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reboottechblogs · 1 year ago

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Cracking the Code: Mastering the Art of Comparing Moving Prices

Introduction: When planning a move, comparing moving prices is crucial to ensuring you get the best value for your money. However, it can be overwhelming, with many options and factors. Read this article to learn the secret! of comparing moving prices, providing valuable insights and strategies to navigate the process like a pro. Get ready to master the art of compare moving prices and making informed decisions for a successful relocation.

Defining Your Moving Needs: Tailoring Quotes to Your Unique Requirements

Understanding your specific moving needs is the foundation of effective price comparison. We'll guide you through evaluating factors such as the size of your home, the distance of the move, any special items or fragile possessions, and the desired level of service. You can request accurate quotes tailored to your unique requirements by defining your needs.

The Price-Quality Balance: Identifying What Matters Most to You

Comparing moving prices isn't just about finding the lowest cost; it's about striking the right balance between price and quality. We'll help you identify what matters most to you, whether the moving company's reputation, experience, customer reviews, or additional services offered. Understanding your priorities will allow you to weigh the price against the value provided.

Requesting Comprehensive Quotes: Unraveling the Fine Details

A comprehensive moving quote is essential for an accurate comparison. We'll explain the key components that should be included in a section, such as packing materials, transportation, labor, insurance, and any additional services. We'll also highlight the importance of requesting itemized quotes that break down the costs, allowing you to compare apples to apples.

Beware of Hidden Costs: Spotting Red Flags in Moving Quotes

Hidden costs can quickly turn a seemingly affordable quote into an expensive ordeal. We'll reveal expected hidden costs to watch out for, such as fuel surcharges, additional labor fees, or fees for navigating stairs or elevators. By being aware of these red flags, you can spot potential pitfalls and ensure transparency in the pricing structure.

Researching Moving Companies: Trustworthy Partners for Your Journey

Comparing moving prices is not just about numbers; it's about finding a reliable and trustworthy moving company. We'll guide you in researching moving companies, including checking their credentials, verifying licenses and insurance, and reading customer reviews. By doing your due diligence, you can narrow down your options to companies that align with your standards of quality and professionalism.

Considering Timing and Flexibility: Exploring Cost-Saving Opportunities

Timing can play a significant role in moving prices. We'll discuss the benefits of planning your move during off-peak seasons or weekdays when prices may be more competitive. Additionally, we'll explore the advantages of being flexible with your moving dates, which can open up opportunities for discounted rates or last-minute deals.

Conclusion:

Comparing moving prices can be a manageable task. By mastering the art of comparing moving prices through defining your needs, finding the right price-quality balance, requesting comprehensive quotes, being cautious of hidden costs, researching moving companies, and considering timing and flexibility, you'll be equipped with the knowledge and strategies to make informed decisions for your move. Get ready to crack the code and embark on a successful and cost-effective relocation journey.

#sq moving #qshark moving costa mesa #asar moving #sq moving company #mario moving company #stella moving company #muraway moving #rock n roll movers burbank #real rocknroll movers #stella moving & delivery #gentlemen's moving company #gentlemens moving company #trek movers. local &#royal moving company los angeles #compare moving prices #compare moving company prices #compare moving company #comparing moving companies

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sunshyni · 3 months ago

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STUPID CUPID – WONBIN

wonbin × fem!reader wc. 0.5k

gênero: fluff (?), frenemies to lovers

contém: protagonista cacheada e que usa óculos

📎 notinha da Sun: finalmente respondendo um pedido de janeiro (desculpa, @gabiixalves KKKKK Juro que tô tentando melhorar 🙏), mais um escrito no ônibus e o primeiro texto do Wonbin 🤗

boa leitura, docinhos!! 💌

Wonbin era de longe o garoto mais popular do colégio, enquanto você era a CDF comum, o clichê perfeito. No entanto, você tinha a língua afiada, falava o que vinha à cabeça sem se importar muito com as consequências, e, mesmo dizendo o contrário, Wonbin adorava isso. Ele adorava a forma como você o provocava, encarando-o nos olhos enquanto dizia que jamais se envolveria com ele — o que era um erro. Como já dizia Justin Bieber: “never say never,” certo?

A questão é que naquele dia em específico iria rolar um baile de primavera na escola. O tema? Cupido, grande Eros, e tudo isso se encaixava perfeitamente na estética de Park, que chegou pertinho de você enquanto procurava algo para tirar a secura da boca e da garganta. Uma mão pousou docemente sobre a sua cintura de costas, e os lábios dele se aproximaram do seu ouvido.

— Resolveu sair da sua torre, Rapunzel? — Ele perguntou, e todos os pelos do seu corpo se eriçaram de imediato. Você ajustou os óculos e se virou para contemplá-lo. Ele estava, obviamente, impecável, vestindo uma calça jeans e uma jaqueta branca brilhante. Apenas a jaqueta branca brilhante, então você podia ver também o abdômen definido dele. Até vestia umas asinhas de fada que deviam ser de uma menininha de 6 anos, mas que ficavam perfeitas nele.

