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September 30, 2011

HELMUT NEWTON-WHO?

Filed under: Helmut newton — Tags: — jherzlinger @ 12:48 pm

Continuing on the theme of introducing you to my favorite photographers, I decided it is time to start bringing you fashion and my roots and why I am so influenced and all the rest.  The world’s greatest fashion photographer is Helmut Newton

Born in Berlin in 1920 to a wealthy Jewish family, Helmut Newton was a delicate child prone to fainting. When he was around 8 years old his brother began showing him the ‘gutter’ of Berlin, a red light district which was inhabited by prostitutes like the ‘Red Erna’,

who wore thigh boots and carried a whip. Helmut remembers, “my eyes were poppin’ out of my head.” But the Newtons lived at the other end of the social scale, vacationing at posh European spas and hotels that would later become his backdrops. At 12 he saved his money to purchase

his first camera at a five-and-dime. The first roll of film he shot was at an underground subway. The whole roll came back black except for the one image he shot above ground. A few years later he decided to travel abroad and become a famous photo reporter. “In 1936 I arranged to have myself thrown out of school as a hopeless pupil,”

says Helmut. With the help of his mother Helmut began working as an apprentice for Else Simon, a female fashion-and-portrait photographer who operated a studio under the name of Yva. His father’s prophetic response to the chosen path was, “My boy, you’ll end up on the gutter.”

His first job as an assistant lasted for two years and was abruptly ended in 1938 when the Nazis stepped up their attack on the Jews. Yva was forced to close her studio, and later died in a concentration camp. Helmut fled Germany to Singapore and worked as a photojournalist for the ‘Singapore Strait Times’.

“The next few years had little to do with photography; I was busy keeping my head above water and trying to avoid starvation. I rarely gave the paper the kind of photos they were hoping for,” he recalls.

In the early 1940′s Helmut moved to Australia, where he enlisted in the Australian Army and served for five years. He then moved to Melbourne, opened a studio and was determined to make a living as a photographer. Meanwhile, his family had fled to South America. Helmut would meet an Australian actress named June Browne,

whom he’d marry. He would take any job that he could get doing wedding photos, baby books, and mail-order catalog assignments. In 1952 he began working for Australian Vogue, which led to a short-term move to London in 1957. “My years in Australia were wonderful. I met June, we married, but photographically,

much as I loved this country and it’s people, it did not form me as a photographer nor did my work there amount to anything.” London would be “equally sterile and unproductive. The moment I hit Paris I knew this was it for living and taking photographs. The life was in the streets, in cafes, restaurants. Beautiful women seemed to be everywhere.”

In the late 1950′s he found work at ‘Jardin des Modes’ and in 1961 began a long-running and fruitful association with French Vogue which would last until 1983. During this period he would also work for Elle, Marie Claire, Queen, Nova, Playboy, Stern,US and Italian Vogue.

In 1971 while in New York for a Vogue assignment, Helmut suffered a major heart-attack which would change his life and transform his photography. With the encouragement from his wife June, Helmut pursued overtly sexual themes in his photos, deriving elements from his own history to instill a menacing edge to his works.

This edge brought him to the forefront of fashion photography and possibly made him the most influential figure in his field during the 1970′s. Women were pictured bolder and more aggressive, usually in disquieting situations, photographed in a a realistic reportage style. While the bulk of his models were depicted as members of the social elite,

they would be ‘caught’ in seedy environments exploring kinky fantasies with prostitutes and cross-dressers. And then alternating this juxtaposition showing members from the margins of society engaged in fetish driven meetings with the social elite, surrounded by sumptuous hotels and ancient midnight streets, all of them saturated

with decadence, luxury, and privilege. While American Vogue would only published distilled version of this period, his most risqué photos were accepted by European magazines. “The term ‘political correctness’ has always appalled me, reminding me of Orwell’s ‘thought police’ and fascist regimes,” he comments on censorship in America.

Helmut published his first book ‘White Women’ in 1976, which featured the most radical selections from this period. Despite negative American reviews it sold some 1500 copies in a week there. ‘The Eyes of Laura Mars’ was a Hollywood film inspired by the photos by Helmut Newton. Ironically the photos he contributed to the

film were not satisfactory. The director wanted scenes of blood and corpses which were of no interest to Helmut. He defended his fashion photos as erotic rather than violent.

I do so hope you look further into his work! It is just stunning!

Much Love,

Jamie

September 29, 2011

MATTHEW BUCKINGHAM-WHO?

Filed under: Uncategorized — jherzlinger @ 1:23 pm

I had the pleasure of being introduced to Matthew Buckingham’s work most recently, and needless to say totally fell in love with it!  His philosophy regarding the viewer and the viewer’s emotions are always what interests me in design.  As artists of different mediums and time periods, we are all a bit obsessed, which is what drives our talent, to design and practice for the sake of the end result leading to an emotion.

When you have read this, I sincerely hope you look his work up and catch one of his videos or his art.  All stunningly brilliant!

Matthew Buckingham is a New York-based artist who utilizes photography, film, video, audio, writing, and drawing to question the role social memory plays in contemporary life. Buckingham’s work has been shown at numerous institutions around the world, including

The Museum of Modern art, New York; The Moderna Museet, Stockholm;

among several others.

American artist Matthew Buckingham (born in 1963 in Nevada, Iowa, USA). His films, slide shows, and photographs all present various historical figures, real and make-believe alike: a politician, a freed slave, a drama coach, a lexicographer, a camera inventor, a philosopher, and the like.

The artist chooses such figures for what their life experience reveals about issues running through the contemporary world.

As a fully-fledged historiographer, no less, Matthew Buckingham invites viewers to experience history and its constructive methods, as well as feel its closeness to the present.

“The past is never dead. It’s not even past”, wrote William Faulkner. This oft-repeated quotation perfectly situates what he has been involved with since the mid-1990s: challenging the connection we have with history. Surprised by our understanding of history,

as well as by the objectivity value we grant it, the artist re-interprets historical facts, the better to question the meaning of documents and images, and incorporate them on the basis of different viewpoints.

