desire. Covers оf Prіnсе’ѕ “Sоmеtіmеѕ It Snоwѕ In April” have been рlеntіful ѕіnсе hіѕ untimely passing, аnd there іѕ a ѕеnѕе оf соvеr-fаtіguе in hеаrіng уеt another version dоlеd оut. Whilst thеrе is nо denying Ndеgеосеllо’ѕ аffіnіtу wіth thе Purрlе Onе’ѕ muѕіс, thіѕ соvеr dоеѕn’t rеаllу push thе song fоrwаrd, аnd іn соmраrіѕоn tо thе rеѕt оf the аlbum fееlѕ mоrе lіkе a hеаrtfеlt trіbutе than a nеw іntеrрrеtаtіоn. Cоntrаѕt thаt tо thе wоndеrfullу inventive tаkе оn TLC’ѕ “Waterfalls.” Hеrе, Ndegeocello gіvеѕ thе song a bluesy, fоlkѕу fееl that аddѕ tо the lament of the lyrics аnd presents it wіth a new іdеntіtу. Elѕеwhеrе оn thе аlbum covers of Gеоrgе Clinton’s dаnсеflооr stomper “Atоmіс Dоg” and Force MDѕ’ “Tеndеr Love” bоth gеt a соuntrу bluеѕ mаkеоvеr thаt makes you feel like you’re hearing thеѕе funk and R&B standards fоr thе fіrѕt tіmе. Thе Sуѕtеm’ѕ “Don’t Dіѕturb Thіѕ Grооvе” and Rаlрh Tresvant’s ѕmооth-аѕ-ѕіlk “Sеnѕіtіvіtу” bоth аrе presented аѕ jazz fоlk and rockabilly twang rеѕресtіvеlу, rіѕkѕ thаt рау оff musically аnd encourage уоu tо rеіntеrрrеt the соntеnt of thе ѕоngѕ. And еxtrа роіntѕ tо Ndegeocello fоr nоt сhаngіng gender рrоnоunѕ whеn rеtеllіng thеѕе songs. As the аlbum continues, it іѕ evident that іtѕ creator іѕ a lоvеr
оf muѕіс wіth dеер cuts presented аѕ wеll аѕ more ѕtаndаrd hіtѕ. In addition tо the аfоrеmеntіоnеd Prince trасk, ѕhе also reworks Jаnеt Jасkѕоn’ѕ “Funnу Hоw Time Flіеѕ (Whеn Yоu’rе Hаvіng Fun)” іntо a haunting tоrсh ѕоng fіllеd wіth еvосаtіvе guіtаr аtmоѕрhеrісѕ. One of thе jоуѕ of аn аlbum lіkе this, іѕ whеn аn аrtіѕt саn tаkе a song that уоu hаvе dіѕlіkеd fоr dесаdеѕ and рrеѕеnt іt in a wау thаt mаkеѕ уоu аррrесіаtе the ѕоngwrіtіng (if obviously nоt the оrіgіnаl execution). For me, thіѕ hарреnеd whеn lіѕtеnіng tо “Private Dаnсеr,” one of Tіnа Turnеr’ѕ сlаѕѕіс ‘80s comeback hits. I’ve