— Ai, não me enche, garoto — você disse, mas adorava a atenção. Apontou um dedo para o corpo descoberto dele e tocou perto do coração com o indicador. Wonbin seguiu o movimento como o fanático que era por você. Apesar de vocês esconderem isso um do outro, se adoravam, e sempre havia uma tensão quando se encontravam. — Tá achando que a escola é desfile da Victoria’s Secret, angel?

Ele sorriu enquanto você bebericava a bebida escolhida, uma versão de soda italiana caseira feita com água com gás e suco de uva de caixinha. Wonbin esperou, observando enquanto você desviava o olhar e bebia o líquido. Assim que terminou, ele roubou o copo da sua mão, tomando cuidado para beber também onde estava a marca do seu batom avermelhado. Seu coração acelerou, e provavelmente suas pupilas dilataram, como as de um gatinho ao ver um bom salmão.

— Você gostou, né? — Mais um sorriso fingindo inocência. — Isso pode ser seu se você quiser.

Wonbin se aproximou ainda mais, colocando o copo de soda na mesma mesa de onde você o pegou. Ao lado de vocês, ele colocou um cachinho definido seu atrás da sua orelha, retirou seus óculos devagar e olhou nos seus olhos sem a proteção das lentes.

— Eu amo isso aqui, te deixa irresistível — ele disse calmamente. Parecia que você tinha sido capturada por um feitiço; só conseguia olhar para ele, para a pele exposta, para o rosto lindo dele. Ele segurou uma de suas bochechas com a mão e te beijou suavemente, deslizando os lábios nos seus, te invadindo com a língua com gostinho de hortelã. Quando se separaram, você mal podia acreditar no que tinha acabado de acontecer. Respirou fundo, mas no final deu um sorriso.

— Você arquitetou tudo isso? — Você perguntou, sentindo um friozinho bom na barriga. Wonbin segurou sua mão e sorriu como um menininho travesso.

— Na verdade, é sua culpa. Você me deixa maluco todo dia — ele disse sem hesitar, e beijou o dorso da sua mão como um cavalheiro do século XIX. — Culpa desse estúpido cupido.

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manila-automat · 7 months ago

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Stores of the Year 6 (1991) Martin M. Pegler Comtempo Casuals, South Coast Plaza, Costa Mesa Space Design International, Los Angeles

#Stores of the Year 6 #Martin M. Pegler #1991 #store design #retro design #shopping mall #90s interior #interior design #retail design #department store #mall

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napunk-history · 6 months ago

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Black Flag

Blackie’s, Los Angeles, CA (1980-01-25)

Cuckoo’s Nest, Costa Mesa, CA (1980-01-27)

The Great Gatsby, Redondo Beach Pier, CA (1980-01-29)

Hong Kong Cafe, Los Angeles, CA (1980-01-30)

#NAPUNK #BLACK FLAG #FLYER

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mandsleanan · 9 months ago

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Sorry, parents: The American dream is only for DINKS

Homebuyers with kids will likely spend 66% of their income on a mortgage and childcare this year.

Parents in Los Angeles and San Diego can expect to spend as much as 121% and 113%, respectively.

Some Californians have moved across the country to afford to buy a home.

Thinking about buying a home this year with kids already in the picture? Get ready to dig deep.

A recent study from Zillow found that potential homebuyers with children are likely to spend 66% of their income on mortgage payments and childcare expenses — an increase of nearly 50% from 2019.

The real-estate company estimated city- and state-level childcare costs from 2009 to 2022 for the typical American family with 1.94 children by analyzing data from the Women’s Bureau of the US Department of Labor and advocacy group Child Care Aware.

According to Zillow’s analysis, in 31 of the largest 50 US metropolitan areas with available childcare cost data, families looking to buy a home can expect to spend more than 60% of their income on mortgage and childcare costs.

Some areas are even costlier, with parents in cities like Los Angeles and San Diego needing to dedicate as much as 121% and 113%, respectively. (In those areas, the cost of buying a typical home and childcare is so big relative to the median income that Zillow's calculation results in figures over 100%.)

Zillow determined that a family earning a median household income of $6,640 per month can expect to allocate $1,984 of that to childcare. If the family purchased a house at a 6.61% interest rate — the rate in early January, when the US Department of Labor released its latest data on childcare costs — and made a 10% down payment, their monthly mortgage would amount to $1,973.

That leaves just $2,683 for additional expenses like food, transportation, and healthcare. This means many households with kids are financially strained; they're likely spending more than 30% of their income on housing, well above what experts recommend.

It all adds up to a costly reality that's making the American dream of homeownership seem farther out of reach for parents than ever before.

Parents can blame a yearslong battle with inflation, as well as stubbornly high home prices and mortgage rates, for contributing to their predicament.