For Buckingham, each work is the springboard for nothing less than an historical investigation. He seeks out ancient sources as well as the way in which publications have reported the event in the course of history. He chooses situations which retain an extreme topicality.

Matthew Buckingham’s work may be fuelled by an important theoretical basis, but it matters to him to come up with installations whose scope is based on textual experience as much as imagery and space. Understanding, representation,

and physical experience are all worked in such a way as to lend substance to thoughts and events.

As an example,three installations made in 2007 are brought together in this show: The Spirit and the Letter presents the writings of the novella writer, essayist and feminist Mary Wollstonecraft (1759-1797); Everything I Needimagines the thoughts of Charlotte Wolff (1897-1986),

forerunner of gender theories and theories about homosexuality, during her flight back to Berlin in 1978, after 35 years of exile in England; and False Futurelinks back up with the early cinematographic images shot by Louis Le Prince (1841-1890), French inventor of the camera,

who mysteriously disappeared in a train between Dijon and Paris. In these three installations the artist makes use of the principle of spectator identification associated with different image arrangements, aimed at giving to each one of these situations a stronger actuality.

These three works well illustrate Matthew Buckingham’s approach and method, which also borrows from the historian, the archivist, the anthropologist and the detective. In his installations, the artist gives preference to the way the viewer negotiates between several sources and documents.

He is interested by the encounter between work and viewer, leaving the latter a great deal of autonomy, running counter to the conveyance of a more unified sense. Each project seems comparable to the state of the beginning of his own research, when things crop up in a dispersed way,

without any immediate coherence. By summoning up historiography within the exhibition venue, Matthew Buckingham recognizes in the exhibition’s form a capacity for honing the onlooker’s perceptions. ”Looking for forms of interdependence, analyzing contemporary problems by

nearing their complex relationships in mind, this is perhaps a way of sidestepping cynicism and naivety.”

To briefly describe Matthew Buckhingham’s work, one could suggest it’s a cross between the films and exhibition design of Charles and Ray Eames and Bruce Nauman’s sculptural video and performance works.

Like Buckingham, the Eameses were obsessed with creating new ways of communicating information. For films like Glimpses of the USA (shown on seven screens for the American exhibition in Moscow in 1959) they carefully

constructed systems of presentation in which the viewer’s participation was primary. Many of Nauman’s video pieces—from Walking in an Exaggerated Manner Around the Perimeter of a Square (1967–68), to Good Boy Bad Boy (1985), and Mapping the Studio I (Fat Chance John Cage) (2001)—explore how understanding might be both supported and undermined through extended viewing of a situation set up by the artist. The aftereffects of watching them are similar to experiencing Buckingham’s work. One could also invoke other examples—the cinematic works of Fernand Leger, Dan Graham’s instruction-based works, Walid Raad’s fictionalized archives, and Deimantas Narkevi cius’s history projects.

Despite often having history, fiction, or narrative as their subject, each one of Buckingham’s projects reframes the question of experience itself,

experience as the result and totality of a person’s perception, interpretation, and memory.The setting in which Buckingham installed Muhheakantuck–Everything has a Name , is useful in understanding how his work encompasses

the contradictions of knowledge and experience. Imagine standing in line on the most inelegant of piers, then boarding a boat made for very short commuting rides. Soon after the boat begins its trip on the Hudson River, the sun begins to set and a film starts.

It describes the history of the Hudson—most significantly, what happened on its shores at the beginning of European domination. Images of the Hudson taken from helicopter are washed out, magenta-tinged, as if this was faded stock footage from the ’70s.

A voiceover describes a horrible history of violence and economic injustice with measured language and tone. Here we are on that very same spot in which it took place, desperately trying to imagine or connect this landscape of skyscrapers to its much longer history.

Buckingham’s restagings can only unfold over time—by willful reassembly in the viewer’s thought and memory. He employs various strategies: multiple screens, split image and text, screens interrupting and reflecting the projection, projection rooms echoing the

rooms depicted in the film, and so on. Taking history and memory and projecting them through a prism, Buckingham creates a spectrum of ideas that can only theoretically coalesce into a whole.

Enjoy,

Love,

Jamie

September 28, 2011

WHITE PLASTER TABLES HAVE A NAME! JOHN DICKINSON

Filed under: john dickinson — Tags: , — jherzlinger @ 6:05 am

“A room is finished when you cannot remove something without it being missed. Everything must earn its keep.”

So said John Dickinson (1920—1982), American decorator and designer, who was known for furniture and interiors that were “spare, cerebral, uncompromising, and original.” Such as carved-wood lamp bases shaped like femurs or a table of galvanized tin ingeniously worked to resemble draped fabric.

Renowned designer John Dickinson  created many original furniture designs with much detail and flair. Animal legged chairs and African inspired tables were among his most iconic works from the 1960′s.

Dickinson loved the design paradox Andree Putman calls, “rich and poor”–expensive upholstery details worked in plain canvas, an elegant slipper chair upholstered in white Naugahyde, muslin curtains done in the most Balenciaga way, expensive wool cord used as simply as jute twine.

Many design insiders today still consider John Dickinson the most innovative and original American interior and furniture designer of the 20th-century. Designers as diverse as Andree Putman, Michael S. Smith, John Saladino, Vicente Wolfe and Gary Hutton sing his praises.

“John Dickinson’s furniture passes every test–for originality, quality and style,” said Liz O’Brien, a leading New York dealer in 20th-century design. “His design is for the ages. It’s burned into our cerebral cortex.”

He has been one of my most favorite designers and his furniture pieces are truly iconic and splendid!  If you have the chance to purchase a piece, have no worries whether it will fit the style of your home, as John’s work transcends time and place!

Enjoy!

Love,

Jamie

September 24, 2011

JAMIE LOVES SATURDAY SUPPER

Filed under: SATURDAY SUPPER — jherzlinger @ 12:31 pm

You know me and how much I love pretty. I’m accused of liking only pretty things, so this weekend the menu is simple, classic and you guessed it, pretty .  Hope you have a chance to make all or at least one of these delicious dishes and don’t forget to peek below each recipe for wine selections that go with each item on the menu!