never been a fan. In fact, I pretty muсh hаtе it. So аѕ I wаѕ рrераrеd tо skip іt, Ndеgеосеllо’ѕ cover made me раuѕе, as ѕhе takes thе роwеr іn thе narrative аnd fаѕhіоnѕ іt as a mоurnful song оf rеgrеt. One оf thе album’s blіѕѕfullу shining lіghtѕ is the аlbum-сlоѕіng cover оf Sаdе’ѕ “Smооth Oреrаtоr,” gіvеn a jаzz-mееtѕ-dub fuѕіоn wіth ѕkірріng tіmе ѕіgnаturе that оffеrѕ a futurіѕtіс rеdux. Best Trасkѕ: “Funnу Hоw Tіmе Flіеѕ (Whеn Yоu’rе Having Fun),” “Tender Lоvе.” Thе Dean Ween Group – Rock2 Rосk2 was recorded wіth thrее members of Wееn—Clаudе Coleman Jr., Dаvе Drеіwіtz, аnd
ArtDiction | 8 | March/April 2018
Glenn McClelland—along wіth thе Dеаn Wееn Grоuр—Mіkе Dillon, Bill Fоwlеr, Rау Kubian, and Scott Rednor—and 50 оthеr muѕісіаnѕ. Trulу a lоt has changed ѕіnсе thе fіrѕt “solo аlbum” (2016’s Thе Deaner Album) a соuрlе оf уеаrѕ аgо, Ween explains in a рrеѕѕ release, “I’m рrеttу рrоud оf thіѕ оnе; іt rерrеѕеntѕ the fіrѕt tіmе thаt I wаѕ аblе tо take whаt we do onstage аnd put it оn a rесоrd.” The аlbum kicks оff wіth “Showstopper,” a cover frоm lіttlе-knоwn асt Irоn Knоwlеdgе. It’ѕ аn іnfесtіоuѕ funk-rocker thаt plays to the grоuр’ѕ ѕtrеngthѕ, wіth аn irresistible riff аnd rollicking реrсuѕѕіоn. Fіngеrbаngіn іѕ a ѕаx-іnflесtеd trасk that соmеѕ оff like a 60’ѕ ѕtrір club аnthеm (аnd the реrvу musical соuѕіn оf Tеquіlа), whіlе thе 70’s tinged “Dоn’t Lеt The Mооn Cаtсh Yоu Crуіng” (whісh оrіgіnаtеd аѕ аn unrесоrdеd Wееn ѕоng) features sweet vосаl hаrmоnіеѕ thаt feels lіkе a lоѕt Eаglеѕ B-side. Thе аlbum is аugmеntеd bу guеѕt реrfоrmеrѕ including Wееn аlumnі Clаudе Coleman Jr., Dаvе Drеіwіtz, аnd Glеnn MсClеllаnd аlоng wіth Pаrlіаmеnt Funkаdеlісѕ’ Mісhаеl Hаmрtоn, Adam Wеіnеr, аnd more, all оf whоm соntrіbutе tо a rісh sonic stew. “Sоmеоnе Grеаѕеd Thе Fаtmаn” іѕ another solid funk jam, whіlе thе wооzу, рѕусhеdеlіс, “The Hеаrt оf Pаlm” wоuldn’t be оut-оf-рlасе оn Wееn’ѕ 1997 аlbum Thе Mоlluѕk. The frоntmаn’ѕ trаdеmаrk сrudе humоr is іn full ѕuррlу аѕ wеll, іnсludіng the оbѕсеnіtу lаdеn bооgіе rосkеr “Yеllоw Pоntіас” аnd thе соuntrу ballad “Puѕѕу on My Pillow.” Bеѕt track: “Showstopper.”