Based on the study, a new buyer household in the United States, making the median income, would spend 30% of it on housing. It's paying for childcare, then, that adds so much on top of the housing budget.

The upshot: Another group, less encumbered financially, appears better poised to realize the dream of homeownership: "DINKS," an acronym that stands for "dual income, no kids."

Some child-free DINKS — who boast a median net worth above $200,000 according to the Federal Reserve's Survey of Consumer Finances — devote their disposable income to luxuries like boats and expensive cars.

Without the financial obligations of raising children, such as covering medical expenses or enrolling them in daycare or private school, DINKS can save thousands of dollars a year and build greater long-term wealth.

Some DINKS use their savings to finance vacations and travel the world, like Elizabeth Johnson and her husband, who, over the past couple of years, have hiked in the Swiss Alps, snorkeled in Hawaii, and enjoyed leaf peeping in Canada.

"We hang out with other people's kids every once in a while," Johnson previously told Business Insider's Bartie Scott and Juliana Kaplan, "but then we happily just give them back to their parents."

Some Americans with kids move to places where their money goes further

One solution to the high cost of both buying a home and raising a family?

Move.

In recent years, young Americans in higher-cost states have decided to move to places that offer them a cheaper cost of living.

Janelle Crossan moved to New Braunfels, Texas, from Costa Mesa, California, in 2020 following a divorce.

She was able to become a first-time homebuyer and found a safe community to raise her son.

"I paid $1,750 for rent in a crappy little apartment in California," Crossan told BI earlier this year. "Now, three years later, my whole payment, including mortgage and property taxes, is $1,800 a month for my three-bedroom house."

Pengyu Cheng, a program manager for a tech company, told BI in 2023 that moving from California to Texas allowed him and his wife to afford their first home, giving them the confidence and security to have their first child.

"Living in California has always been expensive," Cheng said. "I knew that when my wife and I eventually expanded our family, we wouldn't be able to afford San Francisco or the Bay Area in general — even though we both earn good salaries."

#Childfree #DINK Life #Homebuying #Formatting's wacky on this one

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thislovintime · 2 years ago

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Peter Tork and James Lee Stanley promoting Stranger Things Have Happened at Costa Mesa’s Tower Records on December 2, 1995. Photos by Pat Smith.

“He plays ‘em, and he sings the songs [on Stranger Things Have Happened]. Backing him on the album are Dolenz, Nesmith, ex-Eagle Timothy B. Schmit and his current music mate/opening act, acoustic guitarist and yarnspinner James Lee Stanley. ‘I want some ambiguity — not straight moon-June-spoon-lovey-dovey,’ Tork says of his music. He delivers that straightaway in the title track [listen], a world-beatish ditty that explores love through the metaphor of Mao's Long March. ‘The inference to be drawn is that once you've fallen in love, then the work begins,’ he explains. ‘Everybody wants to think you fall in love and that's it, like in movies and pop music. The truth is that's not the truth. The bloom of infatuation always wears off. Then what?’” - Chicago Tribune, January 19, 1996

“Songs on the album span from hard rock and reggae to classical. ‘The music is eclectic, very broad-based,’ Tork said. ‘Peter is a multi-faceted guy,’ [James Lee] Stanley said. ‘He is largely influenced by reggae.’” - The Defender, February 21, 1996

Q: “Why, after all this time, do we finally have the first Peter Tork CD?” Peter Tork: “I don’t know. Shouldn’t I have ever put one out? Oh, you mean why did it take me so long? I don’t exactly know… I needed James and he couldn’t help as long as I lived in the San Francisco Bay area. That’s one thing. I suppose, too, that until recently, I wasn’t equipped psychologically.” [...] Q: “How did you come to work with your producer, James Lee Stanley?” PT: “James is about my oldest friend. No, make that my friend of longest standing. I worked with him once before, in my early days, and I thought, as a result of that experience, that it would be very good for me to work with him again. Plus, he was in the neighborhood.” Q: “How did you pick the songs?” PT: “Each one differently. Some of them I’ve had on my mind to put [on] my record for a long time. Others we just sort of played and started to record.” [...] Q: “Why didn’t you put Long Title on Stranger Things Have Happened?” Peter Tork: “We tried, but it’s how these things go sometimes. We weren’t happy with the way it was turning out, so we dropped it. Maybe the next solo album.” Q: “How do you write a song. What starts you off.” PT: “Pretty women start me off, and there’s no one way to write. Sometimes someone says something that sounds interesting, and you jot it down. Sometimes you find yourself humming something that you realize you haven’t exactly heard before. The hard part is ‘asking’ for the inspiration to get the other parts, other verses, bridges, if any, etc.” - Beachwood Confidential newsletter, 1995

