My recent outfits of the day are heavy on the Theory cashmere sweaters and leather skirts, and jeans by French Connection, Free People and Joe’s Jeans. My newest acquisition, the Rag & Bone wine-colored patent booties, will be in heaviest rotation in 2020 until I get them in multiple colors (no doubt). They are fashion perfection in a decorative sense and also function – they’re spot on for walking around in Syracuse, New York in winter.
In about eight hours, I will be getting up early for the last time this year. After tomorrow, we will be on a two-week hiatus from school. I will spend time assessing my bracelet project. Sales went well at the Sip & Sparkle at The Chop House. Another event is planned for late January. I’m contemplating on-line sales too. Not sure what to do quite yet – I’m waiting for inspiration to guide me.
I’ve had so many wonderful things happen to me this year despite it also being one of the most tragic years of my life with the loss of my dad. It is like a jumble of confusion and clarity. The last few days have been sort of massively cloudy, kind of like when you ask the Magic Eight Ball a question and you get the murky liquid instead of words spelled out on a triangle.
I don’t know what’s next, but If 2020 isn’t the year of clarity then that will be the biggest joke of life. It kind of has to be, right?
Thank you for your support this year and always – of me, my art career and the bracelet thing, and for being one of many international readers of this blog. I renewed the website. I am actually on my way to making my first $100 with the monetization of the site – it is very exciting, so, thank you for that too.
I have been manifesting money in the mail. The first time it happened – OMG, it was totally unexpected. I stumbled upon this site called Rakuten. They know you, know what you like, know where you are on-line shopping. Through emails you click their links to get to things you planned on buying with or without them, things you feel comfortable paying the price offered – and then they give you cash back. Win-win!
As I sit here writing this post, I am wearing the outfit pictured above. These leather jeans are like butter (butttaaaahhhhh….). And the cashmere tunic sweater is perfect-o. Such is the problem of a fashion blogger – how do you continue to wear newbies in the real world and not your very favorite pieces? How to you mix it up to keep it all fresh?
I guess keep doing what I am doing as long as it is fun? I must be a fashion role model for someone out there.
These Tashkovski collection bracelets are part of the War & Peace series. They are made with vintage US Army patches and pins. There is a Girl Scout patch in the mix (it is from the ’50s!) and a peace pin that was originally designed to protest war. The idea with these pieces is to respect everyone’s position. I truly admire those who serve our country.
$35 – CROSS
CROSS – (BACK)
Ultimately, peace is the goal. Find peace within yourself first and your world will change. I promise you that. <3
I have been working on photographing, pricing, labeling and cataloging the Tashkovski collection bracelets. Here is the group I just finished – a combination of cameos, vintage pieces and St. Christopher medals. Each is one-of-a-kind. Handmade bracelets created with pins in leather, rabbit fur and sherpa.
(NFS) – CAMEO-1
I have a bit more organization to do this weekend before the launch. Once I get it all sorted, I will free up time to make more (and start the process all over again). <3
Just completed a legit full week of work with outfits of the day to show for it. I am all about silk, silk-velvet, leather and embellishments, and have taken to wearing the bracelets I created over the summer.
There are over five hundred bracelets in stock with more on the way. I’m obsessed with this new venture! I’m waiting for the arrival of tags and some other supplies. Will be launching the collection soon! <3
Where am I? I am back at work at Chittenango Middle School, teaching 8th grade Studio in Art, Art-8, and helping fifty kids a day with homework in two study halls. My outfit of the day (#ootd) pictures have been hit or miss. Not sure whether or not to resume taking them. Katy C. and I have been so busy prepping lessons and organizing stuff – I only have a few pictures to share (even though we’ve been back at it for two weeks now).
Meanwhile, my artwork is going places. I am exhibiting encaustic baseball paintings and horseshoe paintings during the month of September 2019 at Half Moon Bakery & Bistro (6500 East Seneca Turnpike, Jamesville, NY 13078).
And last night I delivered six encaustic angel paintings from the Futura series to a new restaurant called 317 (317 Montgomery Street, Syracuse, New York) before heading to the Italian Festival, which is taking place in front of City Hall this weekend. These paintings will be up in a group pairing along with other artists’ work (indefinitely, as of now). 317 provides an incredibly intimate dining experience right in the heart of downtown Syracuse adjacent to the Onondaga Historical Association.