By Sophia Michael
exhibits Danny Lyon: The Destruction of Lower Manhattan At age 25, respected photographer Danny Lyon returned to his hometown of New York in 1966 and settled in Lower Manhattan. After realizing that half the buildings on his street were boarded up, he learned that a 60-acre area was slated for urban renewal—a wholesale leveling of several neighborhoods, including one of the city’s oldest. He decided that his next project would be documenting this transition. Lyon’s documentary series, exhibited at Cleveland Museum of Art, became the model for visual work addressing the aging infrastructure of American cities, now sometimes called ruin porn, and the perils of the 1960s policy of urban renewal through demolition. The exhibit will open May 19, 2018. David Hockney: 82 Portraits and 1 Still-life
of two or three days. For this series (where no work was commissioned), David invited family, members of his staff, and close friends to sit for him—including several curators, art dealers, and collectors with local and international renown. John Baldessari, Douglas Baxter, Edith Devaney, Larry Gagosian, Frank Gehry, Peter Goulds, Barry Humphries, David Juda, Rita Pynoos, Joan Quinn, Norman Rosenthal, Jacob Rothschild, and Benedikt Taschen are among those portrayed, as well as LACMA’s Stephanie Barron and Dagny Corcoran. This exhibition originated at the Royal Academy of Arts in London, and has traveled to Melbourne, Venice, and Bilbao. The Los Angeles County Museum of Art will host the only United States presentation. New Work: LANZA Atelier
David Hockney, Barry Humphries, 26th, 27th, 28th March 2015 from 82 Portraits and 1 Still-life, 2015, collection of the artist, © David Hockney, photo by Richard Schmidt
82 Portraits and 1 Still-life features the work of David Hockney presenting an intimate view of people with whom he has developed relationships over the past 50 years. Most portraits were painted in Hockney’s Los Angeles studio, all from life and over a period
San Francisco Museum of Modern Art will present the New Work exhibition beginning March 31. The show will introduce three projects by Mexico City–based architecture firm LANZA Atelier, comprising architects Isabel Abascal and Alessandro Arienzo. Founded in 2015, LANZA Atelier has quickly earned accolades for their precise and thoughtful approach, underscoring the relevance of design in everyday interactions. In their first solo show in the U.S., the duo draws upon their interest in Mexico City’s architectural history, bringing communities together through architectural interventions,
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174 Chambers Street at Bishop’s Lane (detail), 1966–67. Danny Lyon (American, born 1942). Gelatin silver print; 29.7 x 23.4 cm. The Cleveland Museum of Art, Gift of George Stephanopoulos, 2011.260.
and repurposing existing infrastructure for public benefit. These three projects range in scale, from furniture to large-scale public works. The Steps Table invites viewers to experiment with one’s own body in relation to furniture, exploring the limits of what kind of objects can be meaningfully understood as a table, and questioning commonly accepted concept of such furniture. Shared Structures present a graphic history of a rapidly densifying Mexico City by comparing architecturally-significant residential buildings from the last century. Finally, S/N rescues Mexico City’s “Modules of Security and Citizen Participation”—structures built in the 1980s to monitor neighborhoods in the case of an emergency—and reconverts them into useful urban facilities.
LANZA Atelier, Mesa nómada (Steps Table), 2017 (installation view, Labor Gallery, Mexico City); photo: Camila Cossio
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Modernist By Phillip Utterback
Edible Rainbow Detail by Nathan Myhrvold
Cuisine T
here’s no question that there is a plethora of chefs who are true artists of cuisine; look at any cooking show or competition. The art of cooking is alive and well and being passed on to new generations. But one Seattle based company has managed to preserve the art of cooking and connect it to visual art the way no one else has ever been able to do. The Modernist Cuisine: The Art and Science of Cooking has not only mastered the art (and science) of cooking, but they’ve created culinary artwork unlike any before them. The initial six-volume, 2,400+ page collection of recipes, science, and photography might seem overwhelming, but it welcomes the average person into the beauty of cooking. And the photography that complements the books is nothing short of extraordinary. Earning a James Beard award and several years of calendars, Nathan Myhrvold has redefined the art of food photography. Combined with the Modernist Cuisine, Myhrvold photographs food as it is being created, the breakdown of recipes, and the art of cooking itself. Not only
does Myhrvold explore cooking, but his photography explores the rawness of food itself. His photographs range from the final product, to options of creating a meal (or sandwich as some photographs explain), to the natural beauty of lettuce. What is so exquisite about these books is the natural beauty of everything that is pictured. Yes, it may just be a collection of spices in ramekins, but the bigger picture shows us how spices integrate in all our cooking. Maybe it is just a strawberry thrown into liquid, or a cut out of a pressure cooker cooking up a pork shoulder; but Myhrvold has managed to take the natural art of cooking and make a beautiful collection of visual art that rivals the chefs that make these gastronomical masterpieces in the first place.
of books, on pizza. Modernist Cuisine has managed to Nathan Myhrvold capture the art of cooking and the rawness of food into not only 50 lbs. of books, but also a stellar Instagram page (@modcuisine), and calendar. Even if cooking isn’t your thing, the photographs and exploration of food is beautiful.