“‘It’s kind of middle-of-the-road, up pop,’ [Tork] says. ‘Micky and Mike Nesmith sing backup on a couple of songs. If it isn’t available in your local record store, you can get it by calling 1-800-Not-Ribs-0!’” - Los Angeles Times, November 12, 1995 (x)

“That’s another reason that we were friends for life, because I saw him shine when, you know, there were no Monkees, the Monkees idea wasn’t even on the horizon. And he was a wonderful performer and a wonderful musician, and I saw him like that. And I think the fact that he got that from me, that kind of respect all through that period, probably helped the bond as well.  And I remember that, after The Monkees’ resurgence, I think it was about, it might have been ’90, ’91 or something, and I said, ‘Peter, why haven’t you made a record? All these guys have made solo records, and you haven’t.’ And he was so humble, he just said, ‘Well, you know, no one has asked me.’ And I said, ‘Jesus, Peter, I have a studio, I have a record label, I have distribution.’ I said, ‘Why don’t we, at some point, make you a solo record, and we’ll shop it, you know. And the worst case scenario, if literally nobody likes it but us, we can put it out on my label, which is distributed by Capitol. So we can’t lost, you know.’ And, you know, I just, I just said, ‘Let’s just do that.’ And I, I must admit that my vision of the first album, because I had seen him perform this organic acoustic music, I wanted to present him doing those, those banjo things. I wanted to make, essentially, an acoustic record, so that I could demonstrate that there was no… no phony stuff behind him, that he was the guy doing this stuff. I wanted to present that so it would shift peoples’ conception of him. Yes, he’s a Monkee, and he was famous and he was a teen idol. He was also always this musician, he played the acoustic guitar — he really played the guitar, he really played the banjo, he really played the piano. And I wanted to do that. But he said, ‘James, you know, I’m not that guy anymore. I want to do a rock ’n’ roll — I’m a rocker, I want to do a rock ’n’ roll record. And I wanna do, I like all these synths and stuff.’ So I said, ‘Okay, well, I mean, let us… let me see what I can do to help further your vision.’ One of the things I’ve always done as a producer is try to figure out what the vision of the artist was, and then serve that. And I learned that from reading about George Martin, who never discouraged The Beatles. He never said, ‘That’s a stupid idea, we can’t do that.’ He always tried to help bring to life whatever the vision was that the artist had. So that’s what I tried to do with Stranger Things Have Happened. Tried to just assist him in realizing that vision. […] [With the 7A re-release] I went back and revisited the record, and I’ll tell you the truth, I liked it a lot. I was, I was genuinely surprised by how much I liked it. I mean, it was Peter’s thing, not mine, and it sounded like a Peter record. It didn’t sound like one of my records; if you listen to my stuff, it’s much different than that. But I liked it, you know. I thought it was very inventive and very varied. [...] [As a songwriter, Peter] was always trying to do something which you hadn’t heard. Which is pretty rare, because many of the hit songs that you hear are derivative, they sound like some other hit song. Peter always wanted to write something that you hadn’t heard before. [...] I mean, his writing was interesting, you know, and fun to play. Always surprising.“ - James Lee Stanley, The Monkees Pad Show

#Peter Tork #Tork quotes #<3 #James Lee Stanley #1990s #90s Tork #Stranger Things Have Happened #1995 #Tork songs #long read #Peter deserved better #Tork performances #<333 #Two Man Band #The Defender (newspaper)#Chicago Tribune #Beachwood Confidential Newsletter #can you queue it

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oclipocenters · 2 years ago

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Understanding the Benefits of the Popular Beauty Treatments

As people become more and more concerned with their appearance, there has been a growing demand for cosmetic procedures that can help to enhance and rejuvenate their looks. Among the most popular of these procedures are laser liposuction, which can help to sculpt the body and reduce fat, and laser lipo, which can be used to tighten and tone the skin.

Los Angeles Costa Mesa laser lipois a minimally invasive procedure that uses a laser to melt away fat cells, which are then removed from the body through a small tube. This procedure can be performed on various areas of the body, including the abdomen, hips, thighs, and arms.

One of the main benefits of laser liposuction in Los Angeles Costa Mesa is that it can be performed on an outpatient basis, which means that you won't need to stay in the hospital overnight. In addition, because the laser is used to melt the fat, there is less damage to the surrounding tissue, which means that recovery is usually faster and there is less pain and swelling.

If you're looking for a way to slim down and improve your body contours, laser liposuction in Lake Forest may be the solution for you. This procedure can help to reduce fat in areas such as the abdomen, hips, and thighs, and it is minimally invasive, which means that there is less downtime and less discomfort.

One of the main advantages of laser liposuction Lake Forest is that it can be performed using local anesthesia, which means that you won't need to be put under general anesthesia. In addition, because the laser is used to melt the fat, there is less risk of injury to the surrounding tissue, which means that recovery is usually faster and there is less pain and swelling.