Have a very pretty weekend and let me know how the dishes turned out! Love, Jamie

ASPARAGUS, BASIL, SERRANO HAM AND TALEGGIO TART

NEW POTATO, CHORIZO AND ROASTED-PEPPER SALAD

RACK OF LAMB-(or lamb loin-I prefer rack) SERVED WITH TOMATO AND THYME FLAGEOLT BEANS

MINI ROSEMARY PALOVAS WITH RASPBERRIES AND GRAPES

ASPARAGUS, BASIL, SERRANO HAM AND TALEGGIO TART

You can make one large tart which looks impressive or 6 individual ones. It is best served hot but also good at room temperature.

1 lb puff pastry

4 tablespoons olive oil

4 shallots, sliced

1 tablespoon finely sliced basil leaves

Salt and freshly ground black pepper

1 lb  fresh asparagus

1/4-1/2  lb 0z finely sliced Serrano ham (or another ham such as Parma ham depending on how much you like ham)

8 oz Taleggio cheese

*Heat oven to 350 degrees. Roll out the pastry into a thin rectangle 15 x 9 in or 6 smaller rectangles about 4 x 6 in. Slip onto a baking sheet. Take a sharp knife and lightly score the pastry about 1/4 in inside the pastry edge so that you create a rim for the tart. Prick the internal rectangle of the pastry with a fork and chill for 30 minutes.

*Heat the oil in a large frying pan and gently saute the shallots until they are meltingly soft. Mix in the basil , season to taste and set aside. Meanwhile, trim the asparagus, removing the touch ends of the stalks then drop into a pan of boiling, salted water. Cook for about 5 minutes or until al dente. Drain and spread out on wax paper to cool.

*Spread the shallots over the pastry within the rim. Arrange the asparagus on top then tear the ham into strips and scatter over the asparagus mixture. Remove the rind from the cheese and cut into fine slices. Dot over the filling. Immediately place in the center of the oven and bake for about 10 minutes, then reduce the temperature to 300 degrees and cook for another 10 minutes until pastry is crisp and cheese is bubbling. Serve garnished with a few basil leaves.

TO DRINK: Serve with a Sauvignon Blanc like Cantina Terlano, Quartz Sauvignon Blanc, 2009.

NEW POTATO, CHORIZO AND ROASTED-PEPPER SALAD

1 1/4 lb new potatoes, scrubbed clean

4 red peppers, quartered and seeded

3 tablespoons white wine vinegar

1 tablespoon Dijon mustard

1 large bunch chives, finely chopped

10 tablespoons extra virgin olive oil

Salt and freshly ground black pepper

3/4 lb raw chorizo sausage

2 oz wild rocket, washed(you can use, baby mache lettuce, or a spring lettuce mix

*Put the potatoes into a pan. cover with cold water and boil for about 20 minutes or until they are dender; drain. When cool enough to handle, peel and thickly slice.

*Meanwhile, turn the grill to its highest setting. Grill the peppers skin side up until they begin to blister and blacken. Transfer to a bowl and cover. Once cool, peel, then cut into broad strips.(i you don’t have a grill, you can do this in the broiler-but I have to tell you-I bought a Calphalon stove top grill,

AWESOME! it works exactly like a real grill-this is from all my episodes of CHOPPED!

*Whisk together the vinegar, mustard, chives and 9 tablespoons olive oil in a large bowl. Season to taste. Add the sliced peppers and new potatoes and season to taste.

*Slice the chorizo into thick rounds and fry briskly in the remaining tablespoon of oil until crisp and lightly colored on both sides. Drain on kitchen paper and mix into the potato salad. If you want to serve the salad while the chorizo is still warm, gently mix in the rocket now, or leave until room temperature.

TO DRINK: A chilled, fruity, spicy rose like Domaines Ott, Rose “Chateau Romassan”, 2010.

RACK OF LAMB-(or lamb loin-I prefer rack) SERVED WITH TOMATO AND THYME FLAGEOLT BEANS

6 tablespoons extra virgin olive oil

1 onion, finely diced

1 clove garlic, finely chopped (plus extra for rubbing lamb)

3/4 lb fresh tomatoes, peeled and roughly chopped

10 ounces chicken stock

2 lb flageolet beans, drained and rinsed

4 sprigs of thyme

Salt and freshly ground black pepper

3 trimmed racks of lamb

3 tablespoons finely chopped parsley

*Heat 4 tablespoons olive oil in a wide saucepan over a medium heat. Add the onion and garlic and gently fry until meltingly soft. Add the chopped tomatoes and fry briskly until they reduce to a thick paste, then add the stock, beans and three sprigs of thyme.

Bring to the boil, season to taste and simmer for about 30 minutes until the sauce thickens around the beans and the dish tasted good.

*Heat the oven to 375-400 degrees. This temp-depends on your oven.Place the lamb in a roasting tray and rub with 2 tablespoons oil then cut end of a garlic clove and a bruised sprig of thyme. Season with salt and pepper and place in the center of the oven. Roast for 20 minutes, then remove and allow to sit for 5 minutes before carving.

Reheat the beans, remove the thyme, add the parsley and serve with the lamb cutlets.

TO DRINK: A Cabernet Sauvignon like Amapola Creek, Cabernet Sauvignon (Sonoma), 2007.

MINI ROSEMARY PALOVAS WITH RASPBERRIES AND GRAPES

For the Meringues

3 egg whites

1/3 lb sugar

1/2 tablespoon cornstarch

Pinch of salt

1/2 tablespoon finely chopped rosemary

1 teaspoon white wine vinegar

For the Topping

3/4 cup heavy cream cream (if you don’t have extra thick cream, lightly whisk double cream until it forms soft peaks)

1/2 lb raspberries

1/2 lb white grapes, halved, seeded

To Decorate

Icing sugar(confection sugar)

6 small sprigs rosemary

*Heat oven to 300 degrees. Line a baking sheet with greaseproof paper.

*Put the egg whites in a large, clean, dry bowl and whisk until they form stiff peaks. Add a quarter of the sugar and whisk until the mixture is stiff and glossy. Add half the remaining sugar and whisk until glossy. Repeat with the remaining sugar. Finally, gently fold in the cornstarch, salt, rosemary and vinegar.

