AWESOME BEAUTY HACKS The way you start your day is everything. So it’s good to establish morning routine to your benefits. Our habits – our second nature, so try to have as many healthy ones as possible! Let’s begin with really simple ones. They don’t take much time and effort, you just have to get used to them. Here’s an easy recipe for blackheads remover: put some PVA glue and activated charcoal into a bowl, stir it up and apply to problem areas. If you wanna get rid of the dark armpits, simply cut one potato in halves and rub it in the armpits. And if you wanna have Hollywood smile, here’s the recipe for you: 2 teaspoons of club soda, toothpaste, apply it on food foil and let it rest for 10 minutes. I’ll also show you super effective face building exercises to get rid of the double chin and keep face muscles toned and flexible. TIMESTAMPS: 2:04 Coffee beans organizer —————————————————————————————- Facebook: https://ift.tt/2e4YZ7w Subscribe to 5-Minute MAGIC: http://bit.ly/2ldditZ The Bright Side of Youtube: https://goo.gl/rQTJZz —————————————————————————————- Powered by WPeMatico The post 32 BEAUTY HACKS YOU’D WISH YOU’D KNOWN SOONER appeared first on OriginalArt. via OriginalArt https://ift.tt/2Na9R2G
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NEW WAYS TO COOK EGGS These adorable egg hacks and edible tricks are so much fun! Check out cool tips how to make candles. Suck out the yolk and white with balloon then fill it up with paraffin. You can even grow grass in the eggshells! I’ll also share with you genius way to fold egg trays for compactness, make cool ottoman, save your laptop from overheating and awesome idea for future superstars! You will need a lot of egg trays to stick to your walls for better soundproofing! ; ) Eggs are easy to cook! They’re cheap. I’m pretty sure you have them in the fridge right now. These egg hacks will surely help you with that! Starting with cold water, lets you heat the egg more slowly, which keeps the whites from getting rubbery. This method takes longer and gives you less control over the cooking time. Besides the egg will be harder to peel. In boiling water, the egg heats up really fast, making it much easier to control cooking time. But this method has a downside. Because the egg heats up so fast the shell can crack. And how to get that perfectly peeled egg each time?! How long should you cook the eggs? If you cook the eggs in the already boiling water you will always be able to control the result, you’ll see in the video how the yolk looks like depending on the cooking time! Pick those to your liking! We’re done with boiled eggs. Let’s get on to fried ones. We have the pan on medium heat. Let’s add some butter. Now break your egg carefully. The heat should be sufficient but not to high, so that white cooks but doesn’t bubble. And here comes the egg hack – adding a bit of water and now we put the lid on. This creates a kind of a steam bath for an egg. Which results in a beautiful bright egg yolk and a cooked through white. And last but not the least way of cooking the eggs- scrambled eggs. First let’s crack the eggs into the bowl. Oops, a piece of the shell fell right in! If you don’t like your scrambled eggs with a shell. Then get a shell from a broken egg and use it to get broken piece out of the bowl. To cook those perfect scrambled eggs, you need to beat them in a bowl. Then seize in with salt and pepper to taste. Now melt some butter in the pan. There should be quite a lot of it. Next, pour the eggs in and wait. Make sure to keep the heat pretty low. When the eggs start to settle on the edge, take your spatula and start stirring the eggs from the outside in. When the eggs are about 2/3 cooked, we need to use another egg hack and a little bit more butter. Melt the butter and it will get our scrambled eggs a wonderful creamy taste. When you think the eggs need little bit more cooking, remove them from the heat. TIMESTAMPS: 1:32 Ham and eggs —————————————————————————————- Facebook: https://ift.tt/2e4YZ7w Subscribe to 5-Minute MAGIC: http://bit.ly/2ldditZ The Bright Side of Youtube: https://goo.gl/rQTJZz —————————————————————————————- Powered by WPeMatico The post 20 NEW WAYS TO COOK EGGS YOU HAVEN’T THOUGHT OF YET appeared first on OriginalArt. via OriginalArt https://ift.tt/2R61A33 ‘THE SENSES: DESIGN BEYOND