Business Finance Alternative to Raising Capital Easy Approval upto500k in Fresno, California

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Our law firm has a unique strategy to matrimonial litigation: we don't require a large retainer fee because we don't need it. Our firm attempts to reduce the legal cost of matrimonial litigation by charging a legal fee that reflects our sophisticated, efficient litigation system. Our firm generally reduces, and sometimes eliminates, our legal fee for those clients that are experiencing financial hardship.
Our firm recognizes the responsibility of being chosen to represent an individual involved in a divorce proceeding in Manhattan. Our law firm prefers litigation as a means to resolve legal disputes, including actions for divorce filed in Manhattan. When warranted, efficient discovery should be conducted to identify all of the assets subject to the marital estate. Not every client will benefit from aggressive, lengthy discovery if the legal cost would most likely be greater than the value of the assets for which we seek to identify.
Our firm'smission statement, which applies to our clients engaged in matrimonial litigation, is to recommend and act in manner that is more probable to result in a favorable outcome for our clients.
WHEN THE MOVERS LUGGED OUR STUFF ACROSS TOWN, THEY DID SUCH AN ABOVE-AND-BEYOND JOB THAT IT WAS A TOTAL NO-BRAINER TO GIVE A GENEROUS TIP. THEY MANAGED TO DRAG AN ENORMOUS STEEL TANKER DESK DOWN A TINY FLIGHT OF STAIRS WITHOUT A SINGLE COMPLAINT. HASSLE-FREE MOVING? WORTH THE EXTRA ANDREW JACKSONS TO SAY THANKS.YOU DON'T HAVE TO RUN TO THE NEIGHBOR'S BATHROOM DURING A PLUMBING PROJECT. BEFORE YOU TURN OFF THE WATER SUPPLY, FILL 2- GALLON BUCKETS WITH WATER. FLUSH THE TOILET BY DUMPING THE WATER IN THE BOWL. YOU'LL GET ONE FLUSH PER BUCKET. WORKS JUST AS WELL AS THE USUAL METHOD, ALTHOUGH IT WON'T REFILL THE BOWL.IDENTIFY IF ONE OF THE RCDS OR MCBS HAS TRIPPED I.E. IS DOWN. THE CHANCES ARE AN RCD HAS TRIPPED. FIRSTLY TURN OFF (DOWN) ALL THE ASSOCIATED MCBS. NOW RESET IT BY PUSHING IT UP. IN SOME CASES YOU HAVE TO PUSH DOWN FIRST AND THEN UP.IF THE RCD RESETS THEN PUSH UP THE ASSOCIATED MCBS ONE BY ONE. IF EVERYTHING IS WORKING THEN THE CHANCES ARE YOU JUST HAVE A BLOWN LIGHT BULB. CHECK ALL BULBS AND REPLACE AS NECESSARY. IF YOU WERE TRYING TO USE AN APPLIANCE WHEN THE POWER TRIPPED THEN THERE'S A GOOD POSSIBILITY THAT THE APPLIANCE IS THE CAUSE OF THE PROBLEM. UNPLUG IT AND PUT IT TO ONE SIDE. IF IT'S A TOASTER