anonymity cordage crater

Art when really understood is the province of every human being. It is simply a question of doing things, anything, well. It is not an outside, extra thing. -- Robert Henri

I got to the new place at 8 this morning and started on the 16 new boxes, and I'm proud to tell you I got through 12!  We also got the floor cleaned off, the paper ripped up, a rug pad in place and the orange rug unfurled.  We had never seen it in real life and it's in pretty bad shape but I do kind of like the 'used' look with all the new walls and floors.  The coffee table was delivered today and it's a big sucker-  we could barely move it into it's place.  We also unboxed another table so we are set for those, badly in need of chairs!  Meanwhile, outside the landscapers and pool prep guys and fence installers and irrigation guys all worked their tails off.  

empty pool,

new sod and great big trees

gas-less fire pit,

un-stuccoed courtyard wall, lotsa workers wearing giant straw hats

We might make it, but it will be very close. With moving in (perhaps!) on the 23rd and kids/grandkids arriving on the 24th I can't quite figure out how I will deal with a
 turkey in a turquoise stove. 

 Might be turkey sandwiches from Subway.

At any rate, every muscle in my body is screaming, my back hurts, my legs hurt from numerous trips up and down stairs and for lugging boxes my old self isn't used to dealing with. 

Haven't been to the studio yet, waiting for a full car load of stuff to store.  Should be soon!

Shannon Goff was born in Detroit, a trigger for her lifelong interest in the evolution of transportation. Captivated by her grandfather’s 1979 Lincoln Continental Mark V, she had considered making the car many times, but shied away due its massive size. “Miles to Empty” brings this longtime dream to reality, a sculpture that is her most ambitious project to date.  The work pays homage to her grandfather and hometown while dually reexamining themes inherent to the Motor City like the American obsessions of luxury and convenience.

Cataloging the tools once used for the very same purpose, Augustine Kofie creates collages that utilize file folders, index cards, and steno notepads from the ’50s through ’80s that were found while scouring the contents of Los Angeles estate sales. Kofie chooses to compile vintage materials from before the dawn of the digital age, a time when data took up physical space rather than gigabytes on an external hard drive.

The desire for collecting these specific paper forms comes from his obsession with historical forms of organization, the physical pen-to-paper process of keeping information tidy. After building collages from the papers in various colors and weights, he utilizes ballpoint pen, silkscreen, and acrylic ink to draw shapes and lines over top. These resulting collages have an architectural appearance, built forms with interlocking lines that mimic the precision of a building’s blueprint.