VISION’ at the Cooper Hewitt, Smithsonian Design Museum (through Oct. 28). There’s a serious, timely big idea at this exhibition: As social media, smartphones and virtual reality make us ever more “ocularcentric,” we have taken leave of our nonvisual senses — and need to get back in touch, literally. Thus “The Senses” features multisensory adventures such as a portable-speaker-size contraption that emits odors, with titles like “Surfside” and “Einstein,” in timed combinations; hand-painted scratch-and-sniff wallpaper (think Warhol’s patterned cows but with cherries — cherry-scented, naturally); and a device that projects ultrasonic waves to simulate the touch and feel of virtual objects. The show also presents commissions, videos, products and prototypes from more than 65 designers and teams, some of which address sensory disabilities like blindness and deafness, including Vibeat, which can be worn as a bracelet, brooch or necklace and translates music into vibrations. And if you bring the kids, they will likely bliss out stroking a wavy, fur-lined installation that makes music as you rub it. (Michael Kimmelman) ‘SOUL OF A NATION: ART IN THE AGE OF BLACK POWER’ at the Brooklyn Museum (through Feb. 3). It will be a happy day when racial harmony rules in the land. But that day’s not arriving any time soon. Who could have guessed in the 1960s when civil rights became law, that a new century would bring white supremacy tiki-torching out of the closet and turn the idea that black lives matter, so beyond obvious, into a battle cry? Actually, African-Americans were able to see such things coming. No citizens know the national narrative, and its implacable racism, better. And no artists have responded to that history-that-won’t-go-away more powerfully than black artists have. More than 60 of them appear in this big, beautiful, passionate show of art that functioned as seismic detector, political persuader and defensive weapon. (Cotter) ‘THROUGH A DIFFERENT LENS: STANLEY KUBRICK PHOTOGRAPHS’ at the Museum of the City of New York (through Oct. 28). This exhibition of the great director’s photography is essentially Kubrick before he became Kubrick. Starting in 1945, when he was 17 and living in the Bronx, he worked as a photographer for Look magazine, and the topics he explored are chestnuts so old that they smell a little moldy: lovers embracing on a park bench as their neighbors gaze ostentatiously elsewhere, patients anxiously awaiting their doctor’s appointments, boxing hopefuls in the ring, celebrities at home, pampered dogs in the city. It probably helped that Kubrick was just a kid, so instead of inducing yawns, these magazine perennials struck him as novelties, and he in turn brought something fresh to them. Photographs that emphasize the mise-en-scène could be movie stills: a shouting circus executive who takes up the right side of the foreground while aerialists rehearse in the middle distance, a boy climbing to a roof with the city tenements surrounding him, a subway car filled with sleeping passengers. Looking at these pictures, you want to know what comes next. (Arthur Lubow) ‘TOWARD A CONCRETE UTOPIA: ARCHITECTURE IN YUGOSLAVIA, 1948-1980’ at the Museum of Modern Art (through Jan. 13). This nimble, continuously surprising show tells one of the most underappreciated stories of postwar architecture: the rise of avant-garde government buildings, pie-in-the-sky apartment blocks, mod beachfront resorts and even whole new cities in the southeast corner of Europe. Tito’s Yugoslavia rejected both Stalinism and liberal democracy, and its neither-nor political position was reflected in architecture of stunning individuality, even as it embodied collective ambitions that Yugoslavs called the “social standard.” From Slovenia, where elegant office buildings drew on the tradition of Viennese modernism, to Kosovo, whose dome-topped national library appears as a Buckminster Fuller fever dream, these impassioned buildings defy all our Cold War-vintage stereotypes of Eastern Europe. Sure, in places the show dips too far into Socialist chic. But this show is exactly how MoMA should be thinking as it rethinks its old narratives for its new home next year. (Farago) Last Chance‘CASANOVA’S EUROPE: ART, PLEASURE, AND POWER IN THE 18TH CENTURY’ at the Museum of Fine Arts, Boston (through Oct. 8). Europe in the 18th century: the age of Enlightenment, an age of adultery. This vivacious exhibition uses Casanova, Venice’s most famous lover boy and the author of a 3,700-page autobiography, as a contextualizing force for gloriously ornate furniture and costumes, not to mention paintings of amorous aristocrats and pornographic drawings of lovers in laugh-out-loud configurations. After a year of #MeToo revelations, the show might at first seem ill-timed, yet Casanova (whose image never appears, except in an introductory wall display) is not really the show’s subject. He’s more of a conceit to rethink 18th-century art — too often dismissed as dainty — as something more worldly, more swashbuckling, more free. (Farago) Powered by WPeMatico The post 22 Art Exhibitions to View in NYC This Weekend appeared first on OriginalArt. via OriginalArt https://ift.tt/2N4TsfX Ezra Chowaiki was sentenced Thursday in federal court in Manhattan to 18 months in prison and three years of supervised release for defrauding art dealers and collectors of millions of dollars. He was also ordered to give up his interest in more than 20 works of art involved in the fraud, including pieces by Picasso and Alexander Calder. He will have to pay restitution in an amount that will be determined in 90 days. As the owner of a now-closed Manhattan art gallery, Chowaiki & Co., Mr. Chowaiki made a series of fraudulent deals to buy and sell artwork from 2015 to 2017. During this period, he transferred more than $16 million of artwork under false pretenses. “He sold clients’ artwork without authorization, and he took clients’ money for the purchase of artwork he never purchased,” Geoffrey S. Berman, United States Attorney for the Southern District of New York, said in a statement released after the sentence was passed. Judge Jed S. Rakoff presided. Mr. Chowaiki’s six victims include art collectors in New York, Toronto and Pennsylvania, as well as a company managed by an art dealer who does business in Tokyo. In May, Mr. Chowaiki pleaded guilty to one count of wire fraud after having been charged on Dec. 15, 2017 with one count of conspiracy to commit wire fraud, one count of wire fraud and one count of interstate transportation of stolen goods. Mr. Chowaiki expressed contrition during his sentencing in court and cited desperation as the reason for his actions, Bloomberg reported Mr. Chowaiki founded the Park Avenue gallery in 2004 but lost control of it in November 2017 when the business filed for bankruptcy. Powered by WPeMatico The post Art Dealer Sentenced to 18 Months in Prison for Fraud appeared first on OriginalArt. via OriginalArt https://ift.tt/2R8mNJS Few truths about paint are more basic than this: it tends to go on wet, whether on canvas, furniture or buildings, and then it dries. Once dried, it can preserve a sense of its original fluidity to greatly varying degrees. In the postwar years it became a sure sign of modernity and freshness. It’s dynamic, at times volcanic, like artistic genius is supposed to be, but it can also have a comedic, even ironic quality. It conveys immediacy, material reality, improvisation as well as flamboyance and glamour, savoir faire. Giving full voice to the liquidity of paint has gone in and out of style since it was liberated in the 1940s by the drip paintings of Jackson Pollock, Janet Sobel and Norman Lewis. In the mid-1950s, Helen Frankenthaler opened further possibilities. Working on the floor, she thinned her paint to the consistency of water, creating floods and eddies of color that soaked into the canvas. Her techniques established the Color Field School in the United States. The Japanese artists of the Gutai took wetness to fabulous excesses, making it a lavalike substance. Things turned ironic with Andy Warhol’s Oxidation series, achieved by the artist and others urinating on canvases painted with copper metallic paint. Sometime in the 1970s, Color Field fell out of favor and visibly liquid paint had a much a lower profile. You could say it flowed underground. But it never went away, and right now, seven shows in New York galleries give both its present and its recent past a new visibility. Ed ClarkThrough Oct. 20. Mnuchin Gallery, 45 East 78th Street, Manhattan; 212-861-0020, mnuchingallery.com. The career of Ed Clark, now 92, is