#Liza Cosmetic & Make-up Organizers (White)

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The Essential Basics of Cosmetic Tattoos

Permanent makeup (cosmetic tattoos) can often be misunderstood by the average person. Lots of people believe permanent makeup is similar to receiving a regular tattoo. You can find similarities, but also important differences. Always consult a professional practitioner who communicates honestly in regards to the risks and listens. Below is some good info certainly make an informed decision. Precisely what is permanent makeup? Permanent makeup may be the keeping of a pigment (solid particles of color) underneath to generate the opinion of cosmetics. The pigment is placed from the skin which has a needle. How come cosmetic tattoos different? Essentially permanent makeup can be a tattoo, but carries a different goal than traditional tattooing. Permanent makeup artist Liza Sims Lawrence, founder of Wake Up With Makeup, LLC in Anchorage explains, "the goal will be subtle as opposed to to attract attention." The artist strives to harmonize with all the facial expression and kinds of skin.

What exactly are pigments? Based on the article "From the Dirt towards the Skin-A Study of Pigments" by Elizabeth Finch-Howell "The Dry Color Manufacturers Association (DCMA) defines a pigment as a colored, black, white,  or fluorescent particulate organic or inorganic solid, that is usually insoluble in, and essentially physically and chemically unaffected by, the vehicle or substrate into which it is incorporated." The automobile, which can be sanitized water or any other appropriate liquids combined with an antibacterial ingredient like ethol alcohol, must keep your pigment distributed throughout the mixture. What ingredients have been in pigments? Permanent makeup pigments always contain basic ingredients utilised by all manufacturers. Only a few pigments are made with iron oxides. According to Elizabeth Finch-Howell "iron is easily the most stable of all the elements and inorganic iron oxide pigments are non-toxic, stable, lightfast where you can array of colors." Lightfast means the pigments retain their original hue after a while. The main difference in pigments is normally linked to the vehicle, or liquid, accustomed to squeeze pigment beneath the skin. "I use sterilized water and ethol alcohol," states Finch-Howell, "I do not use glycerin as another manufacturers do given it doesn't evaporate." "Glycerin is a humectant having an extremely large molecule," continues Finch-Howell, "this molecule generally is punched in the skin." Glycerin is additionally present in many different quality grades. Other permanent makeup practitioners prefer pigments with glycerin given that they glide on the skin , nor dry up from the cup. Pigments tend not to contain mercury, talc or carbon. For details about day phun xam tham my web portal: click for more info.

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The Fundamental Basics of Cosmetic Tattoos and Permanent Makeup Pigments

Permanent makeup (cosmetic tattoos) is often misunderstood by the general public. Many people believe permanent makeup is like getting a regular tattoo. There are similarities, but also important differences. Always consult a trained practitioner who communicates honestly about the risks and listens. Below is some information to help you to make an educated decision.

What is permanent makeup?

Permanent makeup is the placement of a pigment (solid particles of color) below the skin to create the impression of cosmetics. The pigment is placed in the skin with a needle.

Why are cosmetic tattoos different?

Essentially permanent makeup is a tattoo, but has a different goal than traditional tattooing. Permanent makeup artist Liza Sims Lawrence, founder of Wake Up With Makeup, LLC in Anchorage explains, "the goal is to be subtle rather than to draw attention." The artist strives to harmonize with the facial features and skin tones.

What are pigments?

According to the article "From the Dirt to the Skin-A Study of Pigments" by Elizabeth Finch-Howell "The Dry Color Manufacturers Association (DCMA) defines a pigment as a colored, black, white, or fluorescent particulate organic or inorganic solid, which is usually insoluble in, and essentially physically and chemically unaffected by, the vehicle or substrate into which it is incorporated." The vehicle, which can be distilled water or other appropriate liquids combined with an antibacterial ingredient such as ethol alcohol, must keep the pigment evenly distributed throughout the mixture.

What ingredients are in pigments?

Permanent makeup pigments always contain basic ingredients used by all manufacturers. A small number of pigments are created with iron oxides. According to Elizabeth Finch-Howell "iron is the most stable of all the elements and inorganic iron oxide pigments are non-toxic, stable, lightfast and have a range of colors." Lightfast means the pigments retain their original hue over time. The difference in pigments is generally associated with the vehicle, or liquid, used to place the pigment under the skin. "I use distilled water and ethol alcohol," states Finch-Howell, "I do not use glycerin as some other manufacturers do because it doesn't evaporate." "Glycerin is a humectant with an extremely large molecule," continues Finch-Howell, "this molecule is literally punched into the skin." Glycerin is also found in a variety of quality grades. Other permanent makeup practitioners prefer pigments with glycerin because they glide on the skin and do not dry out in the cup. Pigments do not contain mercury, talc or carbon. More help cosmetic tattoo Perth

What regulations apply to the permanent makeup field?