OR KETTLE THE BIN IS PROBABLY THE NEXT STOP FOR IT. IF IT'S A WASHING MACHINE, DRYER OR DISH WASHER THEN CHECK THE APPLIANCES SERVICE GUIDE IN THE INSTRUCTION BOOK OR CALL A WHITE GOODS REPAIR COMPANY.SET UP YOUR BUSINESS. DETERMINE HOW YOU WANT TO STRUCTURE YOUR BUSINESS. TO PROTECT YOUR PERSONAL ASSETS, FORMING A LIMITED LIABILITY COMPANY OR OTHER CORPORATE ENTITY OR PARTNERSHIP IS RECOMMENDED. APPLY FOR A BUSINESS LICENSE THROUGH YOUR CITY OR COUNTY GOVERNMENT OFFICE. CONTACT YOUR STATE OCCUPATIONAL LICENSING BOARD TO FIND OUT IF YOU'LL NEED A CONTRACTOR'S LICENSE AS WELL. FILE A DOING-BUSINESS-AS STATEMENT WITH YOUR LOCAL CLERK'S OFFICE IF YOUR BUSINESS NAME WILL BE DIFFERENT FROM YOUR GIVEN NAME. CONSIDER GETTING BONDED TO PROTECT YOU AND YOUR CLIENTS IF ONE OF YOUR HANDYMAN TASKS GO WRONG. THIS CAN MAKE YOUR BUSINESS MORE MARKETABLE AS WELL.THOUGH NETWORKING GROUPS IN CHICAGO SERVE VARIOUS POPULATION STRATA THEY HAVE MORE OR LESS THE SAME FORMAT OF OPERATION. USUALLY, THE MEMBERSHIP AND EVENTS ARE FREE OF CHARGE (OR FOR A NOMINAL FEE). PEOPLE WHO ORGANISE THESE GROUPS AND HELP JOB SEEKERS DO NOT MAKE MONEY FROM THESE ACTIVITIES (COMPARED TO HEADHUNTING, EMPLOYMENT AND OTHER AGENCIES WHO DO IT FOR A LIVING). THE MONEY YOU MAY HAVE TO PAY IS FOR THE RENTING OF A MEETING SPACE OR FOR PRINTING/COPYING (A LOT OF GROUPS WILL PROVIDE YOU WITH VALUABLE PRINTED MATERIALS RELATED TO JOB SEARCH). YOU'VE GOT AN EVER INCREASING TO-DO LIST OF HOME IMPROVEMENTS LIKE CHANGING OUT A BATHROOM FAUCET, REPLACING MISSING SHINGLES ON THE ROOF AND PAINTING A KITCHEN WALL. YOU COULD HIRE A PLUMBER, ROOFER AND PAINTER WHO ALL WOULD HAVE CONFLICTING SCHEDULES OF AVAILABILITY AND THEIR OWN SERVICE CHARGES, OR YOU COULD HIRE A HANDYMAN TO COMPLETE ALL THREE PROJECTS IN ONE DAY FOR A SINGLE HOURLY RATE.THE BEST TIME TO GET LEAKS REPAIRED IS THE PRESENT. CHECK ALL OF THE FAUCETS IN YOUR KITCHEN, BATHROOMS AND UTILITY ROOM FOR DRIPS AND PUDDLES. IF YOU HAVE A LEAKY FAUCET, CONTACT YOUR TRUSTED PLUMBER IMMEDIATELY TO GET YOUR PIPES BACK IN TIP-TOP SHAPE.MY GRANDFATHER RECENTLY PASSED AWAY, AND WHILE HE WASN'T PARTICIPATING ON SOCIAL NETWORKS, HE WAS A POPULAR TOPIC ON MY FACEBOOK FEED THESE LAST FEW DAYS. PEOPLE USED TO FIND OUT ABOUT A FAMILY OR FRIEND PASSING IN THE NEWSPAPER OR THROUGH A PHONE CALL, BUT TODAY FACEBOOK OR TWITTER ARE REGULARLY USED TO SPREAD NEWS. MY GRANDFATHER'S PASSING RAISED AN IMPORTANT QUESTION FOR ME: HOW DO WE DEAL WITH THE TOUGH STUFF ONLINE SO WE DON'T BREAK HEARTS OFFLINE?MY