the subject of this vigorous 40-year career survey, which establishes his singular exploration of the formal and narrative potential of color and paint. Mr. Clark sometimes stains but mostly he wields wide brushes and even brooms, magnifying impasto and brushwork in piled-up strokes that seem to squirm on the surface. More characteristic are broad bands and curves of color that zoom across or out of corners, achieving an almost sculptural force, as in the pale, propulsive streams of “Elevation” (1992), a tumult of sound, water and paint all in one. In “Blacklash,” from 1964, Mr. Clark signals racial anger with his title and a splatter of black paint that fans against red and white, like a cat-o’-nine-tails. In the formally vehement “Orange Front” (1962) a stained orange field is barricaded with broad strokes of blue and blue green; they mostly cover a big black shape, visible from drips that extend from it to the canvas’s upper edge. Vivian SpringfordThrough Oct. 20. Almine Rech Gallery, 39 East 78th Street, second floor, Manhattan; 212-804 8496, alminerech.com. Virtually next door to Mnuchin, the Almine Rech Gallery is showing the little-known Color Field painter Vivian Springford (1913-2003), whose work first resurfaced in an exhibition at the Gary Snyder Gallery in 1998, two years after macular degeneration had forced her to stop painting. Most of the paintings here feature concentric poolings of translucent colors that intimate flowers, clouds and water reflections. They build on the potential of Georgia O’Keeffe’s early watercolors — as O’Keeffe did not — but also evoke the art critic Robert Hughes’s epithet about the Color Field paintings being “giant watercolors.” The smaller, more intensely colored works are livelier, especially an untitled painting from 1972 that evokes Arthur Dove’s visionary conjurings of nature. Larry PoonsThrough Oct. 27. Yares Art, East 57th Street, Manhattan; 212-256-0969, yaresart.com. Larry Poons has always been something of a maverick who trusts his instincts and never minds fashion. He first became known in the early 1960s for stripped down “dot” paintings whose combination of evenly stained color, punctuated with small precise lozenges, aligned him with Color Field, Minimalism and Op Art in one fell swoop. By the late 1960s, he had gone heavy-duty, creating thick, creviced topographies of paint poured on horizontal unstretched canvases soon designated the “Elephant Skin” series. By 1971, the canvas was back on the wall, and Mr. Poons was throwing paint from cans and buckets, always aiming high. It ran down the surface in thick rivulets as funkily literal as they are associational. Words like vines, rain, waterfalls and fountains run through the mind in this rare and wonderful show, titled “Ruffles Queequeg + The Throw Decade 1971-1981.” (The reference to Queequeg of “Moby Dick” fame is a transitional wavelike work.) I can imagine these pieces holding their own against Monet’s “Waterlilies.” In an essay in the catalog, Frank Stella, the painter and Mr. Poons’s friend, calls him “Mr. Natural,” which seems accurate. Frank BowlingThrough Oct. 13. Alexander Gray Associates, 510 West 26th Street, Manhattan; 212-399-2636, alexandergray.com. The Guyana-born, London-educated painter Frank Bowling, now 86, imperiously takes Ezra Pound’s famous battle cry to artists as the title of his show of recent work: “Make It New.” What Mr. Bowling has been making new for much of his career is Color Field painting, messing it up with added images and references. When he was living in New York in the 1970s, the continents of Africa or South America sometimes floated behind his fluorescent fields of color. (Hints of them recur in “Another Morrison as in Stuart.”) Elsewhere, Mr. Bowling undermines the style’s pristine aloofness and one-shot purity by adding bits of fabric, thread and whatnot. These make reference to craft and ritual, and to time, reconsideration and even decay. But Mr. Bowling refuses predictability: “Drift I” and “Drift II” (2018) are formally ironic, door-size canvases printed with bright stripes, each topped with an eruption of paint as thick as melted ice cream. Joan MitchellThrough Nov. 3. Cheim & Read, 547 West 25th Street, Manhattan; 212-242-7727, cheimread.com. I’ve never been enamored of Joan Mitchell’s early paintings, but