Blog

  • Pinot Noir for the Masses

    Archaeologists have all the fun. Mere historians spend their summers sweating over hot computers while those on expeditions get fresh air and exercise, often in agreeable places. I have just heard from a student who is spending great swaths of his summer making a new map of the Boundary Waters. There are less pleasant ways of spending your days than sitting in a canoe cuddling a GPS. Such canoodling in the Boundary Waters will not reveal any Roman roads (this student’s first love), but he might make his reputation by finally fixing the coordinates of Mist County. No one has ever looked for it that far north.

    Of course he would need a time machine. Lake Wobegon, so I have heard its chronicler assert, is really your grandfather’s rural Minnesota. One doubts if many Norwegian bachelor farmers use GPS to direct and regulate their seed drills; there won’t be a lot of agribusiness done in the Chatterbox Café.

    All the same, the portrait of this place is at least grounded in realism, which is more than you can say for a lot of pastoral literature. When the Hellenistic wordsmith Theocritus had the wheeze that you could compose clever poetry about country life, he meant it as metaphor; the dysfunctional affections of the nymphs and shepherds who sport in his delightful pleasant groves represent the abstract attachments of urban intellectuals. It is the same with Tudor madrigals. If fair Cloris actually met her swain in a pigsty she would surely have been far too worried about the mud on her multiple petticoats to celebrate their happy, happy loves. Clint Bunsen, by contrast, is not afraid of a little axle-grease.

    What is even more remarkable, the good folk of Lake Wobegon are described with optimism and affection; Powdermilk Biscuits are good for you—mostly. Everyday stories of countryfolk are often distressingly cruel. Take Sinclair Lewis. He seems to be the first writer ever to have used the pejorative term “hick” as an adjective; it is a wonder the good people of Gopher Prairie’s real-world counterpart, Sauk Centre, did not chase him all the way down Main Street and into the next county, however many Nobel Prizes he had to his credit. Perhaps their revenge is not to read his novels.

    The true masters of metropolitan disdain, though, are the French. M. Eiffel may have been born in Burgundy but he built his tower in Paris. The French intellectual even has an epithet which puts simple countryfolk in their place: They are the petit peuple. Whatever the feminists tell you, Madame Bovary was the victim of the French failure to embrace the simple pleasures of provincial life (though I guess you could say her enthusiastic embrace of a number of other pleasures also contributed to her decline and fall).

    It was not ever thus. In the fifteenth century, Burgundy in the east of France was a self-governing duchy capable of pursuing its own foreign policy—it was a Duke of Burgundy who captured Joan of Arc. Much of what one thinks of as characteristically medieval is associated with the Burgundian court—the high, pointy hats of the ladies, Books of Hours embellished with luminous blue and gold, the angular elegance of the music of Dufay. The distinctly unhick lives of John the Fearless and Philip the Good were fuelled by good local wine whose terroir had already been nurtured (not least by Cluniac and Cistercian monks) for centuries.

    The Pinot Noir grape is the characteristic grape of Burgundy—it first enters the written record (as Noirien) in documents from the reign of Philip the Bold. The good duke resented growers who wanted to make quick profits from the higher-yielding Gamay variety, and ordered them to mend their ways; so much for the magic of the market. You can benefit from this ducal forethought. In Burgundy, 2005 was a particularly good year, warm but not scorching and wet at just the right times. The long-established shippers Bouchard Ainé et Fils have generously made available a very pleasing red burgundy, full of fruit and flavor, labeled simply 2005 Bourgogne Rouge Pinot Noir, at a shockingly affordable price: under $20 a bottle. Local taste (rather than price) might prompt drinkers at the Sidetrack Tap to give it a miss, but I can imagine this burgundy being sipped with pleasure (from glass, not plastic, glasses) once the canoe has been parked, the GPS put to bed for the night, and the sausages (scholars cannot afford steak) have been set to sizzle.

  • Safari Restaurant

    The more traditional Somali cafés, with their sex-segregated seating and all-Somali clientele, can feel a bit uninviting to outsiders, but owner Sade Hashi makes everybody feel welcome at Safari Restaurant, just south of downtown Minneapolis. The original location, a few doors away, was friendly but frumpy; the new space is downright stylish, with an espresso bar, fieldstone fireplace, and a décor of African arts and crafts. Adventuresome diners can try the curried goat, but most of the menu is well within the average Midwesterner’s comfort zone: grilled beef or chicken and sautéed vegetables served with mango juice, a ripe banana, and a generous portion of rice pilaf or lightly sauced spaghetti (a legacy of the Italian colonizers). Most entrées are $8-$10. The espresso bar offers a big selection of coffee drinks to make up for the lack of alcohol—Hashi says the Somali community wouldn’t stand for it. 1424 Nicollet Ave., Minneapolis; 612-872-4604; www.safarirestaurantmn.com

  • Café Levain

    It’s a lesson that generations of Twin Cities restaurateurs have learned the hard way: The number of haute-cuisine restaurants that locals are willing to support at any given time is extremely small. Like, around two. When the number gets much higher, you have too much foie gras chasing too few gullets, and the population crashes (sort of like caribou), which is what happened during the great fine-dining die-off of 2006, when we lost Auriga, Five, and Restaurant Levain, all within a few months of each other.

