Wednesday at the Barn Menu.....Five days to Salon des Sens ......... Six days to Freddy Cole...

As Opening Night Approaches...

Finding the sensate in food ~ luxuriating in the way it looks and tastes ~ is something we give a lot of attention to around here. If our comment cards ~ not to mention the word on the street ~ are anything to go by, it’s something we have learned to do rather well. But how to capture those same deeply satisfying elements in the works of art we exhibit (and let’s not mince words, hope to sell) in the fine art gallery we run next door to the restaurant has been more of a moving target.

Up to now the shows we’ve put together for Studio Barndiva, with the exception of Laura Parker’s Taste of Place, haven’t revolved around a single subject though it’s fair to say the artists we represent ~ Cohen, Minor, Morgan, Scheid, Youngblood, Sanchez, Rizzo ~ are all deeply invested in and take inspiration from the magnificent foodshed we live in. I loved the idea of Salon des Sens when San Francisco curator Maggie Spicer first approached me with the idea of collaborating because it presented an opportunity to mount an exhibit where artists from across the Bay Area could join our existing group in an attempt to answer in paint, photography, video and sculpture a question which has come to vex us: What really constitutes art when it comes to food?

We live in a technological culture that increasingly tries to seduce us with fastidiously perfect images which glorify food in much the same way pornography exploits sex. Every year thousands of cookbooks and magazines are published that cater to a food as porn continuum based on the titillation and voyeuristic charge we get from looking at something we cannot physically touch. Social acceptability that it's food and not sex does not alter the fact that arousal is the goal when food is idolized in order to make us long for it. Qualitative differences abound, of course ~ one man's mind bending, scientifically inspired images from a series like Modernist Cuisine is another's Red Lobster advert on TV, but the end game is the same. Like sex, we go in knowing there is no substitute for what we feel when we experience the real thing, but in a revealing way that knowledge is part and parcel of the attraction.

Which begs the question Maggie and I are posing with Salon des Sens: if actual hunger is not being sated by this kind of idolatry, is there something beyond longing which we crave from these images? Is there a difference between the earnest documentation found in cookbooks and food magazines and the commercialization of endless junk food adverts? What more might we expect from work that takes food as its subject matter but asks us to elevate it to an artistic level? I’m not, in general, a great believer in the ‘reception theory’ of art where one’s personal experience is used as the litmus test for the efficacy of a work rather than the forces the artist had a hand in creating, but when it comes to a subject so basic to our needs it stands to reason our response is bound to be highly personal. More so than a painting of a landscape or a portrait, even if we know the terrain or the face well. But does that mean food as a subject for art can never really move beyond a personal narrative the way Mona Lisa’s smile, Matisse’s dancers or Cezanne's landscapes are infinitely about so much more than the subject matter they present?

Salon des Sens will not provide definitive answers to these questions, but we’re confident the artists we’ve selected have the talent to frame them with a level of provocation that’s in sync with the true spirit of a salon.

The best art is a conversation you start with yourself where, if the art is good, some of your deepest longings to know more about what it means to be alive can be addressed in a way that leaves you wanting more ~ of life and art. In this way Caren Alpert’s work penetrates the organic yet formal elements of raw ingredients, while Maren Caruso elegantly dissects and codifies what we make from them; Michael Lamotte renders exquisite poetic light redolent of the earth, while John Youngblood documents with an Atget like respect the contours of farmworker's worn faces and hands. The movie Drew Kelly and I have made traces the human journey one plate of food takes to reach the table, while Susan Preston’s compost piece contemplates what should be the companion question ~ where all that food goes after we eat it. All the artists in Salon des Sens offer a way into a discussion we need to be having about this most precious stuff. The more we understand food in all its forms and expressions, the more we can understand what it represents: nothing less than our tenacious hold on life.

Wandering through SFMOMA on Saturday I took a detour from the Mexican photography exhibit we’d come to see and ended up in front of a Wayne Thiebaud painting. Display Cakes, like the best of Thiebaud, straddles representation and abstraction by taking desirable, seemingly well known objects and rendering them (and crucially, their shadows) into another dimension, one which hums with mysterious new possibility. What I’d never noticed before was how beautifully Thiebaud applies his paint, creating luscious texture across the surface of his cakes which elevates their formal qualities so they appear both seductive yet ironic. Go ahead, it seemed to say, swipe your finger across my frosting and see what you get. It won’t be sweet. Is that what you were hoping for?

Salon des Sens, with an opening reception on June 2 hosted by our good friends at Copain Winery and St. George Spirits, will run through June 12. Join us.