*Spoon the mixture onto the paper in the form of 6 evenly spaced dollops. Using a knife, gently spread each dollop into a circle about 3 inches in diameter. Place in the oven and immediately reduce the temperature to 275 degrees .

*Bake for about 40 minutes or until the meringue is crisp outside but marshmallowy inside. Remove from the oven and when cool enough to handle, peel of the greaseproof paper and set aside.

*Shortly before you are ready to serve, spoon the cream onto the meringues. Mix together the raspberries and grapes and pile onto the cream. Lightly dust with icing sugar and garnish with rosemary sprigs. Keep chilled until ready to serve.(but-dont put the cream until you are ready to eat as it will soften the meringue

TO DRINK: Sweet Chenin Blanc like De Morgenzon, Chenin Blanc, 2009.

September 23, 2011

PIERRE JEANNERET-WHO-COURBUSIER’S COUSIN!

Filed under: pierre jeanneret — Tags: — jherzlinger @ 12:41 pm

OK-so, did you know that Courbusier’s name is really Charles Edouard Jeanneret? How I came to find out about Pierre his cousin, is in designing a “man cave”, I can’t even believe I typed that! I want to have pieces that are very masculine and play well

with the more modernist sofa and cabinetry I am doing. Many of these images you are going to be familiar with, and many you will think Corbusier.  But remember Pierre was right there alongside him as well as Charlotte Perriand, whom I have written about before.  If you have a moment to look at a

post I did on her, you will enjoy the images and her story.

For most of his life Swiss architect and furniture designer Pierre Jeanneret (1896-1967) worked alongside of, and often in the shadow of, his cousin Le Corbusier. In 1926 they published their manifesto “Five Points Towards a New Architecture” which served as the backbone of

their architectural aesthetic. The five points describe a building structure that includes a free plan without internal walls, a roof terrace, an expanse of continuous windows, columns to support the house and a simple façade. Their follow-up building, the Villa Savoye (1928-31), (THEIR)

was a representation of their outlined ideology. Practically an entire glass building with a primarily undivided interior, the elegance was established by the columns, which made it look as though it was floating above the ground.

In 1929 at the Paris Salon d’Automne he unveiled a set of modern furniture– including tubular steel chairs, stools and a set of modular steel storage units– designed in collaboration with Le Corbusier and Charlotte Perriand. The storage units lent themselves to the creation of an interior

space unbroken by walls as they doubled in a standing form as open room dividers. The pieces from this show have since become icons of classical modern design. In the 1960s the Italian company Cassina reproduced the chaise longue and the Fauteuil Grand Confort

armchair from the show as part of their ‘Masters’ series.

In the early 1950s Le Corbusier and Jeanneret started a project in Chandigarh, India designing and producing low cost buildings for the community. Le Corbusier left the project in the middle and Jeanneret became the Chief Architect and Urban Planning Designer.

He stayed in Chandigarh

for fifteen years and the city evolved into a landmark of modern architecture. His works there included the Punjab University Campus, several schools, houses and hostels.

During his time in India Jeanneret expanded his architectural aesthetic of finely cut machine edges and chrome steel lines, to include the symbols and structures of Eastern philosophy. At the Punjab University, the library he designed, Gandhi Bhawan,

is a structure with three pinnacles

symbolizing the ascension into the three worlds of Indian philosophy. Jeanneret became a beloved member of the community and in early 1999 there was an extensive photography exhibit of the work he and Le Corbusier did at Chandigarh. When he left in 1965 he told the people,

“I am leaving my home and going to a foreign country.” When he died in 1967 his ashes were scattered on Sukhna Lake in Chandigarh at his request.

Amazing right!

Have a great day!

ENJOY!

LOVE,

JAMIE

September 17, 2011

JAMIE LOVES SATURDAY SUPPER

Filed under: SATURDAY SUPPER — jherzlinger @ 12:49 pm

I’ve been off carbs for a couple of weeks and let me tell you, it’s awful, overrated and makes me drool while watching cupcake wars! By the way, not drinking is just as overrated and maybe even more torturing. Now I’m on a carb crash and wine splurge, so this week’s menu is rich, packed with carbs and absolutely delicious.

Let yourself splurge a little and of course,
ENJOY!
LOVE,
JAMIE

MENU

FONTINA GRILLED CHEESE WITH SAGE

ROASTED TOMATO BISQUE

JAMIE’S FAVORITE CLOG YOUR ARTERIES, RAISE YOUR CHOLESTORAL AND ENJOY THE RIDE FOUR CHEESE MACARONI

BUTTERED PEAS

GLAZED MEATLOAF

COFFEE-TOFFEE CRUNCH TORTE

CHOCOLATE MALTED MILK SHAKE

LIVIO FELLUGA PINOT GRIGIO

FONTINA GRILLED CHEESE WITH SAGE

3/4 cup unsalted butter

5 teaspoons chopped fresh sage plus 32 whole fresh sage leaves

16 5×3 1/2-inch slices country-style bread, crust removed

1 cup (packed) coarsely grated Fontina cheese (about 4 ounces)

1/4 cup (packed) finely grated Parmesan cheese

*Melt butter in small saucepan over medium heat; sprinkle with salt. Pour half of butter into small bowl and reserve. Add chopped sage to remaining melted butter in saucepan; stir over medium heat 30 seconds.

*Arrange 8 bread slices on work surface. Brush top side with all of the melted sage butter. Divide Fontina cheese among bread slices; sprinkle Parmesan over each, dividing equally. Sprinkle with freshly ground black pepper. Top with remaining 8 bread slices, pressing to adhere. Brush top side of sandwiches with some of reserved plain melted butter. Press 4 whole sage leaves atop each sandwich to adhere.

*Heat 2 heavy large skillets over medium heat. Place 4 sandwiches, sage-leaf side down, in each skillet and cook until golden brown on bottom, 4 to 5 minutes. Brush top of sandwiches with remaining plain melted butter; turn sandwiches over and cook until golden brown on bottom and cheese melts, about 4 minutes. Transfer sandwiches, sage-leaf side up, to  cutting board. Cut each sandwich into 4 pieces (each mini sandwich should contain 1 whole sage leaf). Transfer to platter and serve.