The Federal Food, Drug and Cosmetic Act does not regulate pigments. However the FDA requires all color additives to be screened and approved by the US Food and Drug Administration prior to being sold. Elizabeth Finch-Howell states, "There is a list of FDA approved color additives for food, drugs, and cosmetics [that] pigment vendors should be drawing from to formulate their pigments". "All organic colorants are subject to batch certification by the Color Certification Branch of the FDA," Finch-Howell continues, "of the approximately 90 pigments on the FDA approved color additive list, all inorganic colorants listed are exempt from certification."

Do allergic reactions or side effects occur?

I have never had a client suffer allergic reactions to permanent makeup. According to Liza Sims Lawrence, authorized distributor of LI Pigments, "photo sensitivity reactions (sunlight) may sometimes be revealed by slight itching and raised, but this is normally associated with reds and violets used in body art tattooing." Sims Lawrence continues, "Once the area is no longer exposed to intense sunlight, the itching and raising usually dissipates. In permanent cosmetics we do not often use body art reds and violets on the face. True allergic reactions are extremely rare." Permanent makeup has been known to cause itching and burning during an MRI. However, the FDA states, "This seems to occur only rarely and apparently without lasting effects." It is best to inform the doctor and MRI technician that you have permanent makeup

What is the difference between organic and inorganic pigments?

Organic pigments are made from plant matter and inorganic pigments are made from dirt, as are topical cosmetics. In permanent makeup, organic and inorganic pigments both play important roles; pigments are not labeled organic in the same way food is by the government. Organic based pigments are necessary for vibrancy of color. Inorganic pigments give us earth tones and are lightfast. According to Elizabeth Finch-Howell, her pigment company, Derma International, uses inorganic and organic pigments and has been operating for 17 years without a single allergic reaction ever reported.

[caveartfair]

Completely Revamped Art Basel in Miami Beach Sees Upswing in Early Sales

Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

What happens when you take dozens of the world’s most important collectors, line them up on an 82-degree day in Miami’s famous sunshine outside of a convention center that’s mid-renovation, and change up the layout so their favorite dealers aren’t where they last saw them?

Turns out, they still buy art.

The 16th edition of Art Basel in Miami Beach opened on Wednesday morning to VIP guests with a newly renovated interior that adds 10% more space to the Miami Beach convention center and a complete reshuffle of every gallery on the map. The new layout offers dealers more room to spread out their wares, and gives visitors wider halls to walk along and a pair of large plant-filled plazas in which to sit, talk, or even exercise: In one, a fairgoer in bright purple sneakers sat doing his morning stretches. But the changes meant some people were a bit spun around, players in an art-fair game of Pin the Tail on the Donkey.

Installation view of David Zwirner’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

“I think people are having a hard time finding what they used to find, and there were some complaints about getting in as it was quite a long wait,” said David Zwirner, who had a booth near the entrance where VIPs picked up their passes. “But once people are in here I think they’re very happy.”

Zwirner adjusted to the new layout and the delayed entry by updating his normal rules: Instead of the typical one-hour window he allows for collectors in Miami to decide whether to pull the trigger, they were given two to locate his booth, see the works in person, and make a decision. At 12:15, just over an hour into the fair, he lacked his usual ebullience. But an hour later, the cloud had lifted, and he reeled off something like a dozen sales (a large share of them to Americans, he said) in one breath.

They included a Neo Rauch painting that went for $1.2 million, Josef Albers’s red Homage to the Square (1957) for an undisclosed sum, a Yayoi Kusama painting, Standing at the Flower Bed (2013) for $1 million, a Franz West sculpture for $800,000, a Donald Judd sculpture for $850,000, a Brice Marden for $700,000, and three works by Wolfgang Tillmans (Central Nervous System, 2013; river bed​, 2017; and moonrise October, 2017) for $95,000 each.

Installation view of Lehmann Maupin’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

As we know in the art world, appearance is (kind of) everything. The cosmetic changes were largely applauded by dealers, especially those with booths on the east side of the convention center, closest to the entrances. David Maupin of New York gallery Lehmann Maupin said the changes had gotten rid of visual disruptions like electrical boxes, making the fair “much smoother, more elegant.”

“It’s much more comprehensible to the visitor,” Maupin said. “The new layout is definitely an improvement.”

His booth, on the east side of the building, was buzzing with collectors on Wednesday, and he called it a “great day,” with an improvement in sales from last year. Two recent paintings by Chinese artist Liu Wei sold for between $200,000 and $250,000, as did two woven glass bead works by Liza Lou: the smaller Relief 2 (2017) for between $115,000 and $125,000, and the larger Relief 3 (2017) for between $130,000 and $140,000, which went to a trustee of the Albright-Knox Art Gallery in Buffalo, New York. Lou’s first New York show in a decade will open Lehmann Maupin’s new 24th Street location next year.  