some of the best are in Cheim & Read’s latest exploration of her achievement, expansively titled “Paintings From the Middle of the Last Century, 1953-1962.” Their slashing brush work challenge Pollock. Like Ed Clark, she relished speed, but worked more intuitively, yet often arrived at an uneasy brittleness in the swirls of strokes. The show tracks the slowing down that was Mitchell’s development. There’s still some slashing, but with wider brushes more loaded with color, which decreases the blender effect. With the blues, green and oranges of “Blue Michigan” from 1961, we see Mitchell reach maturity, beginning a 30-year phase that lasted until her death — and during which she only got better. Mary WeatherfordThrough Oct. 15. Gagosian, 555 West 24th Street, Manhattan; 212-741 1111, gagosian.com. With “I’ve Seen Gray Whales Go By,” Mary Weatherford joins the small group of female painters who have taken over, with aplomb, the big top that is the Gagosian franchise’s West 24th Street space. She is aided by four new paintings nearly 10 feet across, like the exuberantly messy pink-on-pink “Gloria.” More power to her. Ms. Weatherford has painted for over two decades, dabbling in appropriation, adding objects to her abstract canvases, and moving from New York back to Los Angeles. There she hit on her signature device: finishing her lyrical stain paintings with one or two lengths of neon that extend up or across their surfaces, their draped cords and adapters on display. In other words the paintings are visibly electric, empowered, lighted from within and alive. They are also ecstatic, pierced by beams of light, similar to Bernini’s “Ecstasy of St. Theresa.” The combination is beautiful, ironic and rococo, bridging the gap between painters like Helen Frankenthaler and Post-Minimalists like Bruce Nauman and Keith Sonnier. A strange unity is achieved. You can’t imagine the canvases without their neon, and Ms. Weatherford holds back her aggressive brush strokes to foster this reciprocity. It’s great to see her in a space where macho painting tends to prevail, but attaching lengths of neon to paintings has it limitations. Six years on, this show may be their last hurrah. Elizabeth NeelThrough Oct. 27. Mary Boone, 541 West 24th Street, Manhattan; 212-752-2929, maryboonegallery.com. Like Mary Weatherford, Elizabeth Neel adds unexpected elements to her painterly abstractions: hard-edge geometric shapes in black or white as well as textured rubbing-like silhouettes of insects. These added elements accent the methodical way the paintings are built up, for example with mirroring Rorschach-like motifs. The paintings have a new clarity that makes them Ms. Neel’s most impressive efforts so far. The show’s title — “Tangled on a Serpent Chair” — suggests an artist on the hot seat, which may, creatively speaking, be a good place to work from.
Correction:
An earlier version of this article misstated the year of a Gary Snyder Gallery exhibition. It took place in 1998, not 1988. Powered by WPeMatico The post At 7 Art Galleries, the Ecstatic Flow of Paint and the Stories It Can Tell appeared first on OriginalArt. via OriginalArt https://ift.tt/2N5XpRP DENVER — When Petula Clark’s “Downtown” played on the radio in 1964, downtown was a place you could go when you were lonely, and “forget all your cares.” Today, 55% of the world’s population lives in urban areas and that number should grow to 68% by 2050. Cities will increasingly have to grapple with the effects of water scarcity and climate change, in addition to citizens’ goals for prosperity. Charles Montgomery argues in the book Happy City (2013) that civic and personal welfare are significantly linked. A city, he notes, “is more than a machine for delivering everyday needs.” It moderates relationships by connecting its inhabitants culturally, politically, and historically. Testing that claim, Black Cube, (which calls itself a nomadic art museum) and the Downtown Denver Partnership commissioned five artists to install site-specific work for Between Us: The Downtown Denver Alleyways Project, along Denver’s 16th Street Mall, a pedestrian outdoor shopping space that spans a dozen city blocks. Denver’s 16th Street Mall opened in 1982. The renowned architectural firm I.M. Pei & Partners (renamed Pei Cobb Freed & Partners in 1989) designed