Laser lipo is a non-invasive procedure that uses a laser to tighten and tone the skin, and to reduce the appearance of cellulite. This procedure can be performed on various areas of the body, including the legs, arms, hips, and abdomen.One of the main benefits of Laser lipo Huntington beach is that it is a non-invasive procedure, which means that there is no downtime and no pain.

#Los Angeles Costa Mesa #laser liposuction Lake Forest #Laser lipo Huntington beach

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keanuquotes · 1 year ago

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Artist Bio

Alexandra Grant (b. 1973 in Fairview Park, OH) received her Master of Fine Arts from the California College of Arts and Crafts and her Bachelor of Arts from Swarthmore College. Grant is the co-founder of X Artists’ Books and the founder of grantLOVE, an art project to raise awareness and money for various nonprofits through the gift and sale of her LOVE artwork. Her work has been the subject of solo exhibitions at Galería Marco Augusto Quiroa en Casa Santo Domingo, Antigua, Guatemala; Galerie Gradiva, Paris, France; Honor Fraser Gallery, Los Angeles, CA; Lowell Ryan Projects, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, Los Angeles, CA; Night Gallery, Los Angeles, CA; Ochi Gallery, Sun Valley, ID; Orange County Museum of Art, Costa Mesa, CA; Positive Art Center, Seoul, South Korea; 18th Street Arts Center, Santa Monica, CA; the 20th Bienal de Arte Paiz, Guatemala City, Guatemala, and elsewhere. Grant has been included in group exhibitions at numerous international institutions including the Armory Center for the Arts, Pasadena, CA; Center for Contemporary Art, Tel Aviv, Israel; El Paso Museum of Art, El Paso, TX; Eli and Edythe Broad Art Museum, East Lansing, MI; Los Angeles County Museum of Art, Los Angeles, CA; Museo Archeologico di Amelia, Italy; Museum of Contemporary Art Denver, Denver, CO; Orange County Museum of Art, Newport Beach, CA; The Contemporary, Baltimore, MD; Torrance Art Museum, Torrance, CA; and the USC Fisher Museum, Los Angeles, CA. Her work may be found in the collections of Blanton Museum of Art, Austin, TX; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, Los Angeles, CA; Museo Santo Domingo, Antigua, Guatemala; Museum of Contemporary Art, Los Angeles, Los Angeles, CA; and the Orange County Museum of Art, Costa Mesa, CA. The artist lives and works in Los Angeles, CA.

Interview Artist

Alexandra Grant

By Carol Real

How does literature serve as a catalyst for your artistic practice, and how does it influence your creative output? Can you share examples of specific literary works that have inspired your art?

When I was a graduate student studying drawing and painting at the California College of the Arts, the main question that preoccupied me was finding a stream of ideas that would both interest me in the long term and be the intellectual bedrock for my artistic career. I asked myself what I liked to do when no one was looking and what I liked to do when everyone was looking. What I enjoyed thinking about in my life to that point and what I would imagine enjoying for the rest of my life. The answer was literature and reading. So I began my career using painting to represent and interpret literature, poetry, and writers I admired. It’s what I still do today. My early text-based works examined poems by Pablo Neruda and Wislawa Symborszka. When I moved to Los Angeles in 2001, I searched out living writers interested in an exchange. That’s when my collaboration with hypertext pioneer Michael Joyce began. I have had the pleasure and privilege of engaging with a diverse group of writers and thinkers, from James Joyce to Hélène Cixous, from Szymborksa to living Polish writers such as Anna Adamowicz, Krystyna Dąbrowska, Julia Fiedorczuk, Bianka Rolando, Olga Tokarczuk, and Urszula Zajączkowska.

How do the languages we speak and the images we see influence our thoughts and shape our exchange of ideas? How does this understanding inform your artistic exploration of text and language?

I grew up traveling and living in many countries, speaking Spanish and English as a small child and learning French as a teenager. I have clear memories of landing in a place where I didn’t speak the language. I looked for visual and other clues to make sense of words and phrases as I adopted and adapted to French. So I’d say that my understanding of language comes from speaking three languages and being curious about the rhythms and intonations of other tongues that I don’t know.

Since my first solo show in Asia last year—MANTRA at the Positive Art Center in Seoul, Korea—I encountered curiosity about my work in a place where the alphabet itself is pictorial. I learned about artist Lee Ungno and how he approached abstraction from pictogram shapes present in Korean writing and representation. Inherent in my speaking English and two romance languages are the visual and philosophical limitations of the Roman alphabet.

Can you explain the connection or evolution between your earlier “Antigone 3000” paintings and your more recent works? How has your artistic vision evolved over time, and what inspired these shifts?

I’ve been working with and depicting the story of Antigone in my paintings since 2014. The reason it has held my attention is that the work continues to evolve. Each composition is based on three main elements: horizontal pours of paint, which represent the organic or messy qualities of real living; ruled lines, which represent the rule of law or idealized life; and words, in particular, a phrase by Antigone from Sophocles: “I was born to love not to hate.”