ROASTED TOMATO BISQUE

3 pounds plum tomatoes

2 tablespoons olive oil

Salt

Pepper

1 1/2 pounds cauliflower, coarsely chopped

2 1/2 pounds red peppers

3 tablespoons minced garlic

2/3 cup fresh lemon juice

2 cups tomato juice

1/3 cup tomato paste 4 ounces (about 6 cups) fresh basil leaves

2 1/2 cups vegetable broth

3 cups cream

Sugar

*Heat the oven to 400 degrees. Halve the tomatoes lengthwise and place on a foil-lined rimmed baking sheet. Drizzle the olive oil over the tomatoes and sprinkle over 1/2 teaspoon salt and 1/4 teaspoon pepper. Roast the tomatoes for 20 minutes to soften. Remove from the oven and set aside.

*While the tomatoes are roasting, steam the cauliflower in a streamer set over a pot of boiling water. Steam the cauliflower until tender, then remove from heat and set aside.

*Roast the peppers: Place the peppers on a rack and set over a gas stove-top burner heated over high heat. Roast until the skin on all sides is charred, turning frequently. place the peppers in a bowl and cover with plastic wrap and set aside until the peppers are cool enough to handle. Peel the charred skin from the peppers, then stem and seed the peppers. Mince the peppers. You should have about 2 cups (1 pound) minced roasted pepper.

*Combine the roasted tomatoes (with any juices), cauliflower, minced peppers, garlic, lemon juice, tomato juice, tomato paste, basil leaves and vegetable broth in a pot or large bowl. Puree the mixture using an immersion blender, or in batches using a blender, before pushing through a strainer into a heavy-bottom soup pot.

*Bring the soup to a simmer over medium heat, stirring frequently. Stir in the cream and continue to heat until hot. Season to taste with salt and pepper and stir in sugar to sweeten as desired. 

JAMIE’S FAVORITE CLOG YOUR ARTERIES, RAISE YOUR CHOLESTORAL AND ENJOY THE RIDE FOUR CHEESE MACARONI

4 tablespoons butter, plus 2 tablespoons, plus 1 tablespoon

3 tablespoons flour

2 cups half and half

3/4 teaspoon salt

1/4 teaspoon ground white pepper

1/4 teaspoon dried mustard

1 teaspoon onion powder

1/4 teaspoon cayenne powder

1 pound macaroni

12 ounces grated Parmigiano-Reggiano or other good-quality Parmesan cheese (about 2 cups)

1/2 cup grated cheddar cheese

1/2 cup fontina cheese

1/2 gruyere cheese

1 cup Panko bread (Japenese bread crumbs)

*In a heavy, medium saucepan melt 4 tablespoons of the butter over low heat. Add the flour and stir to combine. Cook, stirring constantly, for 3 minutes. Increase the heat to medium and whisk in the half and half little by little. Cook until thickened about 4 to 5 minutes stirring frequently. Remove from the heat, season with the salt, white pepper, dried mustard, onion powder, cayenne powder and 4 ounces of the grated Parmesan. Stir until cheese is melted and sauce is smooth. Cover and set aside.

*Preheat the oven to 350 degrees. Fill a large pot with water and bring to a boil over high heat. Add salt to taste and while stirring, add the macaroni. Return to a boil, reduce the heat to a low boil and cook for about 5 minutes, or until macaroni is very al dente (slightly undercooked). Drain in a colander and return the macaroni to th pot. Add 2 tablespoons of the butter and stir to combine. Set aside

*Use the remaining tablespoon of butter to grease a 3-quart baking dish or casserole and set aside. In a large bowl combine 4 ounces of the remaining Parmesan cheese, cheddar, fontina and gruyere cheeses. Toss to combine.

*Place on-third of the macaroni in the bottom of the prepared baking dish. Top with one-third of the mixed cheeses. Top with another third of the macaroni and another third of the cheese mixture. Repeat with the remaining macaroni and cheese mixture. In a small bowl combine the Panko bread, remaining 1/2 ounce of grated armesan and toss to combine. Sprinkle this over the top of the macaroni and cheese.

*Bake for 40 to 45 minutes or until the macaroni and cheese is bubbly and hot and the top is golden brown. Remove from the oven and allow to sit for 5 minutes before serving.

BUTTERED PEAS

Makes 6 to 8 servings

 4 large lettuce leaves

3 lb fresh young peas shelled (or use 10 oz of frozen peas)

1 teaspoon sugar

1/2 teaspoon salt

Dash pepper

2 tablespoons butter or margarine

*In a medium saucepan, place onions, 1 teaspoon salt and enough cold water to cover. Bring to boiling. Reduce heat and simmer covered 20 t0 25 minutes or until tender. Drain onions, reserving 1/2 cup liquid. Melt 2 tablespoons butter in medium saucepan; remove from heat. Stir in flour, 1/2 teaspoon salt, the pepper and nutmeg until smooth. gradually stir in milk and reserved onion liquid.

*Bring to boiling, stirring constantly; boil gently 1 minute. Add onions and simmer 2 minutes. Turn onions into serving dish, sprinkle buttered crumbs over top.

GLAZED MEATLOAF

Glaze:

1/3 cup Heinz cocktail sauce

2/3 cup ketchup

1/3 cup brown sugar

*Combine ingredients until smooth.

Meatloaf

1 tablespoon olive oil

1 1/2 cups onion, chopped

3 garlic cloves, minced

2 large eggs

1/2 cup milk

1 teaspoon dijon mustard

1 rib celery with leaves, finely chopped,

1/2 teaspoon ground allspice

1 teaspoon cinnamon

1 teaspoon ground nutmeg

1 teaspoon hot sauce

1 1/2 teaspoon fresh marjoram or 1/2 teaspoon dried, crumbled

1 1/2 teaspoon fresh thyme or 1/2 teaspoon dried, crumbled

salt and freshly ground pepper

1 1/2 pounds chuck, twice-ground

1/2 veal, twice-ground

1/2 pound pork, twice-ground

1 1/2 cups fresh bread crumbs or Panko

1/4 cup fresh parsley, minced

1/2 cup ketchup

1/4 cup light brown sugar

1 1/2 tablespoons cider vinegar

*Preheat oven to 350 degrees. In a skillet over moderate heat, add the oil. Heat the oil until hit, but not smoking, Add the onion, garlic and celery. Cook, stirring until softened, about 5 minutes. Set aside and let cool.