Finally, my twelve Japanese-inspired fan encaustic paintings are still available for sale at Kasai Ramen (218 Walton Street, Syracuse, NY 13202) until September 16, 2019.
P.S. I started designing bracelets! I’ll be ready to launch that experience very soon – stay tuned! The jewelry thing is my current passion and focus artistically. The universe has been doing a great job of taking care of everything else. Thank you, universe! Life is good! <3
As of today, I am back at work. Here are my most recent summer on-location #ootd pictures.
It was the summer of my dreams – beautiful weather, incredible people, creative juices flowing…. It was and is everything I could possibly desire.
So, not really a conclusion. It’s just another beginning. A renaissance! Today is a continuation of a fun, blessed life. I just had to get up a lot earlier and spend less time with my cat. #catsnamedpablo (yes, that’s a thing). <3
In 1971, Syracuse Folklorist Dan Ward met someone (okay, it was a hitchhiker), which led to his first trip to Syracuse, New York to see James Taylor in concert at the War Memorial. Instead of acquiring tickets to that sold-out concert, he ventured across the street and was pulled through the door of the museum. Somehow he randomly became part of an elite group allowed to tour the Yoko Ono exhibition at the Everson Museum of Art, along with the artist and her husband John Lennon.
The whole thing was documented on film and in the media. Dan Ward was a teenager living a serendipitous existence. There was a waterbed on the floor that evening, positioned to offer a unique view of the spiral staircase. He thought it was unusual but gave it a try – his first time on a waterbed and with a bed-bug (a Beatle). There were other interactive ingredients as well, some have been replicated for the retrospective/new exhibition, Yoko Ono: Remembering the Future, which opened last night. Every piece cultivated to reside harmoniously within the walls of I.M. Pei’s modern architecture. This show was meant to create a dialogue between viewer and artist with the viewer creating the closure.
Yes, a stunningly beautiful Ono (according to Ward’s recollection – photographs never did her justice) and Lennon, and Ringo Starr were all there that night, as well as several of their close friends from Manhattan. It was a media circus focused on celebrity in a time when art was misunderstood and maligned.
I wish I could have been there back then, too, wish I could have been that fly on the wall – to bear witness to perceptions of the past while remembering the future….
Imagine a museum filled with objects – hammers, nails, string, ladders, piles of dirt, blue paint. Imagine a world where the viewer participates and the result is a collaboration between artist and you. Artist as conceptualist. You as executioner. You as artist too.
It is what I do as a teacher. Okay, students – here’s the lesson, here are the supplies…. It is always so gratifying and almost strange in a way. Like – do this, and they say okay.
This is the genius of Yoko Ono. It is a presence, a facilitator who loves her audience, who gives them an experience, a happening, a memory. Something to do. Museums are always a DO-NOT-TOUCH place, but here you can add string to the wall, hammer in a nail onto a piece of wood, paint part of a mural, be a part of something bigger than yourself that has no other meaning than what it is. Collective mark making. A chance to interact in a museum in a child-like manner and by that, I mean being totally present. Not thinking about anything else but the art – and not even thinking too hard about the how or the what, or the why.
Because you are a part of the experience and your existence is relevant, necessary and needed. You matter. You are loved. You are welcome. You belong.
For six decades, Yoko Ono has maintained an unwavering belief in art’s ability to transform, uplift, and inspire. Her work, typically ephemeral or participatory, occupies the porous boundaries between artistic disciplines, from music and film to sculpture, poetry, and performance art. Ono’s approach to art making is generous, and since emerging in New York’s downtown art scene in the 1950s, she has privileged collaboration over solitary authorship, inclusivity over isolation, and transience over permanence. These underlying precepts, which simultaneously undermine the capitalist structure of the art market and criticize the institutional model of the museum, also unified a postwar artistic movement known as Fluxus, of which Ono was an important contributor. For Ono, as well as later generations of artists and those currently engaged in social practice, art belongs to everyone, can be created by anyone, and has the potential to change the world.
Yoko Ono was born in Tokyo in 1933. A survivor of the trauma inflicted on Japan during World War II, she moved to the United States in 1953 during a period of surging nationalism, consumerism, and anti-Japanese sentiment. During this time, Ono became a central figure within New York’s downtown scene and became close collaborators with artist George Maciunas, the founder of Fluxus. Many avant-garde intellectuals, artists, composers, and writers gathered regularly at Ono’s Chambers Street loft for experimental performances by groundbreaking artists like La Monte Young, Toshi Ichiyanagi, Terry Jennings, Jackson Mac Low, Richard Maxfield, Henry Flynt, Joseph Byrd, Simone Forti, and Robert Morris. Here, Ono realized some of her earliest conceptual works that would greatly influence the trajectory of art, film, and music.