Maupin said that while the fair’s new look certainly helped, it was attention from institutions and curators that are the biggest factor in driving sales for his artists. One example was Mary Corse, who is due to open two shows in the spring, including a presentation at Dia:Beacon and a solo show at the Whitney Museum of American Art in New York. Two large paintings from her 2017 “DNA” series sold for between $250,000 and $300,000.

“These things really drive the interest, whether it’s museum exhibitions or curatorial interest, it’s very important to these artists’ careers, that kind of validation or endorsement,” Maupin said.

Installation view of Lisson Gallery’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Lisson Gallery, which has outposts in London and New York, had not moved dramatically from its usual location, and was still near the B entrance. But Alex Logsdail, Lisson’s international director, said the layout had pushed more people towards his booth than in prior years.

“The number of people we’re getting through, because there are only two entrances rather than four, is just overwhelming,” Logsdail said.

Sales were brisk, too, including two Mary Corse paintings from the gallery’s Miami inventory, although a shimmering silvery-white Corse painting in the booth, Untitled (White Inner Band, Beveled) (2012), was still on reserve as of Wednesday evening, with an asking price of $325,000 (Lisson represents her in London). Lisson also sold a red untitled acrylic and aluminum Carmen Herrera floor sculpture Untitled Estructura (Red) (1962/2015), created as a monument to her deceased brother, for $500,000; Anish Kapoor’s Glisten (Organic green Satin) (2017) for £600,000; a Rodney Graham for $180,000; a Shirazeh Houshiary for $125,000; a Pedro Reyes for $55,000; a Stanley Whitney for $100,000; and a Daniel Buren for €130,000. Overall prices in the booth ranged from the mid-five figures to over $1 million.

Art Basel in Miami Beach locates itself at a key connection point between the North, Central, and South American art markets, and Logsdail said many of his sales were driven by Latin American collectors. He cited Brazil, Venezuela, Argentina, and Colombia as countries from which his collectors hail, although some of them may be based in Miami. He said the gallery has been cultivating relationships with the continent for years, doing SP-Arte in São Paulo and Zona Maco in Mexico City.

Installation view of Galerie Thaddaues Ropac’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Thaddaeus Ropac, owner of the eponymous gallery with outposts in Salzburg, Paris, and London, said North American and, to a lesser degree, European buyers were his strongest clients on opening day, with Latin American and local Miami collectors even less of a factor for his sales. Those included a James Rosenquist, Coenties Slip Studio (1961), for $2.7 million; a John Chamberlain painted steel wall sculpture, Sashimi Mendoza (1979) for $1.35 million; and an Alex Katz painting of Calvin Klein models, CK 21 (2017) for $550,000. He said nearly the whole booth was sold or on hold by midday.

The redesign meant that some galleries on the western side of the building were a little farther away from front-of-the-house action. Many of the booths focused on secondary market sales, which were furthest away from the entrances but directly at the entrance to the VIP lounge, were a little quieter than their contemporary peers.

Installation view of Goodman Gallery’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Elizabeth Callinicos of South Africa’s Goodman Gallery, which represents artists from across Africa as well as international artists, said her booth’s new location felt to her “a bit hidden.”

Still, she said she was having a lot of conversations with institutions, and within the first hour had sold out all available paintings by young Zimbabwean artist Misheck Masamvu. The gallery also sold all three editions out of five that it had on offer of African-American artist Hank Willis Thomas’s lenticular All or Nothing/Nothing at All (2017), in which the two phrases blur into each other as you walk past.

The gallery also sold works by two other Zimbabwean artists, Gerald Machona and Kudzanai Chiurai, by the end of the day. Goodman’s owner, Liza Essers, said in a statement she was pleased to see collectors “engaging with work that speaks to a diversity of global perspectives.”

Installation view of Salon 94’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Just next to the entrance, New York’s Salon 94 showed a selection of four large paintings, each around six feet by eight feet, by Aboriginal painter Warlimpirrnga Tjapaltjarri, who partner and director Alissa Friedman said first showed at Art Basel in Miami Beach three years ago, soon after he joined the program. Tjapaltjarri also had a show at the gallery in the fall of 2015. Two out of the four untitled works from this year on offer had sold within the first half hour.

The location was new for Salon 94—and newly prominent.

“We are front and center in a way that we haven’t been before,” Friedman said, calling the atmosphere “slightly frenzied” in the fair’s early hours.

“But,” she said, “it feels like good energy!”

from Artsy News