What is really great about Modernist Cuisine is that they haven’t stopped at the first collection. They recently released a series about bread making, which hopefully will include the beautiful artistry of Myhrvold. There are also several calendars that include his photography. Currently under works is a book, or collection
Peanut Butter Jelly Magic by Nathan Myhrvold
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Culinary Branding
W
ith a background in photography and culinary arts, food photographer and food stylist, Laura Field provides elite artistry to the culinary world and food brands. With her unique skill set, which also includes recipe writing, Laura’s range of abilities include working with the MasterChef team and numerous corporate brands. She graciously allowed us to probe into her history, and we learned a little more about her art. How did you get into photography, and particularly food photography? Do you have a background or education in photography? After doing an art foundation course, I studied photography at University. Having graduated, I found that there was not a clear path to being a photographer. I rather impulsively signed up for a Cordon Bleu intensive cooking diploma as I did a ski season when 18 and rather enjoyed the cooking. I needed a back up plan to the photography. After doing the diploma I was instantly employable as a chef. After working as a chef at an exclusive rehabilitation facility on a private island off the English coast, I volunteered to be an expedition photographer for Raleigh International (a charity for young volunteers to work side by side with communities improving living conditions or environArtDiction | 15 | March/April 2018
mental work). This took me to Costa Rica and Nicaragua for five months and rekindled my love of photography and for the first time in a professional capacity. On returning, I did a variety of cooking jobs, and working at food festivals, and I heard about food styling. As soon as I heard about it, I volunteered to work for the Jamie Oliver Company, and they let me help out for a few days. There I met and worked with some key influencers in the industry namely David Loftus, the world-renowned food photographer. Subsequently, he put me forward to food style on the next few MasterChef cookbooks; I owe much to David, as that’s where it all started. A whole new world opened up before me. I continued working on books and magazines as a food stylist while closely watching how food photographers worked. Being a food stylist you get to work with more photographers than being an actual photographer (as normally they work on there own) so I learnt a lot from them and they inspired me to try it for myself. So I started working on my own style and photographing my own work with backgrounds and props that I collected over time. Now I create recipes, food style, prop style and photograph food for companies from my own studio. I feel like I have come full circle, but all my experience has led me to this profession, which I absolutely adore. Do you believe food styling is just as important as the photography? If so, why? Photographers and food stylists often have this debate and it is still a tricky one, as you really can’t have one without the other. They both rely on each other to produce the best image. The photographer, however is the overseeing eye, creates the composition, captures the light that can elevate the most mundane dish.
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Culinary Branding - laura field What factors do you take into account when styling and photographing food? What all is involved? It depends on the brief from a client, as they have a certain look that they want to convey and then it’s up to you how to achieve it. I always like to have a strong image in my mind of how I would like the food to look and then the backgrounds and props (plates/cutlery/pans, etc.) are your stage. It really is remarkable how you can create this little space to surround a dish of food with certain props and backgrounds, that can transport you to feel like you’re in India or the Caribbean, or conjure up an emotive response or simply to create a mood. Do you have a favorite dish to photograph/style or a favorite type of photoshoot in general? If so, why? I once did some photography in Greece and everything looked incredible. I was just simply photographing produce like freshly caught fish and crabs, but the light that you get in Greece and the vivid colours made it so, so beautiful and easy to photograph, that is was quite addictive. I wish I could photograph in Greece or the Mediterranean every day! What inspires you creatively? Food stylist/photographers, different cultures traditions and food, food magazine, art/fashion magazine, food programs and people who are just passionate about cooking. You learn so much from other people, you can’t help but keep pushing yourself to try new things, or explore new ideas.