Ineffable, intangible, impermanent, Ono’s art, as a body of work, defies categorization. The term Wakon yosai (“Japanese spirit, Western technology”), the national slogan of modernization in Japan during the Meji era, might best describe Ono’s approach to life and art. Her works, conceptually linked to the form of musical scores, draw on sources as diverse as the history of classical and modern Japanese art and Zen Buddhism to early black-and-white cinema and classical music. Ono’s signature text-based scores date back to the early 1950s. In 1964, she published the scores in Grapefruit, her definitive text. The scores, as Ono explained in 2016, “are a bit like music scores which exist so anyone can play the composition. What I’ve imagined are art scores. Each visitor can take them up so that their own ‘music’ can be heard in my creations.”
Throughout the 1960s, Ono had significant solo exhibitions in the United States, Japan, and in England—including the AG Gallery in New York City and the Sogetsu Art Center in Tokyo. She performed at the 83rd Fluxus Concert: Fluxorchestra at Carnegie Hall, In 1966, Ono performed Cut Piece in Kyoto and Tokyo, exhibited her work at the Judson Church, and participated in the first Destruction In Art Symposium organized by Gustav Metzger in London. Ono met John Lennon when he visited her exhibition Yoko at Indica, at the Indica Gallery in London.
Following her marriage to Lennon in 1968, Ono was catapulted onto the world’s stage of fame and wide public visibility, a position she has brilliantly coopted to further her long-standing interest in the power of the imagination, human rights, and world peace.
Forty-eight years after the Everson hosted This is Not Here, Ono’s first museum retrospective, YOKO ONO: REMEMBERING THE FUTURE presents her enduring artistic work devoted to healing human connections and exposing social and political injustices. Spanning more than six decades from germinal early instruction pieces to recent, large-scale architectural installations, YOKO ONO: REMEMBERING THE FUTURE traces Ono’s experimental approach to language, art, and participation as a means of contributing to a more accepting and peaceful world.
YOKO ONO: REMEMBERING THE FUTURE is curated by DJ Hellerman, the Everson’s Curator of Art & Programs and Jon Hendricks, Ono’s long-time friend and curator in partnership with Yoko Ono, Studio One, and Susie Lim.
The operation of the Everson Museum of Art is made possible with funding from the Dorothy and Marshall M. Reisman Foundation, the County of Onondaga administered by CNY Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, the Richard Mather Fund, the Everson Board of Trustees and Everson Museum of Art Members’ Council.
YOKO ONO: REMEMBERING THE FUTURE is made possible, in part, through support from Bonnie and Gary Grossman, and Sollecito Landscaping Nursery.
The former Johnny Appleseed’s furniture store (3402 Old State Road, Erieville, New York, 13061) is now The Shoppes at Johnny Appleseeds. The brainchild of Erica Gilmore and her husband Patrick, it is an over fifty vendor facility, with artisans setting up individual shopping experiences creating little vignettes throughout this amazing space.
It is a still-life lover’s dream. Charming folkloric visual merchandising at every turn. The vendors are not there hawking their wares. You are left to enjoy the process of discovery. Vintage clothing, handbags, jewelry, greeting cards, home decor including furniture and housewares, candles, art (Wendy Harris is there!) and even bird houses.
The Shoppes at Johnny Appleseed reopened in the spring of 2017 as a retail space for crafters and artisans alike. We are excited to offer such a unique venue and are always looking for talented people to continue to grow with us as we build a future at this historic Central New York location.
There is a restaurant as well, the Apple Kitchen, and they serve apple crisp! <3
Wednesday-Saturday, 10-5 Sunday 11-5
Apple Kitchen Hours:
Saturday, 11-4 pm
Sunday, 11-4 pm
They have various sales and events – pet adoptions on weekends via a liaison with Wanderer’s Rest and more! You can stay informed by linking to their Facebook page. <3
Current list of vendors –
The Apple Kitchen • Alexandra’s Attic • The Heckled Hen Antiques • Decorative Edge • 13 South Metal Signs • Wendy Harris Fine Art