    The man who owned the last, baker and bon vivant Harvey McLain, has picked himself up, dusted himself off, and transformed the empty dining room adjacent to his Turtle Bread bakery into the more modestly priced, less gastronomically ambitious Café Levain, offering French bistro classics at very affordable prices. Gone are the lobster ravioli with corn cream and the seared big tuna with foie gras and chocolate sauce, replaced by the likes of beef short ribs ($16) and an occasional coq au vin special ($15). All entrées are priced under $20, including a choice of side dish, and you can get a big all-American ground-chuck burger with a side of fries for $10. A half-liter carafe (about three glasses) of the house red or white runs $12, a starter of pork rillettes is $6, and a dessert of tarte tatin goes for $7.

    The décor hasn’t changed much, but the tables are now covered in butcher paper instead of white linen, and are squeezed a little closer together than before, so the dining room seems noisier, but also livelier. The mood is certainly casual—some diners come in shorts and a T-shirt. A small wine bar has been added, and a few seats at the counter facing the kitchen.

    The cuisine is also livelier, if less subtle than before—those short ribs and the coq au vin are full of intense, concentrated flavors. Other highlights include the crisp and juicy frog legs, the savory sautéed wild mushrooms, and the steamed mussels ($8/$12) served in a broth flavored with tomato, onion, and a hint of dried chili. 48th St. & Chicago Ave. S., Minneapolis; 612-823-7111.

  • Landmarc Grill

    The old curmudgeon is at it again. Michael Morse, crusty former owner of the late, lamented Café Un Deux Trois and a schmoozer extraordinaire, now presides over the Landmarc Grill in the Normandy Inn and Suites in downtown Minneapolis. It’s the kind of comfort-food joint that Morse has talked about opening for years, serving roast chicken, veal meatloaf, and chicken pot pie, but with a touch of French bistro as well: salade niçoise, croque monsieur, steak frites, and sautéed calves liver. The former Normandy Village dining room has been given a complete makeover, but Morse has kept three of its signature dishes: pancakes (breakfast will be offered soon), popovers for dinner, and a terrific hand-ground Henry VIII burger. Occasional specials like trout stuffed with shrimp and scallops show a depth of talent in the kitchen. Except for the steak frites and the “world’s best crab cakes” (both $24), everything is under $20, with the burger, pot pie, entrée salads, and sandwiches all in the $10-$12 range. 405 S. 8th St., Minneapolis; 612-455-1204.

  • Café Maude

    Café Maude is just the kind of restaurant a lot of neighborhoods need: prices low enough that the folks within walking distance can afford to be regulars, and food interesting enough to draw diners from a wider area. Proprietor Kevin Sheehy, who also owns a couple of Dunn Brothers coffeehouses nearby, worked closely with the Armatage Neighborhood Association in planning the café (the namesake for both the restaurant and the association is Maude Armatage, the first woman to serve on the Minneapolis Park Board).

    The pricing is certainly neighborhood-friendly—especially for a restaurant offering a full bar and table service. Most of the menu is small plates, salads, and flatbreads, but you can get a half-pound burger for $7.50, half a wood-roasted chicken for $10, and an entrée portion of hanger steak for $12. Chef Jason Ross, formerly of Solera and Aquavit, has a bit of the same eclectic spirit as Isaac Becker at the 112 Eatery. It’s hard to slap a label on his cuisine, but Mediterranean bistro probably comes close: The rice and Parmesan croquettes with hazelnut sauce are basically Sicilian arancini, the grilled haloumi cheese is from Cyprus, and the Greek salad is, well, Greek. The flatbreads are Italian, sort of, except the Italians would never top a pizza with frisée, duck confit, and bleu cheese. The chorizo hash with baby octopus? Mark it down as Spanish-Greek-Moroccan fusion. The grilled chicken, moist and juicy, is rubbed with Moroccan spices, while the hangar steak is given a French touch with its cognac finish.