The Great Freddy Cole comes to Barndiva this Sunday

Tickets are going fast for both shows of this consummate jazz pianist and singer who kicks off the opening weekend of the Healdsburg Jazz Festival. JCB is pouring their sparkling and the weather is promising to be splendid when Freddy plays his grand in the gardens with an incredible line up that includes Randy Napoleon, Elias Bailey and Curtis Boyd. The Freddy Cole Quartet will preform an afternoon show at 4, followed by a Gold Circle JCB wine reception in the Studio Barndiva Gardens. The second show begins at 7. Tickets can be purchased by clicking here, but if you're hoping for the Freddy Cole Sunday Supper there may be a few remaining reservations to be had by calling 431 0100. The concert is dedicated to the memory of David Dietz.

All text Jil Hales. All photos Jil Hales (unless otherwise noted.)

Happy Birthday Baby

(originally posted July 14, 2010)

Seven years ago, the day before we opened Barndiva for the very first time, we hosted an unforgettable interactive art exhibit celebrating the work of ten renowned local food producers. Each food artist was paired with two other artists: one to document their work, the other to interpret it. The interactive part was that we invited guests to “eat the art” while they experienced it. 300 old friends, new neighbors, journalists, vintners, and tout Healdsburg descended upon the barn on a warm and sunny Saturday in July expecting to be wowed. We wowed them. Who could resist the heady perfume of art, food, wine and music, all served up in a beautiful new building on a perfect evening at the height of summer?

The entire day was our business plan writ large, with the central proposition that diva’s don’t just live in opera houses. When it comes to food there are people who hit the high notes every day of their lives in vegetables fields, olive orchards, dairies, bakeries... even restaurants shaped like barns. There was a sense that day, articulated by almost everyone who was here, that something exciting was gaining momentum in Healdsburg; that Barndiva was only part of a zeitgeist that was happening in our town, and towns like ours (which admittedly is not many) across the country. The term ‘farm to table’ didn’t mean what it does today; the concept of ‘artisan’ had only recently begun being applied to something you’d find on a plate in a restaurant. The adoration we lavished on our food savants felt new and exciting, an homage to hand made and home grown that felt wholly warranted and fully our own.

It was the greatest opening party Barndiva could have imagined. Of course we needed the good will, inexperienced as we were, to get through that first tumultuous year. And we were thrilled to have pulled off an exhibit of such great complexity to launch our business. But what we were most proud of was the $16,000 we helped raise with Slow Food Sonoma County, our partners for the event, to be spent on a program that would bring sustainable farmers to the kitchen doors of Healdsburg Public Schools to provide for their lunch programs.

Paul Bertolli, already contemplating Fra Mani, the next great act in his remarkable culinary career, arrived first with homemade salumi he’d cured in his basement in Berkeley. He had been paired with the artist Ismael Sanchez, who fashioned a life size homage to the dead pig out of rusted wire, and with Evan Bertoli, his nephew, a classmate of our daughter Isabel and a budding photographer. The group vetting the artists with me had concerns that a boy as young as Evan could pull off work that would raise significant money at auction, but one look at the image he took of Paul’s beautiful hand slicing through a sheaf of snowy white pork fat put that fear to rest: it was haunting, fully capturing the skill Paul brings to the art of charcuterie.

And so it went, with virtually every collaborative exhibit: Lou Preston’s wine was exhibited alongside Susan Preston’s installation piece of a single worn blue kitchen chair sitting, as if floating, on a mound of flour with a jug of their Guadagni on the floor. Ig Vella brought huge rounds of cheese and a lifetime’s worth of craft in his worn and irascible smile. Elissa Rubin Mahon stacked a dozen of her jams in an old wood box by the front door where they sparkled like jewels in a Bulgari window. John Scharffenberger sent slabs of different grades of chocolate and huge bags of chocolate nibs which we poured on a wine barrel below Michael Recchiuti’s accompanying ‘canvas’ of hand poured chocolate upon which he had painted a shimmering, incandescent barn. The smells of Olive Oil and Honey and Bread and Peaches ~ all other exhibits ~ filled the air, mingling with the laughter and music and talktalktalk.

One of the artisan producers I’d personally invited to participate was Karen Bates of the Philo Apple Farm. Though the focus of the exhibit was the artisan bounty from Sonoma County, Slow Food understood that as a family we intended to draw from a sustainable food shed that started in Mendocino County where we own a farm on the Greenwood Ridge. Our place is directly above Karen’s; her family and ours have been nearest neighbors and friends, raising our kids together, for going on 30 years. Karen’s artisan product, her ‘art,’ as it were, was the ‘mother’ starter she used for the farm’s infamous apple cider vinegar, made from organic heirloom apples that grow on their 40 acres along the Navarro River. I had only ever seen yogurt or bread starters before so Karen’s massive disc of fulminating bacteria blew me away.

