slow: life in a tuscan town

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A preview of my upcoming photography book coming this September from Welcome Books


  • 1. slow DouGlaS GaYETon is a multimedia artist who has created award- winning work at the boundaries of traditional and converging media for slow national Geographic, PBS, Warner Brothers and Sony. Recent documentary projects include Lost In Italy, a series Gayeton created and directed for Fine life in a tuscan town living network, and Molotov Alva for HBo. Gayeton is also co-owner oflife in a tuscan town laloos Goats Milk Ice Cream in Petaluma, California, where he lives on a farm with his wife, laura, and their daughter, grAphs And text by alICE WaTERS is an internationally renowned chef and the co-owner d o u g l A s g Ay e t o n d o u g l a s g ay e t o n of Chez Panisse, the restaurant where she helped define California a passionate advocate of cooking with locally grown and seasonalA l Ic e wAt e r s ingredients, Waters has written several books on the subject, including IntroductIon by The Art of Simple Food (Clarkson Potter), and Edible Schoolyard: A Universal IdeacArlo petrInI prefAce by (Chronicle Books). She is the Founder of Slow Food nation, President e of the Chez Panisse Foundation, and an International Governor of Slowxploring the narrative boundaries of still photography Food International.propelled artist Douglas Gayeton on a remarkable journey CaRlo PETRInI is the founder of the Slow Food movement and authorof discovery into the heart of hidden Tuscany. His magical of several books on the subject, including Slow Food Nation: Why Our Food portraits of rural Italians celebrate the rich cultural traditions Should Be Good, Clean, and Fair (Rizzoli). He is the Founder of the university associated with the simple everyday pleasures of growing, selling, of Gastronomic Sciences, and President of Slow Food International. preparing, and eating food. Gayeton provides an absorbing first person account of his transformative immersion in this rarelyGiuseppinas Hands.glimpsed world, offering an intimacy that carries us deeper into front Cover: Conosco I Miei Polli [I Know My Chickens]. baCk Cover: the images. With an anecdotal charm reminiscent of Peter Mayles A Year in Provence, and the visual vitality of Peter Beards collage Edited by Katrina Fried journals, Slows interplay of pictures and words conveys a thrilling Designed by Gregory Wakabayashi sense of narrative that transcends the page and transports you 176 pages, 11quot; x 13quot; (landscape)halfway around the globe. 100 sepia toned tritone images, 8 gatefolds acetate jacket & 3 acetate tip-ins printed with text from Gayetons imaginative and interactive photographs are layeredunderlying images Includes approximately 20 authentic Tuscan recipeswith handwritten notes, anecdotes, recipes, quotes, historical facts Hardcover, $50.00 ($62.00 Can) and sayings that cleverly bring context and color to the subject of ISBn: 978-1-59962-072-5 on sale: September 2009 each sepia toned image and draw us deeper into this romantic and rustic world. You will fall in love with the regions kaleidoscope PHoToGRaPHY/FooD of charming local characters: the mushroom hunters and sheep Published by Welcome Books farmers, the winemakers and fisherman, the bakers and butchers an imprint of Welcome Enterprises, Inc. whose lives are profoundly bound to the rhythms of nature and 6 West 18th Street new York, nY 10011inherently exemplify the popular principles that define Slow tel: 212.989.3200 Food, an international movement dedicated to preserving local fax: 212.989.3205 food traditions and honoring local farmers and producers. www.welcomebooks.comTo place orders in the u.S., please contact Each photograph is titled with a traditional Italian saying and your local Random House sales representative, or call Random House customer service, toll-free: (800) 733-3000. Eastern and These photographs are rich and undeniably authentic, and could only have its English translation (e.g. Meglio Spendere Soldi Dal Macellaio Che Central accounts: MondayFriday, 8:30 a.m. 5:00 p.m. (EST); Dal Farmacista: Better to spend money at the butcher than the Western accounts: MondayFriday, 9:00 a.m. 6:00 p.m. (EST) been made by someone with the deep sensitivity and understanding that goespharmacist). The rich use of language intertwines the literal To place orders in Canada, contact your local Random Housewith the figurative, resulting in a photographic approach critics beyond the boundaries of nations and languages, and represents the principles sales representative, or call (888) 523-9292, MondayFriday, have dubbed the flat film. It is a riveting story told in a riveting 8:30 a.m.5:00 p.m. (EST). way: each image is actually comprised of multiple photographs at the heart of the Slow Food movement. Copyright 2009 Welcome Enterprises, Inc. taken over a period of time, ranging anywhere from ten minutes Photographs and text copyright 2009 by Douglas Gayeton to several hours. With this process, Gayeton has managed to Carlo Petrini, Founder of the Slow Food movement This is an uncorrected proof. introduce the concept of time, both compressed and exploded,A l Ic e wAt e r scArlo petrInI into his photographs. The result is exhilarating, and marvelously Printed in China IntroductIon byprefAce by complemented by Gayetons compelling personal tale. To learn more about Slow and see a preview of the book, please visit:

2. I t s C a r av a g g I o s F a u l t o r t I m e ( W hy I C o m p r e s s e d a thousand photographs Into a sIngle moment ) This book began wiTh a single phoTograph Taken over a Typicalevent, so they were used to seeing a camera in my hands. But when we Tuscan lunch in Pistoia, Italy, one January afternoon. Like most people, I gathered on this particular day, I didnt take one or two picturesI took owned a camera, and as a filmmaker, I had more than a passing interest innearly a thousand. The more I photographed, the less they seemed to photography. I liked the immediacy of photographs, but they also left toonotice. It was as if my camera became invisible. Afterwards I studied much out. What my eyes saw was always grander than any lens could cap- dozens of images of Ombrettas mother and father, of their children ture. Its deficiency mainly had to do with the concept of time. Films were and grandchildren, all collected around that dinner table. I compared stories based on sequences of eventsan arc, with beginning, middle, gestures and expressions, searching for the precise moment that de- and end set tumbling through time; photographs were frozen instants, fined who each of them were, not only alone, but in relationship to one capturing no more than what could be seen in the blink of an eye. Howanother. It was a giant puzzle, one that when finally assembled became could I introduce the presence of time, of an emerging and evolving storya single snapshot of an entire afternoon spent together. It essentially comprised of not one, but many moments, into a single photograph?collapsed time into what appeared to be a single momentbut one that During the years Ombretta and I were together in Italy, her family never actually happened. made me the designated photographer of every celebration or sharedSunrise at Paolos. View over Pistoia. 3. put tIng LA MADRE In a JarThe True sTarT of my slow food educaTion came one spring when I met Daria. She was the cook at a Villa Celle, an estate outside Pistoia that featured one of the largest environmental art collections in Europe. She taught me how to find insalata di campo, not your typical five-dollar bag of mesclun but instead wild salads picked in the nearby hills, mostly in olive groves where pesticides still were not used. When selecting plants she was always careful to pull up the entire root. She used it along with the leaves. The results were earthy, nutty, brimming with life. I returned to the Villa often that spring. One afternoon, Darias husband revealed the familys most prized possession, kept in the cel- lar behind boxes of old magazines: a coppa [ceramic urn] filled with vinegar. The secret was at the bottom. A deep crimson mudlike substance called la madre. Over two hundred years old, this prized heirloom had been passed from one generation to the next. The madre functioned as a starter. Wine was continually added to the coppa. It reacted with the madre, resulting in an endless supply of table vinegar. All attempts to secure enough of their madre to start my own vinegar were respectfully rebuked until the day I showed up with a pho- tograph Id taken of Daria. They proudly pinned it to the wall, handed me an empty jar, and led me down to the cellar. La madre is added to wine to make vinegar. 4. C u l I n a r y r o a d t r I p s o r F atwhile i reTurned To pieTrasanTa ofTen, osTensibly To shooT still lifes in Cerviettis attic, what I really came for was the mandatory stop at Colonnata in the nearby foothills to buy lardo, a Tuscan delicacy made from the fatback of local pigs that was salted, rubbed with herbs, then aged for six months in vats of solid Carrara marble. Its flavor was buttery, and when placed on schiacciata [flat bread] fresh from the oven, the lardo turned translucent. One of my greatest Tuscan pleasures derived from inventing reasons to embark upon such culinary-inspired road trips. I visited one Chianti vineyard to buy wine by the case only because it required taking a series of axle-bending strade bianche [literally the while lines on an Italian map meant to signify dirt roads]. I went to one chee- semaker to buy sardo [a pecorino from Sardegna], and another to get wheels of Pistoia pecorino. Some butchers were known for their salami. Others had better prosciutto or coppa. I developed fierce loyalties to the merchants and artisans I frequented, and discovered that knowing where their food came from deeply impacted what I chose to buy and eat. Wheels of pecorino cheese made from raw sheeps milk. 5. KIllIng the pIg or my shoes are CaKed WIth