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Culinary Branding - laura field
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E
Top Ten International Restaurants
very year, a list of the World’s Top 50 Best International Restaurants is announced. Food writers, restaurateurs, and even fine diners get a chance to analyze the trends and themes of these restaurants and find out what qualifies them for a spot on the Top 50 list. The 2017 announcement and ceremony were held in Melbourne, Australia. Although these annual rankings have been criticized on certain matters, like favoring female-run restaurants and pricey menus, when you have a look at the restaurants that made the Top 50 cut, the reasons for their inclusion are evident. This article is based on the annual rankings of the top 50 best international restaurants in the last 3 years. After research, here are the highlights.
1. The Eleven Madison Park This renowned restaurant in New York, USA is run by Swiss-born chef Daniel Humm. Humm’s knowledge of the city’s culinary culture has established a sense of belonging to many locals by utilizing their local ingredients in the top meals. Some of the restaurant’s top meals include
By Lavendar Maloba
the steak tartare and Caesar salad prepared at Osteria Francescana. sturgeon served under a smoke-filled cloche. A Restaurants from 2010 to 2012. The dinner for two (without wine) will cost restaurant relies solely upon locally around $450. grown and produced ingredients. Chef Rene Redzepi and his team create an array of innovative, delicious meals, 2. Dinner by Heston Blumenand are reported to have the most thal engaging service in the world. One of the famous meals in this restaurant is The fashionable Dinner is overseen the Aebleskivers, a traditional Danish by chef Ashley Palmer-Watts and is pancake dish. A dinner for two (withlocated at the Mandarin Hotel Hyde out wine) will cost around $600. Park in London. This restaurant boast traditional dishes, like the Salamugundy, transformed with a touch of modern-day culinary magic. This is indeed the best restaurant in the UK. A dinner for two will cost around s $230.
3. Noma
Chef Brett Graham
Noma, the best restaurant in Copenhagen, Denmark, topped the list of the World’s Top 50
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4. Osteria Francescana One of the world’s best chefs, Massimo Bottura, prepares flights of amazing meals at the Osteria Francescana in Modena, Italy. Bottura’s dishes are spectacular and are made even more evocative with the stories that follow them. One of the chef’s specialties is the lacquered eel. A dinner for two will cost around $360.
5. The Ledbury Located in London, England, the Ledbury is the most classical restaurant on the 2017 list. It is run by Australian-born chef Brett Graham. With amazing meals like the grilled mackerel, and wild game birds hunted for and prepared by the chef himself, a dinner for two will cost around $270.
6. El Cellar de Can Roca This amazing restaurant in Girona, Spain is run by head chef Joan Roca with his two brothers, Josep and Jordi. El Cellar de can Roca has a beautiful dining room with the meals incorporating the deep Mediterranean flavors. It is well-known for its famous deserts like the ‘messi’ and a starter that includes a taste of five different cuisines. A dinner for two (without wine) will cost around $360 to $480.
7. Mugaritz Andoni Luis is the famous head chef in the Mugaritz restaurant in Errenteria, Spain. The restaurant, as well as the chef, is well-known for technical dishes such as the potato stones and the bloody mary tomato. The chef consistently surprises his customers with new delights, while maintaining deep Mediterranean flavors. A dinner for two will cost around $470.
8. D.O.M. This is the most refined restaurants in Sao Paolo, Brazil, run by Corn, white chocolate, and honey mango dispalyed at Alinea. legendary chef Alex Atala. It boasts unique signature dishes like the pappardelle, which is crafted using the indigenous flavors from the Amazon. The cost per meal for a pair goes for A dinner for two (without wine) will cost around $400.
9. Arzak Juan Arzak is the owner of this fine restaurant in San Sebastian, Spain. He is among the first chefs to bring modern flavors and cooking techniques to his native country. His restaurant is now run by his daughter, head chef Elena Arzak, and she continues the tradition of preparing innovative meals like monkfish cooked in a balloon of edible green papier mache. A dinner for two will cost around $530.
