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Continuous Cooking Recipe #1 (c) 2013 Paige Buffington

PORK FRIED RICE made from POST CROCK POT PORK ROAST(c) 2013 Paige Buffington Herstory: A house guest from Europe requested a meal of Southern Bar-B-Que while staying at CASA BUFFINGTON.   Suggestion as to what you will need : A Sunday to make the roast A crock pot A pork roast 8 cloves of garlic fresh black pepper from bulk spice section of a health food store Directions: Put the roast in the crock pot, fat side down.  Make slits into the roast and insert a whole garlic glove into each cut. Turn on high, put on the lid and go to a movie. After 5 to 6 hours check the roast.  It should neither be overdone nor underdone.  I like mine on the rare side, so I can keep in the tenderness.  Take a slice from the middle and make sure it tastes juicy and succulent.  Since you will probably re-heat the sliced pork for bar-b-que sandwiches later, it does not matter that it is not done approximately. BAR-B-QUE SAUCE Suggestion as to what you will need : can of chipolte
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Where were you when? Stephanie Paige Buffington (c) 2012

This essay is addressed to visual artists who work in all mediums of visual expression: Have you ever taken an art history course at an institution of higher learning?  If so, then have you ever questioned the analysis of a particular work or works and asked yourself, "How can this analysis be the complete truth, without the input of the artist?"  Specifically, to what I am referring falls within these parameters:  1)  the art analysis occurs posthumous and 2) was the artist intent considered? I am well aware that in the field of art history to take into account the personal biography of an artist incorporated into the art analysis is considered an irrelevant immoderation.  Let's look at this from another perspective; from that of the artist herself. I'm interested in the artist biography as a tool, not as a narrative, to gather personal information that later is used as a primary document to include in the analysis.  I have to go for now, but if this topic is
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Porch Culture

How many of us have a front and back porch on which to ruminate? This activity is a past time of days gone by. Living in a house which was builit in 1926 offers much. Currently, living in the 21st century abode requires a person to maintain multiple distractions composed of depending upon an electronic source. Composing a list about all of the electronic devices in one household, bores me more than possessing them. What excites me is a screened in porch; situated on both the back and front of my house, located right in the heart of a small sleepy metropolis. The houses with attached porches, built in the era of the 1930's offer a luxury which are antiquities in the suburban and urban housing market. Money earned from my endeavors goes to accentuating the porches which are a connection to Nature, revered in the both Egyptian times and in the revival of Greek Classicism, lasting only a short time between "Craftsman" and "Art Deco" periods of American archite
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Put Down the Salad Fork. "Oyster Bar" Markham St.,Little Rock, AR (c) 2008 Paige Buffington

Opting for a big, green salad is my usual fare in both restaurants and at home, but the force of Arkansas roots in my genetic composition lured me to the Oyster Bar last night. My definition of getting wild is eating anything fried. So last night, I got rebellious and had dinner with a friend at the Oyster Bar on Markham Street in Little Rock. For all of you sophisticates reading this, musing, and wondering, "Well, yeah, we all know how good the Oyster Bar is, country girl, where the hell have you been all these years?" "New York City," I say. Why did it take me so long to go out to eat in Little Rock? Four years to be exact. I blame it on Manhattan cuisine, where you can get a tofu burger, sushi and sashimi at the corner deli, with an Italian espresso, and a German pastry, for a nominal fee. Snobby? Me? No. Just practical. I mean, like a good friend of mine once said, who quoted his dad, "Why eat hamburger, when you can eat steak." (This is possibly a mis
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Tracing the Myth of the Starving Artist (c) 2008 Paige Buffington

There is a belief strongly held by both artists and the artists' audience; society, that one must suffer in order to produce great works of art. Tracing this belief is a complicated process. Have you every pulled weeds from your garden? As you dig more deeply to uncover the weed's root, one discover's more offshoots, growing horizontally, and vertically. And so on and so forth. The roots of the starving artist myth is shaped by cultural ideaology movements, economics, psychological positions, theology, and simple human nature. In Tom Wolfe's, The Painted Word , he says, "By 1900, the artist's arena-the place where he seeks honor, glory, ease, success-had shifted twice. In seventeenth-centurey Europe, the artist was literaly, also psychologically, the house guest of the nobility and the royal court (except in Holland); fine art and court art were one in the same. In the eighteenth centurey the scene shifted to the ' salons' , in the homes of the wealthy
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