Word: beards
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Dates: during 1970-1979
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...ascent to gourmandise is no longer a matter of picking up a cookbook and buying a set of copper pots. Present and would-be home chefs support hundreds of cooking schools in the U.S. They are mostly very good?notably James Beard's and Lydie Marshall's classes in Manhattan, or Mary Nell Reek's in Houston, or Rita Leinwand's in Los Angeles. A five-lesson program can cost as much as $350. Boston alone supports 29 cooking schools, teaching everything from dicing to making Dampfnudeln. Whether for culinary kudos or to master grande cuisine, Americans sometimes spend...
...James Beard, 74, Manhattan-based author-teacher: "Go through cookbooks and articles about cooking and mark down what can apply to your own kitchen. I underline things with red pencil that I want to refer back to or put slips of paper into pages I want to turn to. There is such a wealth of ideas in good cookbooks that no one can collect all of them in a lifetime...
Some critics claim that the only cook who really needs a food processor is one who must feed a dozen lumberjacks three times a day. Others say they actively enjoy chopping and slicing. But James Beard, an early convert to the processor-and co-editor of a recipe book distributed with the Cuisinart-scoffs at "kitchen snobs who will not accept modern technological perfections. I'm perfectly certain were Escoffier or Montagne alive today, they would be happy to use a food processor." Indeed, many serious cooks say that short of a Bocuse in a bottle, the best friend...
This is "concerned" photography, with a twist; for though no living photographer is more obsessed with his subject than Beard, he works out the obsession at a calculated aesthetic distance. Usually that is imposed by the view from a light plane. The most effective images in his mortuary chapel to the elephant (an installation done with gloomy theatrical zest by Designer Marvin Israel) are all taken from above. The huddled corpses with torn mackintosh skin, their bones scattered, their tissues ravaged, are grotesque and pitiful. They are also perversely elegant in the extreme: a ballet of unrecognizable performers, Muybridge...
...Beard has in effect done for the elephant what the painter Francis Bacon -by no coincidence, the two men are close friends - did to the human body, but with the photographer's edge of documentary truth. It is unlikely that his images will save a single elephant. In a preface to his book The End of the Game (Doubleday; $9.95), whose new edition accompanies the show, Beard argues that the wild Africa of the 19th century is finished anyway, and is already beyond the ministrations of game policy: "It is too late to undo what has been done...