    Café Maude is new enough that Sheehy is still fine-tuning the concept. The original plan to offer coffee and pastries for breakfast and salads and sandwiches at lunch has been dropped, but a full-menu breakfast and lunch service will launch sometime this month. The café’s tiny stage features live jazz on Fridays and world music on Saturdays, and on Tuesdays and Thursdays, DJ Howard Hamilton III picks tunes from his vast music collection. 5411 Penn Ave. S., Minneapolis; 612-822-5411; www.cafemaude.com

  • New Photography: McKnight Fellows

    Orin Rutchick, Kristine Heykants, Angela Strassheim, and Mickey Smith now show the fruits of the past year’s labors as winners of the McKnight Foundation’s annual photography fellowships. These are fairly approachable artists, standing in relation to average folks’ uses of the medium: Orin Rutchick’s project is all about tourist snapshots; Kristine Heykants’s theatrical studio work rides atop her commercial work shooting models and brides. Angela Strassheim worked in forensic photography before moving on to document life in the suburbs (arguably more of the same), but her work has always borne some resemblance to both family snaps and famous paintings. Recent fame has encouraged Strassheim to push her candy-colored malign line further; these photos are interesting but you probably shouldn’t have dessert before you go see them. The one photographer here who shows nothing really new is Mickey Smith—someone get that girl out of the library! 165 13th Ave. N.E., Minneapolis; 612-824-5500; www.mncp.org

  • Segrelicious

    Segrelicious is described as a “multi-media, poly-racial-gender exquisite corpse of poetry, performance, and artistic experimentation.” That tall order is maybe even possible to fill, given Shoebox proprietor Sean Smuda’s polymorphous involvement with dance, poetry, photography, iron sculpture, and even improvisational music. Each artist was directed to make work in response to a piece from another artist. On August 4 from 6-9 p.m., in both the Obsidian Arts and Shoebox Gallery spaces, the visual-arts part of the show opens. For the Soul Food gathering August 25, bring a dish, a drink, and a story or talent to share that afternoon; a physical and intellectual potluck will unroll throughout the Roberts Shoes building at Lake and Chicago. Segrelicious performances begin at 8 p.m. Call it a bohemian rhapsody … 2948 Chicago Ave. S., Suite 220, Minneapolis; 612-825-3833, www.mnartists.org/Shoebox_Gallery; www.obsidianarts.org

  • Plant Worship

    Cynde Randall has been in touch with just about every artist in the five-state area, thanks to her work as a longtime associate with the Minnesota Artists Exhibition Program at the Minneapolis Institute of Arts, and as the founder of the annual Bird x Bird exhibition, a benefit for avian well-being. Now, fittingly, she has her own eco-gallery on the shores of Lake Pepin, in the heart of the Mississippi flyway. It opened in June and its new show, Plant Worship, includes new works by Pat Callahan, Dennis Conrad, Andrew Neher, and Luke and Valerie Snobeck. Randall says the satiric but heartfelt work from this crew illustrates “the problematical relationship between human behavior (and industry) and nature.” As Neher notes regarding the issues his work explores: “What we are facing today isn’t the end of life but the end of a lifestyle.” 3557 W. Main St., Maiden Rock, Wisconsin; 612-250-9222

  • Hot Off the Press: Eleventh Cooperative Exhibition

    You know what printmaking is: creating multiple copies of an image, by any means possible. Print is a parallel art-world with its own histories and propensities. Some techniques are ancient, like woodcuts; some are former industrial processes, like stone lithography or screenprint; some are intimately allied with books and illustrations, like intaglio. Print is a fairly democratic medium, too: If you have some skills, you can join Highpoint as a co-op member and work in its fabulously well-appointed studio. The work of the current co-op is notably wide-ranging, with many artists in this exhibition (Clara Ueland and Nick Wrobleski, for example) transmuting the living world into more iconic, resonant forms. (Much as good illustration does, and that’s no insult.) Prints are affordable; go shopping. And maybe think about becoming a printmaker yourself—Highpoint has adult classes. 2638 Lyndale Ave. S., Minneapolis; 612-871-1326; www.highpointprintmaking.org

  • Art of the Vine

    “This is city girl meets country boy,” quipped Cheri Peterson, pointing a finger between herself and her husband, Kevin. However, such a coupling can work swimmingly when the pair gets to share a sophisticated yet bucolic life as owners and operators of the WineHaven Winery and Vineyard, outside Chisago City. The Peterson partnership, which manages to be simultaneously complementary and polar, works like this: Cheri, born on the East Side of St. Paul to world-traveler parents, loves art and functions as the winery’s hostess and curator; Kevin, on the other hand, is a Chisago City native and veteran beekeeper who now spends much of his time working the Peterson’s fifteen acres of six vineyards (he and son Kyle share the “winemaker” title). Cheri’s prized possessions include the painstakingly detailed, grape-patterned quilt from Pennsylvania’s Amish country; a custom-made wrought-iron trellis; a collection of wine-themed paintings on display to the public in the tasting room; and her brand-new trio of bronze deer sculptures, which were commissioned from the Napa Valley artist Miles Metzger and now welcome visitors to the Peterson’s Deer Garden vineyard. Although Kevin plenty appreciates Cheri’s art collection, his taste tends toward utilitarian and agrarian objects such as a vintage bee smoker (used to distract the workers while humans steal their honey) and especially the expensive Kubota tractor he recently picked up, but only after trading in a forklift and his ’40 Ford pickup.