Since beginning my career, I have shifted my focus and style both gradually and suddenly, and the former is the case for the “Antigone 3000” series. If I look at the earlier paintings in the “Antigone 3000” series, they are more architectural and formal, more rigid, even, in their construction and composition. The paintings most recently exhibited at Miles McEnery Gallery in New York still have the three elements—pours, lines, and text—but are much more free, joyous, and visually cacophonous, like a firework explosion. I think you can see that I’m enjoying painting them.

The Rorschach-like text in your artwork enhances its abstract nature. Can you elaborate on how this technique contributes to abstraction and deepens meaning in your work?

I began my career in drawing and painting with all the text elements in reverse or backwards. It created a Through the Looking Glass experience, of being on the other side of a world, looking in. It invited the viewer to stop reading the text and instead make sense of it through other visual cues, like color, scale, and the emotional intensity with which the words themselves were written.

In “bodies,” a series of paintings from 2010 based on texts by Michael Joyce, the words double, representing the symmetry of the human body. This idea of symmetry and repetition influenced my representation of Antigone’s voice. Represented symmetrically, “I was born to love not to hate” becomes a totem. The original image was created as a wax rubbing on paper over a plaster sculpture. The image was both a font from the sculpture but also showed that my hand was involved in the frottage. As the work evolved, I began to use a silk-screened version of the text-image, which allowed me to move onto canvas and use different colors in the printing process.

At an opening in 2019, my godson, who was 10 at the time, came running across the gallery and said, with obvious delight, “I decoded the painting!” I like that the viewer has to puzzle out and decode the text when it is, as you have said, abstracted into a form.

How does the scale and size of your paintings impact viewers’ experience and interaction with the artwork? In what ways does it affect the emotional or sensory impact?

There’s a performative aspect to all paintings—though the studio space is private, the paintings are a record or traces of a series of physical actions. Scale allows me is to stretch my arms and spine and get on my tippy-toes and sometimes even a ladder, and to draw and paint to the edges of my physical limitations. I also walk back and forth to look at the painting. I get up close and granular with a small brush and then move several paces back to see the overall effect. I think the viewer intuits that the artist is moving backward, forward, up and down… as I solve what is, in the end a visual puzzle. And the bigger it is, like any real puzzle, the more pieces there are to unite.

Small paintings, however, can be difficult to resolve and I admire painters who work on a smaller scale.

Can you share any upcoming projects or exhibitions you’re excited about? What can viewers and art enthusiasts anticipate from your future creative endeavors?

I’m looking forward to several months of quiet studio time. I just completed a painting in Berlin in unusual circumstances. There was a flood in the studio and so I painted in a corner of my kitchen instead, with extreme lighting that ranged from direct sunlight to near-darkness. The lighting and the fact that I was only working on one painting—I usually work in a larger space with many paintings underway at the same time—led to a new evolution in the “Antigone 3000” works: a strong palette of contrasting colors, both light and dark. I’m excited to see where these new, accidental ideas take me. As is often the case, an accident is an invitation to innovate.

I’m continuing to develop six large-scale paintings for a project with six Polish poets—a chapel-like installation of women’s voices.

I’m working on an upcoming project with the French writer and theorist Hélène Cixous, Itinéraires Fantômes (Phantom Itineraries) which will be part of an exhibition at the CAPC in Bordeaux next year curated by Marion Vasseur and Ana Iwataki.

How do you maintain a balance between staying true to your personal artistic vision and navigating external influences or expectations? How do you ensure your art remains authentic and reflective of your creative intentions?

As I respond to your questions, I’ve used the words joy, joyous, and enjoy. I think those are key to balance in any creative endeavor. I enjoy my work very deeply. I trust my instincts about my next step and have sought to work with curious, rigorous, and kind people. When asked recently what the best preparation is for an artistic career, I answered that playing sports as a young person gave me the tools to understand the importance of daily discipline and how to work with others. I learned to both be present in today’s work and to recognize that art, like sport, is a continual activity, not just a single piece or game. In addition, being an artist requires multiple skills. In the same way, a baseball player on offense both hits the ball and runs the bases and then switches to a defensive skill set with a glove, artists must master several different skills. For my work, they are reading and researching, thinking and writing, and then the production of works in collaboration with others. And then there’s the bigger picture: my interest in both the history of global art and literature keeps my mind curious, and engaged and gives me a sense of being part of something bigger than myself.

What advice would you give emerging artists who explore text, language, and art? How can they navigate and leverage these elements to create meaningful and impactful artworks?

Making text-based art is difficult! From graffiti tagging to conceptual practices and more painterly approaches like my own, it takes practice. The first piece of advice I would give is not to give up…and try different approaches. Also, the questions I asked myself as a student was useful. Ask yourself what do you care about when everyone is looking, and what do you care about when no one is looking? Hopefully, in your art, it will be the same thing.