DAD WAS A UNION ORGANIZER AND WORKED WITH A TEAM. MAYBE MY KNACK FOR TEAMWORK CAME FROM HIM? EVER SINCE I WENT TO COLLEGE I'VE BEEN WORKING WITH A TEAM. FIRST WITH ARCHITECTURE AND INTERIOR DESIGN AND THEN GLASS. MY STUDYING IN MURANO IN 1967 AND 1968 TAUGHT ME HOW A TEAM IN GLASS REALLY FUNCTIONS BUT I HAD ALREADY BEEN WORKING WITH A SMALL TEAM IN GRADUATE SCHOOL. GLASSBLOWING IS NOT AN EASY CRAFT TO DO BY YOURSELF--IT'S MUCH EASIER WITH AN ASSISTANT OR A TEAM.NOT SALLE. HIS PAINTINGS REMAIN AS CHIMERICAL AS EVER, DISPARATE AND COORDINATED, PRECISE AND HOMELY, STRANGE AND FAMILIAR -- LARGE WORKS THAT INTEGRATE DYNAMIC COLLISIONS OF COLOR, TEXTURE AND NEARLY RECOGNIZABLE MOTIFS INTO DYSTOPIC, MAGNETIC TABLEAUX. THEY DRAW YOU IN AND DENY YOU ENTRANCE; THEY ARE ENIGMATIC AND ACCESSIBLE.BORN IN OKLAHOMA (IN 1952), A STAR STUDENT OF JOHN BALDESSARI AT CAL ARTS, SALLE MOVED TO NEW YORK IN THE '70S AND WAS QUICKLY SNATCHED UP BY POWERHOUSE DEALER MARY BOONE. CRITICS RECOGNIZED THAT SOMETHING IMPORTANT WAS TAKING PLACE ON HIS CANVASES EVEN IF THEY STRUGGLED TO MAKE SENSE OF THEM; PETER SCHJELDAHL WROTE IN 1982 THAT A SALLE EXHIBITION WOULD BE AN "EVENT" -- CAPITAL "E" -- "IF CATERED WITH A BOX OF CHICLETS AND HELD IN A SUBWAY TOILET."THESE DAYS, SALLE WORKS FROM A SUN-BATHED STUDIO ON THE FIRST FLOOR OF HIS MODERN APARTMENT IN FORT GREENE, BROOKLYN, AND AN EXHIBITION OF HIS NEWEST PAINTINGS OPENS AT MARY BOONE'S 24TH STREET SPACE ON MAY 7, 2011.MY FIRST ASSISTANT OR PARTNER WAS FRITZ DREISBACH WHEN I WAS A GRADUATE STUDENT AT THE UNIVERSITY OF WISCONSIN. I WAS TRYING TO BLOW A FORM THAT I COULDN'T MAKE BY MYSELF AND I ASKED FRITZ TO PICK UP A BLOWPIPE AND BLOW ANOTHER PIECE FOR ME AND THEN ADD IT TO MY PIECE. AFTER THAT EXPERIMENT WENT WELL I STARTED DESIGNING SCULPTURES THAT NEED[ED] TWO PARTS BLOWN SEPARATELY. THIS HAPPENED A MONTH OR TWO AFTER I ARRIVED AT HARVEY LITTLETON'S GLASS PROGRAM.IN PAST INTERVIEWS, YOU HAVE ARTICULATED A DISTINCTION BETWEEN A WORK OF ART'S "POPULARITY" -- HOW IT SELLS -- AND THE QUALITY OR ABUNDANCE OF ITS "MEANING" OR "VALUE." I'M INTERESTED IN YOUR RELATIONSHIP TO THAT IDEA WITH REGARDS TO YOUR OWN WORK, WHICH HAS CERTAINLY RETAINED ITS POPULARITY OVER THE YEARS.EVERYBODY WANTS TO BE POPULAR. WELL, I SUPPOSE THERE MIGHT BE A CERTAIN FASCINATION IN BEING UNPOPULAR -- BUT I GUESS THE POINT IS SIMPLY THAT ART AS ART IS NOT, OR OUGHT NOT TO BE, ANYWAY, A POPULARITY CONTEST. ART IS ABOUT SOMETHING ELSE. AND THAT SOMETHING ELSE IS NOT MEASURABLE BY THE SAME TOOLS