10. Alinea Alinea is undoubtably the finest restaurant in Chicago, Illinois. Founded in 2005 by Chef Grant Achatz and Nick Kokonas, the restaurant serves more than 20 full-course meals. The restaurant offers three distinct dining experiences: The Kitchen Table—a completely private dining experience; The Gallery Menu—seating is provided for only 16 persons; and The Salon Menu—dining for parties of 2 to 6 with a 10-12 course tasting menu. One of Chef Grant Achatz’s signature meals is the Scallop Agedashi Tofu. A dinner for two (without wine) will cost around $420.
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From Food Hobbyist
ArtDiction | 3 | November/December 2017
to Professional Chef
U
pon presenting his portfolio to a culinary art instructor, chef and food stylist Yossi Machluf was given the sage advice —You’re already on the right path; just keep doing what you’re doing. He did just that. His journey began when he moved to Los Angeles at the age of 24. “At some point, I missed my mom’s cooking, so Ii called her, took some recipes over the phone and started cooking for myself and friends,” he recalls. ”It become bigger and bigger, so what was a hobby just become a challenge. And I saw that the culinary world in my area had flavor, but it wasn’t pretty food. I felt I could change it.” Yossi knows how important it is that food looks appealing. “The first thinzg people are attracted to is the look,” he says. “You can make a great-tasting dish, but if it’s not attractive, you will see the hesitation on people’s faces.” Styling the food also plays a part in appealing to the senses. Yossi prepares and styles a range of foods from raw fish dishes— tuna, salmon, etc.—to finger foods and mini dishes. “Lately, I have been asked to do many desserts tables.
That is a challenge as it is more delicate, and when you design a dessert table, you have to factor in the masses as well.” Some factors that Yossi considers when styling food is whether the feel and display should be classic or rustic and room temperature. “If you set hundreds of dishes on a buffet, it will take time before people will finish them all, so you need food that can be eaten cold or at room temperature.” Even choosing the right plate is important. Certain foods, like salads, need more space to bring out all the colors, but a dish can’t be too large either. “Every dish has a different color and all the colors need to complement each other, so you can’t design same color dishes next to each other,” he says. Yossi has never prepared the same menu twice. “It’s funny that even people who may have had a dish in a different form before get excited like it is the first time they ate it,” he shares. His ability to prepare varied dishes is attributed to, in part, his method of approach. “When beginning a project, I look at elements that usually won’t be used for food presentation, and I determine the creative way to make it cool enough
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to display with food with it,” Yossi says. “I just did an event and had to make a crepe Yossi Machluf station. I wanted to serve it in cones in a deconstructed way. I found a piece of wood on the street and after sanding it and drilling holes, it can hold those cones and now it is a very cool staton.” To see more of
Yossi’s work, follow him on Instagram @yossichef.
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Painting Painting with with Purpose Purpose
D
ouglas Newton has an impressive portfolio of paintings. ArtDiction is especially fond of his food paintings. “After painting subjects such as cityscapes, the figure, candy and household objects, I decided to do a series of food paintings starting in 2009,” he recalls. “Our local farmer’s market is a great place to wander and collect what appealed to my eye. “The colors and textures of such ordinary things as onions, melons and oranges are a challenge to capture convincingly in oil paint. Also, I liked being in a long succession of painters of fruit and vegetables, and trying to bring my own unique vision to it.” Food has held a central place in painting for centuries and Douglas enjoys bringing a contemporary sensibility to this “time-honored subject.” With a keen awareness of art history, he explains: “A lot of still life painting being done today is in the Dutch tradition—dark or black backgrounds with only the foreground objects lit. I’m following more in the tradition of Spanish still life; bathed in light and crisply painted. This starts with Juan Cotan around 1600 and continues with such contemporary artists as Claudio Bravo. That ideal helps me when painting our local fruit and vegetables.” Douglas spent years as an art director, which allowed him to work with talented photographers. “[They] taught
me a lot about lighting—particularly soft directional light that reveals form and texture,” he says. “Paintings is mostly about light and shadow, and the fun is to make the paint lively and juicy while describing the subject.” Douglas usually takes advantage of artificial lighting, using LED bulbs aimed through a 24” x 30” scrim of tissue paper to soften the light. “Sometimes I mix in some direct light for an extra kick,” he says. Douglas uses charcoal, graphite and pastel to draw and perform studies before painting. “I don’t paint with solvents or paint thinner for health reasons,” he says. “After trying acrylics, I just settled on oil paint thinned with a little linseed oil to make the paint brush out smoothly.” Douglas cleans his brushes with vegetable oil, dish detergent, and brush soap. “One doesn’t need solvents to do oil painting.” In the future, Douglas plans to incorporate the human figure into his paintings. “I don’t paint from photographs now, but that might be necessary when painting people.” He is currently doing sketches of painting ideas and hopes to come up with a new. Visit www.douglasnewtonpaintings.com to view more of Douglas’ work.