* All images courtesy the artist and Miles McEnery Gallery.

#Alexandra Grant

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makymakvrchat · 4 months ago

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International Students in Southern California

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mnnacts · 2 years ago

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* ABSOLUTE VODKA BEACH PARTY.

no es mentira que los angeles acaba de ser uno de los puntos más populares en el país. sin embargo, cuando el invierno azota las calles es necesario un incentivo extra que motive a la gente a salir, pues la baja temporada siempre es capaz de sentirse. sin embargo, grandes marcas del mundo utilizan dicho momento para dar uso de los espacios públicos que normalmente suelen estar llenos para hacer grandes eventos de publicidad. siendo ese el motivo por el que semanas antes, todo comienza a correr en redes sociales, anunciando una mega fiesta invernal en la playa a la que todo el mundo se encuentra invitado. la entrada es libre y gratuita y prometen que los tragos ofrecerán variedad no solo en sus sabores pero sino también en sus precios. ¿se la van a perder?

viernes 13, 8 pm.

todo el evento se ha estado armando en los últimos días y por un tiempo se ha prohibido el ingreso a la costa norte debido al movimiento de máquinas y personal preparando el predio para recibir al público. sin embargo, la gente que comienza a congregarse el día de la fiesta se maravilla y celebra que semejante organización haya valido la pena. todo se ve increíble y el nombre de la marca ilumina cada rincón del lugar. en treinta minutos iniciará el ingreso, obsequiando en la entrada un trago gratuito para cada asistente, y el resto simplemente acabará por ser historia.

ambientación.

el despliegue es enorme y aunque es en la costa de la playa, fueron puestos pisos entablonados en las zonas principales y se construyeron algunas paredes y techos que ayudan a crear el entorno deseado.

entrada.

barra uno.

barra dos.

auto barra.

pista de baile uno: música electrónica & pop.

pista de baile dos: música latina.

pared de colores.

salón con gigantografías de todas las variedades de absolut.

food trucks saloon: sector de comidas.

mesas de shotpong ( beer pong pero con bebidas de la línea absolut).

canchas de voleibol en la arena con pelotas inflables.

mesas de ping pong.

mesas de pool.

sector de bowling.

ooc.

pueden compartirnos sus outfits. tengan en cuenta que por más que es una fiesta en la playa, la misma se está realizando en invierno. por lo que nada de bikinis y trajes de baño.

podrán abrir starters en cualquiera de las locaciones compartidas. si gustan abrir un starter, juntar respuestas y en uno o dos días abrir otro más: es posible.

no se permiten convos privadas en esta actividad ni tampoco convos grupales.

habrán algunas intervenciones y sorpresas adicionales así que sugerimos que se encuentren al pendiente.

¡esperamos que les guste y se diviertan! ¡a escribir!

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janedances · 2 years ago

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Some US Aragon Tour updates:

Six Aragon Tour Boston Leg now ends on the 31st December instead of January 15th 2023

The Omaha and Grand Rapids tour stops will now be the Aragon Tour, instead of the previously scheduled Boleyn Tour.

Fort Myers now opens on January 31st 2023.

The Costa Mesa leg now ends on June 25th 2023

The Aragon Tour will be heading to Las Vegas for a seven week run beginning in March at the Palazzo Theatre from March 21st 2023!

San Fransisco will now take place from February 21st - March 19th 2023

Los Angeles will take place from May 9th - June 11th 2023

San Diego will take place from June 27th - July 9th 2023!

Boleyn Tour cast will no longer be doing Omaha and Grand Rapids, presumably for some break time.

All info courtesy of Kelsee Kimmel on instagram, and thanks to @/sixs_memer on instagram for summarising it!

#six the musical #six #six musical #six aragon tour #six us tour #six broadway #kelsee kimmel #jane takes

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arte-e-homoerotismo · 24 days ago

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Carlos McClendon (12 de outubro de 1923 - 16 de julho de 2008) foi um designer e dono de loja americano. Ele é provavelmente o modelo "desconhecido" mais famoso de George Platt-Lynes, aquele que enfeita a capa do mais recente livro de mesa de centro de George Platt-Lynes. McClendon teve relacionamentos com Christopher Isherwood , George Platt Lynes e Denham Fouts . Ele teve encontros com Monroe Wheeler , Lincoln Kirstein , Paul Cadmus e Bernard Perlin .

Carlos McClendon nasceu em Bakersfield, CA em 12 de outubro de 1923 e viveu os primeiros anos de sua vida no sul da Califórnia. Ele frequentou escolas em Long Beach e mais tarde obteve um BA pela UCLA. Durante e imediatamente após seus anos de faculdade, ele trabalhou no departamento de design do MGM Studios. Durante esse período, ele também foi dançarino da trupe de dança Marie Bryant.