*In a mixing bowl, whisk the eggs, milk, mustard and hot sauce together. Add marjoram, thyme, salt and pepper. In a large mixing bowl, combine the meats, egg-milk mixture, bread crumbs, parsley, allspice, cinnamon, nutmeg and cooked onion mixture. In a small bowl stir together ketchup, sugar and vinegar. Set aside.

*Form 1 tablespoon of the meat mixture into a small patty, add it to a small oiled skillet and cook until no longer pink. Taste for seasoning and adjust. Transfer meat mixture to an oiled loaf pan (optional). Brush meat with ketchup glaze. Bake in oven for about 45 minutes, until glaze has set.

*Brush meat loaf with remaining glaze and bake for 15 minutes more, glaze again. Bake until internal temperature of loaf should be 160 degrees.

COFFEE-TOFFEE CRUNCH TORTE

Crust

1 cup almonds, toasted

1 1/2 cups ground sugar cookies

1/2 cup coarsely chopped chocolate-covered toffee

5 to 6 tablespoons melted butter, hot

Ganache

1/2 cup whipping cream

2 tablespoons dark corn syrup

6 ounces bittersweet or semisweet chocolate, chopped

Mousse

3/4 cup plus 2 tablespoons sugar

6 large egg yolks

1/3 cup water

3 tablespoons instant espresso powder

1/2 teaspoon ground nutmeg

2 1/2 cups chilled whipping cream

2 tablespoons coffee liqueur

1 teaspoon vanilla extract

1 1/2 cups coarsely chopped chocolate-covered toffee

For crust:

*Preheat oven to 350 degrees. Grind nuts with ground cookies and toffee in processor. Add 5 tablespoons butter; blend until nuts are finely chopped. To moisten crumbs, if necessary, blend in 1 tablespoon butter. Using plastic wrap as aid, press mixture onto bottom and sides of 9-inch diameter springform pan with 2 3/4 inch high sides. Freeze 15 minutes.  Bake crust until golden, about 12 minutes. Freeze crust.

For ganache:

*Bring cream and corn syrup to simmer in heavy medium saucepan. Remove from heat. Add chocolate and whisk until melted and smooth. Cool to room temperature.

*For mousse: Whisk sugar, yolks, 1/3 cup water and espresso powder in a large metal bowl. Set bowl over saucepan of simmering water; whisk until candy thermometer registers 160 degrees, about 3 minutes. Remove bowl from over water. Add nutmeg. Using electric mixer, beat egg mixture until cool and thick, about 5 minutes.

Rewarm remaining ganache over low heat, whisking just until slightly softened but not melted. If necessary let stand until firm enough to pipe. Spoon ganache into pastry bag fitted with star tip. Run sharp knife around torte pan sides. Release pan sides. Pipe ganache in lattice design atop torte. Pipe ganache in star shapes around border. Garnish with almonds.  Can be prepared 1 week ahead. Freeze until lattice sets, then cover and keep frozen.

CHOCOLATE MALTED MILKSHAKE

2 1/2 cups chocolate ice cream

1/2 cup malted milk powder

1 cup whole milk

Whipped cream

Malted milk balls, crushed

*In a medium bowl, combine the ice cream and malted milk powder. Pour into blender. Add the milk 1/4 cup at a time, blending between each time, until the desired consistency is reached. Top with whip cream and crushed malted milk balls.
  
Like I said, the alcohol sabbatical is over so pop open a bottle of chilled LIVIO FELLUGA PINOT GRIGIO. Let me know what you think and have a great weekend!

September 16, 2011

SERGE ROCHE-WHO?

Filed under: serge roche — Tags: — jherzlinger @ 12:26 pm

I have been on a kick in blogging about my favorites from the 1940′s, especially recently Maison Jensen.

In keeping with my theme, that I didn’t realize I was on, I am bringing you one of thee all time greats! SERGE ROCHE!

Now, you may not know his name, but I am positive you all know his work.  It has been an inspiration to many current designers and is very much sought after and collected.  

Just a quick note, it is great to have people be inspired by others designs.

I always find it funny when the ignorant insist that something is a copy.  My dears, as is always said, there is nothing new.  So let’s not and never take the time to waste on trying to find origins, but yet lets celebrate the design.

Where this comes from, I got into an argument about Frank Stella vs. Josef Albers.  So, just enjoy! and celebrate talent-now, on to the good stuff!

Roche’s designs definielty rank amongst my favorites.  right around 1930, Roche produced furniture and objets d’art that had a very fluid feminine feel to them.  He used stucco and mirrors to crete the

most outstanding examples of fireplaces and obelisks, and my total favorite-MIRRORS!.  Roche’s ornate white plaster creations, notably floor lamps, mires and sconces epitomize Hollywood Regency and pre-war interior glamour.


Roche was an artist with an eclectic personality, he became very famous not only because of his “objects of mirror” and eery original pieces of furniture, but also because of his capabilities as an art dealer.


ENJOY!

LOVE,

JAMIE

September 14, 2011

DIEGO RIVERA-WHO?

Filed under: diego rivera — Tags: — jherzlinger @ 12:27 pm

Being in New York, is like going to a giant theme park for me!  Between running to work with clients, or in this past week, the excitement of filming the NBC Open House Segment, I always find time to dash into my favorite museums,

which happen to be any and all of them! The museum of Modern Art, a favorite, , has the works of one of my all time favorites, DIEGO RIVERA!

(recognize the woman?)

“An artist is above all a human being, profoundly human to the core. If the artist can’t feel everything that humanity feels, if the artist isn’t capable of loving until he forgets himself and sacrifices himself if necessary,

if he won’t put down his magic brush and head the fight against the oppressor, then he isn’t a great artist.”