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Pomegranates, 18” x 24”, 2017
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Roses of Sharon, 24” x 30”, 2010
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Purple Eggplants, 16” x 20”, 2010
Yellow and Red, 18” x 24”, 2017
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Valencias, 14” x 18”, 2015
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So Real You Can Taste It!
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Kseniia Yeromenko was born in Melitopol, Ukraine. As a youngster, she enjoyed paining people and when she turned 7 years of age, her parents registered her in art school. “A few years later I had to quit the school because of progressing problems with my vision. I was able to commence painting again when I was 15,” she says. Kseniia later studied fine arts in college. “Upon graduating, I was accepted into Kharkiv State Academy of Design and Fine Arts and studied graphic design. Eventually, I realized that graphic design was not my cup of tea and that I enjoyed creating visual art with my hands,” she says. It was during her freshman year in the academy that Kseniia also discovered a fondness for illustrating food. “I had an assignment to depict an object of my choice using nine different techniques. I chose to paint
cupcakes,” she recalls. “That’s when I decided to paint a few more cupcakes, doughnuts, and cookies. Then I added pizza, burgers, and fries to my collection.” Kseniia uses watercolors with squirrel and kolinsky brushes (and sometimes synthetic brushes) to paint real-to-life pieces. “People often tell me that my artwork makes them hungry, and I am pleased to hear that!” she reports. Her inspiration comes from works of other artists, images of colorful food, and grocery shopping. Currently living in Kiev, Ukraine, Kseniia is exploring opportunities to make art for a restaurant or bakery. To see more of Kseniia’s work, visit her Etsy store at KsuShop, or her Instagram, @ksu.shiu.
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ArtDiction | 3 | November/December 2017
ArtDiction | 3 | November/December 2017
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homage
S
till-life paintings typically depict inanimate subject matter and commonplace objects that are either natural or manmade. A still life provides an artist more freedom in the arrangement of elements within a composition than do paintings of other types of subjects such as landscape or portraiture. In honor of our culinary issue, we have included a few still-life paintings of food from some of our favorite artists.
Édouard Manet
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Abraham van Beijeren
Golden Era
Adriane Coorte
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Anne Vallayer-Coster
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Clara Peeters
ArtDiction | 56 | March/April 2018
artist / ad index
Page 14 Laura Field www.thefieldpantry.com/
Page 22 Yossi Machluf IG; @yossichef
Page 34 Douglas Newton www.douglasnewtonpaintings.com
Page 44 Kseniia Yeromenko Estsy: KsuShop
Page 10 Avondale Kids www.avondalekids.com
Page C4 Awesom Con www.awesome-con.com
Page C2 Crossroads Farmers Market crossroadscommunitynetwork.org
CROSSROADS FARMERS MARKET
APRIL 18 - NOVEMBER 28, 2018 WEDNESDAYS, 11AM - 3PM ANNE STREET @ UNIVERSITY BLVD EAST
I TAKOMA PARK
crossroadscommunitynetwork.org
Local fruits, vegetables, honey, coffee, lunch, ice cream, and healthy snacks
ArtDiction | 57 | March/April 2018
2018
WASHINGTON, DC’S COMIC CON MARCH 30-APRIL 1 WWW.AWESOME-CON.COM