Christopher Isherwood conheceu McClendon por meio de Denny Fouts e John Goodwin na década de 1940, quando McClendon visitava frequentemente a praia em Santa Monica. A amizade continuou muito depois de McClendon deixar Los Angeles no início da década de 1950.

No início de 1950, McClendon mudou-se para Nova York, onde rapidamente se tornou uma força influente e pioneira no varejo boutique, antes que a palavra boutique fosse de uso geral. Sua loja, chamada Chequer, na esquina da Third Avenue com a 50th Street, era especializada em objetos, móveis e roupas exclusivos de lugares como México, Haiti e Marrocos, que ele escolheu em suas viagens. A loja foi um sucesso imediato, notável pelo "olho" especial de McClendon para o belo e o incomum, e ele contava com Greta Garbo e muitos dos criadores de tendências de Nova York entre seus clientes regulares. A loja também inspirou vários imitadores.

No final dos anos 60, ele voltou para Los Angeles e abriu a Chequer West em Hollywood e duplicou o sucesso de seus anos em Nova York. A exclusividade de seu inventário e o fino acabamento de suas roupas feitas à mão rapidamente atraíram uma clientela de estrelas como Barbra Streisand , Candace Bergen e a bailarina Nora Kaye . A boutique apresentava modas nos tecidos mais fabulosos do leste do Extremo Oriente. Designs exclusivos da Costa Oeste pelo proprietário Carlos McClendon e por JoAnn Lopez. As especialidades eram vestidos longos e sem ajuste requintados para mulheres e belos caftãs e robes para homens, todos de materiais incrivelmente lindos como tecido sari indiano, chiffon tie-dye, seda bordada persa, tecidos antigos e seda com padrões de colagem. Cada um era único. Os vestidos custavam de US$ 120 a US$ 500 e os caftãs e robes de US$ 40 a US$ 300. As camisas masculinas foram desenhadas por Ken Scott e por McClendon em estampas e cores sólidas muito coloridas, com preços entre US$ 20 e US$ 60. Para os homens, também havia gravatas de 41/2 polegadas em estampas de seda e lã pura e coletes bordados do Afeganistão. A boutique era uma delícia para dar uma olhada. No pátio dos fundos, havia peças de mobiliário incomuns pintadas à mão por Micela Livingstone. Nas áreas frontal e superior, havia uma vasta seleção de presentes importados estranhos e maravilhosos, novos suéteres, cachecóis e joias e intrigantes bugigangas de todos os lugares.

A empresa Mendes em Paris se tornou um complexo internacional de produção e marketing que fabricava roupas de nomes como Yves Saint Laurent , Rive Gauche, Givenchy , Nouvelle Boutique, Jean Muir, Christian Bailly, Roland Chakkal e a estrela em ascensão da Terra do Sol Nascente, cujas roupas foram trazidas pela primeira vez para Los Angeles por Carlos McClendon, da Chequer West.

Jobey Baker foi um ator e artista que, na década de 1970, tornou-se joalheiro. Seus pingentes e anéis em marfim gravados com prata, com preços de S190 a US$ 2.000, estavam na Chequer West. Também estava em exposição o rag chubby de Carlos McClendon, uma jaqueta incrível feita de restos de tecidos orientais e costurada com o efeito de pele fofa. Com ela veio uma longa saia jeans, aparada novamente com os restos em babados estilo calipso.

Em 1976, Pamela Dewey criou uma nova coleção chamada "Addables and Wadables" vendida na Chequer West. A designer tinge à mão saias de cambraia de algodão, túnicas e tops em cores de picolé, permitindo que a usuária usasse "a moda como um acessório, misturando-os da maneira que a mulher deseja". De acordo com Carlos McClendon: "Quando conheci a Sra. Dewey em um desfile de moda experimental, pensei que ela tinha um talento especial. Suas roupas são animadas, alegres, muito elegantes, mas relaxadas. Ela tem um feeling para o que as mulheres da Califórnia querem agora. São roupas muito liberadas". O grande sucesso de Pamela Dewey foi uma mistura que ela rotulou de "o meio-vestido", que consistia em duas metades verticais separadas que amarravam nas laterais para se tornar um vestido convencional. As metades podiam ser trocadas para criar diferentes combinações de cores. Cada metade custava US$ 25.

McClendon se aposentou em 1986 e se mudou para Pojoaque, onde continuou como um apoiador anônimo das artes. Ele se mudou para Puerto Vallarta em janeiro de 2008 para passar seus últimos meses no Oceano Pacífico que ele amava.

Morador de Pojoaque/Nambe desde 1986, morreu de causas naturais em 16 de julho de 2008, em Puerto Vallarta, México. McClendon não deixa sobreviventes na família, mas um grupo de velhos e novos amigos. A cremação ocorreu e suas cinzas foram espalhadas no Novo México de acordo com seus desejos.

Carlos McClendon by George Platt Lynes

#carlos mcclendon #george platt lynes

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