Considered the greatest Mexican painter of the twentieth century, Diego Rivera had a profound effect on the international art world. Among his many contributions, Rivera is credited with the reintroduction of fresco painting into modern art and

architecture. His radical political views and tempestuous romance with the painter Frieda Kahlo were then, and remain today, a source of public intrigue. In a series of visits to America, from 1930 to 1940, Rivera brought his unique vision to public

spaces and galleries, enlightening and inspiring artists and laymen alike.

Diego Rivera was born in Guanajuato, Mexico in 1886. He began to study painting at an early age and in 1907 moved to Europe. Spending most of the next fourteen years in Paris, Rivera encountered the works of such great masters as Cézanne, Gauguin,

Renoir, and Matisse. Rivera was searching for a new form of painting, one that could express the complexities of his day and still reach a wide audience. It was not until he began to study the Renaissance frescoes of Italy that he found his medium. It was with a

vision of the future of the fresco and with a strong belief in public art that Rivera returned to Mexico.

Frescoes are mural paintings done on fresh plaster. Using the fresco form in universities and other public buildings, Rivera was able to introduce his work into the everyday lives of the people. Rivera concerned himself primarily with the physical process of human

development and the effects of technological progress. For him, the frescoes’ size and public accessibility was the perfect canvas on which to tackle the grand themes of the history and future of humanity. A life long Marxist, Rivera saw in this medium an antidote to the

elite walls of galleries and museums. Throughout the twenties his fame grew with a number of large murals depicting scenes from Mexican history. His work appealed to the people’s interest in the history of technology and progress. The desire to understand progress was

visible in the growing industrial societies of the 1930s, and Rivera saw the workers’ struggle as a symbol of the fragile political ground on which that capitalism trod.

In 1930, Rivera made the first of a series of trips that would alter the course of American painting. In November of that year, Rivera began work on his first two major American commissions: for the American Stock Exchange Luncheon Club and for the California School

of Fine Arts. These two pieces firmly but subtly incorporated Rivera’s radical politics, while maintaining a sense of simple historicity. One of Rivera’s greatest gifts was his ability to condense a complex historical subject (such as the history of California’s natural resources)

down to its most essential parts. For Rivera, the foundation of history could be seen in the working class, whose lives were spent by war and industry in the name of progress. In these first two commissions and all of the American murals to follow, Rivera would investigate

the struggles of the working class.

In 1933 the Rockefellers commissioned Rivera to paint a mural for the lobby of the RCA building in Rockefeller Center. “Man at the Crossroads” was to depict the social, political, industrial, and scientific possibilities of the twentieth century. In the painting, Rivera included a

scene of a giant May Day demonstration of workers marching with red banners. It was not the subject matter of the panel that inflamed the patrons, but the clear portrait of Lenin leading the demonstration. When Rivera refused to remove the portrait, he was ordered to stop

and the painting was destroyed. That same year, Rivera used the money from the Rockefellers to create a mural for the Independent Labor Institute that had Lenin as its central figure.

Rivera remained a central force in the development of a national art in Mexico throughout his life. In 1957, at the age of seventy, Rivera died in Mexico City. Perhaps one his greatest legacies, however, was his impact on America’s conception of public art. In depicting scenes

of American life on public buildings, Rivera provided the first inspiration for Franklin Delano Roosevelt’s WPA program. Of the hundreds of American artists who would find work through the WPA, many continued on to address political concerns that had first been publicly

presented by Rivera. Both his original painting style and the force of his ideas remain major influences on American painting.


ENJOY!

LOVE,

JAMIE

September 11, 2011

A DAY TO REMEMBER AND REFLECT

Filed under: Uncategorized — jherzlinger @ 4:35 pm

WE HONOR THE MEMORIES OF THOSE WE LOST

September 10, 2011

JAMIE LOVES SATURDAY SUPPER

Filed under: SATURDAY SUPPER — jherzlinger @ 12:23 pm

 I’ve been in New York this past week filming segments for NBC’s Open House and it’s been a blast jet setting back to the city. This weekend, in honor of the place where I grew up, I’m putting together my favorite dishes I’ve loved long before I moved to Arizona. They are simple, elegant and perfect for a dinner party or a night in with your family. I also stopped by my favorite wine boutique in the city for recommendations on two whites that tie everything together (believe me, they know wine!).

Enjoy and let me know what you think!

Love, Jamie

MENU

 COLD CUCUMBER SOUP

POACHED SALMON IN WHITE WINE

PARSLEYED NEW POTATOES

FRESH ASPARAGUS MIMOSA

TARTE AU CITRON

WINE LIST

DOMAINE GUY ROULOT, MERSAULTLES VIREUILIS

DOMAINE FOURNIER, SANCERRE CUVEE SLIEX LOIRE 

 

COLD CUCUMBER SOUP

 

 

 

 

 

 

 

 

Makes 4 to 5 servings

1 1/2 cucumbers

1/2 tablespoons butter or margarine

1 tablespoon flour

1/4 teaspoon salt

3/4 cup chicken broth

1/2 cup milk

1/2 cup light cream

*Pare cucumbers; cut in half lengthwise. With a teaspoon, scoop out and discard seeds. Cut cucumber into 1/4-inch pieces.

*In a large saucepan, sauté cucumber in hot butter for 5 minutes, or until transparent. Remove from heat. Stir in flour and salt until blended. Gradually add chicken broth and milk.

*Cook over medium heat, stirring constantly until mixture boils. Reduce heat; simmer covered, 15 minutes.

*Turn into electric-blender container; blend, at high speed, 1 minute (or put mixture through a sieve, pressing cucumber through). Turn into a bowl.

*Stir in cream. Refrigerate, covered, until very well chilled (at least 4 hours).

6. Serve in bouillon cups. Garnish with a slice of cucumber, if you wish.

 

POACHED SALMON IN WHITE WINE

 

 

 

 

 

 

 

 

 

Makes 6 servings

6 salmon steaks (Instead you can use a center cut piece of salmon.  I like any wild salmon skinned)

4 tablespoons butter or margarine

1 teaspoon salt

2 shallots, finely chopped

1 tablespoon lemon juice

2 bay leaves, quartered

1/2 cup sauterne (If you don’t have sauterne, any white wine you enjoy drinking will work. Always cook with what you drink!)