the original granite pavers, wide sidewalks, and light fixtures. A few years ago, a free shuttle was added, transporting 55,000 people a day along the route, accentuating the urban landscape as a space of activity. Cities are designed to negotiate where we live and how we move. Between Us amplifies how we move with small, but surprising interruptions to routines, such as artist Frankie Toan’s instillation “Public Body” (2018). Brightly colored fragments of a body, including pink eyes and blue hands, travel deep within the alley, drawing the viewer away from the commotion of the mall. Artist Kelly Monico’s “Alley Cats” (2018) positions a pathway of 300 kitten statues along ledges and street lights to guide the observer toward a large alley. The pedestrian’s gaze is encouraged upward, bypassing store fronts to observe the 1860 roof lines near which the kittens play. In his essay Public Space in a Private Time, artist Vito Acconci notes that for public art to interrupt a city design “‘art’ has to be brought back to one of its root meanings: ‘cunning.’” Unlike plop art positioned on a corner of a plaza, the unexpected presentation of art can disrupt the cityscape, rather than echo it. Since the Creative Independent’s study on the financial state of artists, published this year, found commissions were a more impactful source of income than gallery sales, Between Us demonstrates that public art commissions by institutions do not need marquee real estate to make meaningful contributions to the community. The neon text instillation “Y/OURS” (2018) by artist Joel Swanson hovers parallel to the ground between fire escapes in one Between Us alleyway. As the Y blinks on and off, shifting terms of ownership, it prompts the question, what makes a physical space a public space? The term public implies a location someone can point to, such as a city park or town square. Cities that limit access to public space or encourage citizens to isolate themselves in cars and homes are arguably the unhappiest: A 2011 study by Erika Sandow, professor of geography and economic history at Umeå University, showed people who live in car-dependent cities generally are less likely to join a social group or participate in politics, and more likely to divorce as commute times increase. It is not surprising that retreating from public life has a psychological effect on individuals, but most city inhabitants likely don’t evaluate their mobility and city plan as systemic of their happiness. When I observed Stuart Semple’s enormous smiling face “I should be crying but I just can’t let it show” (2018) squeezed between alley walls, many people stopped at the alley’s opening, spoke with each other, smiled, and turned to talk with me. A Gallup World Poll found that life satisfaction improves at a greater factor, statistically, when people feel they have friends or family they can rely on or neighbors and government they trust, than when their income increases. Whether art is positioned in an alley, a window display or billboard series, it can wrestle away the power of routine to spotlight the social deficit or surplus created by urban planning. Artist Carlos Frésquez suspended large sculptural pine tree car fresheners in “Alley Freshener,” (2018) humorously acknowledge why the garbage-filled alley is unoccupied, but that it doesn’t have to be. The obvious critique is that an alley is not a viable public space, but a few blocks north a large development called The Dairy Block strung some lights, brick-paved the alley and commissioned art, to encourage people to congregate, shop and dine in what was, until recently, a unactivated, garbage-filled space. The small changes in design and aesthetics altered behavior. It is not a groundbreaking revelation, but it is one we overlook everyday as we maneuver away from community members that shake hands in favor of digital thumbs up or desire our air-conditioned homes over the camaraderie of a summer evening on our front steps. Between Us: The Downtown Denver Alleyways Project continues in Downtown Denver alleyways, near 16th Street Mall, through May 2019. Powered by WPeMatico The post A Denver Art Project Envisions Alleys as Social Spaces appeared first on OriginalArt. via OriginalArt https://ift.tt/2R7Bgpa
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