Karen has chosen the artist Laura Parker to document her work and towards that end Laura has spent many hours at the farm that spring photographing apple trees in full blossom. She then transferred 55 images onto fabric panels that on the morning of the exhibit she slung across the entire rear of the barn. It was a gorgeous body of work. Remarkably, she’d taken an inherently flat, captured image and given it back the life it once had out in the fields. Karen and Laura are good friends, which you could tell from the way their pieces played together. There was also something wonderfully incongruous between the mothership starter floating in a huge glass bowl of rust colored cider, and these ethereal blossoms, splashing sunlit patterns through the air, moving like a curious school of butterflies, hovering, but with no intention of landing.

Laura and I connected that day, talked briefly, then lost touch, except for infrequent emails about our respective openings. From hers I gleaned that she was mixing up her time between fine art, highly sought after pastel images of fruit and vegetables (presently on exhibit in Studio Barndiva), and interactive work which sounded more experiential than performance. It wasn’t until she sent something about a new project called Taste of Place that I started playing closer attention.

Taking the current interest in terroir out of the vineyard and bringing it to the farm, Laura was making the case that everything we eat, not just wine we drink, has a indelible fingerprint connecting it with the soil it is grown in. She visited farms and tramped around, meticulously labeling soil samples, which she then put into wine glasses for folks to smell and discuss. She only used dirt from sustainable farms (fyi: soil becomes dirt when you take it away from where you find it). She didn’t ask anyone to taste the dirt (though some did) but she made the case that by smelling deeply we are in fact tasting: scientifically that’s what happens on the sides of our tongues when we salivate, the result when something piquant ~ in this case dirt with a little water added ~ hits our olfactory senses. What she found from the first few interactive shows was that often just the smell of dirt played a strange alchemy on memory. It can bring back a moment in time when we were very young, before dirt was just something to wash off. Sound implausible? Maybe, but this is exactly what happened to Geoffrey at the Taste of Place lunch Laura put on at the Boonville Hotel in 2008.

I have a long history with the Boonville Hotel: I was among the second round of investors when the restaurant was in its glory, and it provided my first real connection to Anderson Valley. Ironically, given what I do now, it also exposed me to a style of country dining I’d only ever seen in Europe, where it’s not unusual to see some of the food you are eating growing or frolicking in the fields beyond the dining room windows. The hotel is now owned by Johnny Schmitt, Karen’s brother, a wonderful cook who had worked with Laura and her farmers to create a soil-paired meal I had no intention of missing. My husband thought otherwise. On the day of the lunch, with temperatures already climbing over 80, it was all I could do to get him in the car.

The first thing that strikes you when you experience Laura’s Taste of Place is how different the soils look when you are able to study and compare them, side-by-side. Some soils are deep and rich, while others look almost too thin to support growth of any kind. Some are rocky, with bits of granite, some smooth as silt, several so light and airy they seem to be crawling up the sides of the glass.

There are two ways of describing what happens after that. The first is to take a page out of wine Terroir vernacular (albeit tongue and cheek) as indicated from crib notes Laura and Karen wrote about the Philo Apple Farm.

Philo Apple Farm – Flood Plain, Navarro River District. Unlike the Indian Camp Ground variety, flood plain has a yellow mustard color. It's texture is hard and clod like. A bit less exotic in aroma, but more varietal, with olive and mineral notes, and a bit weightier finish. The nose here is clay and smoky with huge extract and extraordinary elegance.

Then there is the way Geoffrey experienced Taste. First he stuck his long aquiline nose into a glass of “Indian Campground: Arrowhead Reserve” and inhaled deeply. Then he furrowed his brow, closed his eyes, sighed. “This brings me right back to our coal cellar in London when I was 5." He looked up at Laura and smiled. “It’s the smell of anthracite and moisture. God, I spent hours playing down there, with this smell in the air.” Later, in the car on the way up to the farm he remarked that he hadn’t thought about those years for a long, long time.

It is amazing to me, and quite wonderful indeed, that after seven years we are still talking about the sanctity of the soil here at Barndiva. Since Ryan arrived the idea behind “eat the view” has taken on even greater meaning. It’s not just a nifty tag line for our patrons anymore, but embedded deep within their enjoyment of everything we surround them with here at the Barn. With inspired cooking, as with bio-dynamic farming, it's hard to know where the passion ends and the science begins. A growing part of me feels we may be seeing the beginning of a thoughtful re-consideration of why food tastes the way it does, which could even lead us to a reappraisal of the very concept of nourishment. There is now talk about Secondary Metabolites in plants which, while they have probably been around since the beginning of time, are only now being studied for the possible secrets they hold in protecting the plants that produce them. If we are ever able to unlock that connection, they may someday be able protect us as well.

These are exciting times to be considering taste and how it applies to farming practices and food. What’s most incredible is the fact that this new frontier has been here all along, where it’s always been, right beneath our feet.

If you missed our opening party seven years ago, now is your chance to share an historical evening at Barndiva. If you were here for The Taste of Art, thank you for your continued patronage. We hope to share A Taste of Place with you in August.

Links:

Taste of Place

Biology Reference

Boonville Hotel