1 1/2 tablespoons flour

2 tablespoons heavy creme

Chopped parsley

*Preheat oven to 400 degrees. Wash salmon steaks; dry on paper towels.

*Spread 2 tablespoons butter in medium baking dish. Place fish in dish and sprinkle with salt, shallots, lemon juice and bay leaves. Add sauterne.

*Cover dish with foil and bake 15 minutes. Baste steaks with liquid in dish and bake, covered, 10 minutes or longer or just until fish flakes easily with fork.

*Carefully remove fish from baking dish and drain well. Strain liquid and reserve 1 cup.

*Arrange steaks on heatproof serving platter or return to baking dish. Keep warm.

* Melt remaining butter in a small saucepan; remove from heat. Stir in flour until smooth. Gradually stir in reserved fish liquid and cook over medium heat, stirring until thickened. Stir in cream.

*Pour sauce over salmon steaks. Run under broiler 3 to 5 minutes or until golden-brown. Sprinkle with parsley.

 

PARSLYED NEW POTATOES

 

 

 

 

 

 

 

 

  Makes 8 servings

3 pounds small new potatoes

Boiling water

Salt

1/2 cup butter or margarine

3 tablespoons lemon juice

2 tablespoons finely snipped parsley

*Scrub potatoes. Pare a strip of skin, about 1/2 inch wide, around center of each potato. Place in medium saucepan; add boiling water to measure 2 inches and 1/2 teaspoon salt.

*Bring to boiling; boil gently, covered, 20 minutes, or until potatoes are tender. Drain. Return to heat several minutes to dry out.

*Melt butter in small saucepan. Stir in lemon juice, chives and 1/2 teaspoon salt. Pour over potatoes, turning to coat well.

*Turn into serving dish.

 

FRESH ASPARAGUS MIMOSA

 

 

 

 

 

 

 

Makes 6 servings

2 1/2 to 3 pounds asparagus

1/2 teaspoon salt

1 hard-cooked egg

1/4 cup butter or margarine, melted

2 tablespoons lemon juice

*Cut off tough ends of asparagus. Wash stalks well. With vegetable parer, scrape skin and scales from stalks.

*In a large skillet, add salt to 1 1/2 inches water; bring to boiling. Add asparagus spears; boil vigorously, covered, 8 to 10 minutes.

*Meanwhile, separate white and yolk of the hard-cooked egg. Chop white and yolk separately.

*Drain asparagus well. Arrange on platter. Drizzle with butter. Sprinkle egg white over asparagus, then egg yolk. Just before serving, sprinkle with lemon juice.

 

 TARTE AU CITRON

 

 

 

 

 

 

 

 

 

Butter and flour for the tart pan

1/3 recipe Pine Nut Crust

PINE NUT CRUST (If you’re not in the mood to make a crust, ready-made crusts are always an option. This one is amazing though!)

2 cups pine nuts

1/3 cup sugar

3 cups all purpose flour

8 ounces unsalted butter, room temperature

1 large egg

1 teaspoon pure vanilla extract*

*Place the pine nuts in a food processor and pulse a few times. Add the sugar and flour and continue to pulse until the nuts are finely ground. Transfer the mixture to a large bowl.

*Add the butter, egg, and vanilla extract and mix to incorporate all the ingredients (the dough can be mixed by hand or in a mixer fitted with the paddle attachment). Divide the dough into three equal parts. Wrap each piece in plastic wrap and refrigerate for at least 10 minutes before using. (The extra dough can be frozen, wrapped well, for up to 1 month.

LEMON SABAYON

2 large eggs, cold

2 large egg yolks, cold

3/4 cup sugar

1/2 cup fresh lemon juice

6 tablespoons (3 ounces) cold unsalted butter, cut into 6 pieces

Powdered sugar

FOR THE CRUST

*Preheat oven to 350 degrees. Butter and flour a 9 inch pluted tart pan with a removable bottom and refrigerate it while the oven preheats.

 *Remove the tart pan from the refrigerator. Use your fingertips to press the chilled pine nut dough evenly over the bottom and up the sides of the pan. Trim off any excess dough.

 *Bake the crust for 10 to 15 minutes, then rotate it and bake for another 10 to 15 minutes, or until golden brown. Remove the crust from the oven and let it cool while you make the filling.

 FOR THE SABAYON

*Bring about 1 1/2 inches of water to a boil in a pot that is slightly smaller than the diameter of the bowl you will be using for the sabayon. Meanwhile, in a large metal bowl, whisk the eggs, yolks and sugar for about 1 minute or until the mixture is smooth.

 *Set the bowl over the pot and, using a large whist, whip the mixture while you turn the bowl (for even heating). After about 2 minutes, when the eggs are foamy and have thickened, add one-third of the lemon juice. Continue to whisk vigorously and, when the mixture thickens again, add another one-third of the lemon juice. Whisk until the mixture thickens again, then add the remaining lemon juice. Continue whisking vigorously, still turning the bowl, until the mixture is thickened and light in color and the whisk leaves a trail in the bottom of the bowl. The total cooking time should be 8 to 10 minutes.

 *Turn off the heat and leave the bowl over the water. Whisk in the butter a piece at a time. The sabayon may loosen slightly, but it will thicken and set as it cools. Pour the warm sabayon into the tart crust and place the pan on a baking sheet.

 *Preheat the broiler. While the sabayon is still warm, place the tart under the broiler. Leaving the door open, brown the top of the sabayon, rotating the tart if necessary for even color; this will take only a few seconds, so do not leave the oven. Remove the tart from the broiler and let it sit for at least 1 hour before serving. Sprinkle with powdered sugar and serve at room temperature or cold.

 

To add a little extra flavor to each dish, white wine always does the trick. Pair the full-flavored Domaine Guy Roulot, Mersaultes Vireuilis with the salmon and the delicate Domaine Fournier, Sancerre Cuvee Sliex Loire with dessert. Served both chilled, of course!

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