THAT ARE USED TO MEASURE PRODUCTS IN POPULAR CULTURE. I DON'T WANT TO SEE THE TWO IDEAS INEXTRICABLY MERGED.IN MADISON. FROM THAT TIME ON I DID MOSTLY SCULPTURES AND LOST INTEREST IN FUNCTIONAL WORK. MY BEST FRIENDS IN MADISON WERE GRADUATE STUDENTS FROM THE PAINTING DEPARTMENT--MICHAEL LAWSON, ANDY KRANCE AND ABE ROTHBLATT--WE WERE KIND OF A TEAM--HELPING EACH OTHER WITH OUR ART WORKS. I WANTED TO BE AROUND MORE ARTISTS SO NEXT YEAR I WENT TO THE RHODE ISLAND SCHOOL OF DESIGN. THEY DIDN'T HAVE A GLASS PROGRAM.WELL, THERE'S AN OLD CHESTNUT ABOUT THE MOVIE BUSINESS THAT GOES, "NO AMERICAN MOVIE WAS EVER SUCCESSFUL FOR THE RIGHT REASONS." IN MY VIEW, TO HAVE VALUE, A WORK OF ART HAS TO DO MANY THINGS SIMULTANEOUSLY -- WELL IT DOESN'T HAVE TO DO ANYTHING, REALLY -- BUT LET'S SAY THAT ONE IDEA IS THAT IT CAN BOTH OFFER A KIND OF IMMEDIATE VISUAL PIZZAZZ, AND AT THE SAME TIME CAN UNFOLD SLOWLY OVER TIME, ITS MEANING DEEPENING AND ITS COMPLEXITY RIPENING, WHILE THE IMMEDIACY OF ITS VISUAL IMPACT NEVER FADES. THAT IS WHAT WE AS ARTISTS STRIVE FOR.YOU HAVE CLAIMED THAT YOU BELIEVE THE MEANING AND VALUE OF A WORK OF ART CAN DEVELOP AND EVEN FLUCTUATE OVER TIME. IN THE '80S, YOUR WORK WAS CANONIZED ALMOST IMMEDIATELY, ITS MEANING WAS FIXED, IT WAS ESTABLISHED AS DOING SOMETHING PARTICULAR AND MEANING SOMETHING PARTICULAR. DOES THAT FEEL LIMITING TO YOU? BUT THEY HAD ALMOST EVERYTHING ELSE. I APPLIED FOR A FULBRIGHT GRANT FOR THE NEXT YEAR. I WROTE TO ALL 200 GLASS FACTORIES IN ITALY ASKING IF I COULD STUDY WITH THEM IF I GOT THE GRANT. ONLY ONE FACTORY, THE FAMOUS VENINI, PROBABLY THE MOST PROGRESSIVE OF THE ITALIAN FACTORIES, SENT A REPLY SAYING I COULD VISIT FOR THREE WEEKS. WHEN I ARRIVED AT VENINI I MET THE DIRECTOR LUDOVICO DE SANTILLANA. WE BECAME GOOD FRIENDS.I THINK IT'S PRETTY MUCH A TRUISM THAT MEANING CHANGES. THERE IS ANOTHER CHESTNUT THAT OCCURS TO ME HERE -- A SLIGHTLY MORE HIGHBROW ONE. WITTGENSTEIN TELLS US: "FOR THE MEANING OF SOMETHING, CONSIDER ITS USE." WHAT CRITICS OFTEN DO IS TO COME AT SOMETHING WITH A SPECIFIC USE IN MIND -- THE USE TO WHICH THE PAINTING WILL BE TETHERED. THAT'S THE JOB OF THE CRITIC -- THEY STAND BETWEEN THE WORK AND THE END-USER. BUT THE USE WILL CHANGE OVER TIME. IT'S SUBJECTIVE, CONTINGENT, PERSONAL. I'M GLAD IF I CONTRIBUTED SOMETHING THAT WAS USEFUL TO SOMEONE AT SOME POINT. SOMETIMES I'M SURPRISED AT WHAT PEOPLE FIND TO SAY ABOUT MY WORK, BUT IT DOESN'T FEEL LIMITING IN ANY WAY. I WOULD ALSO SAY THAT AN INTERPRETATION IS NEVER A FINAL ONE -- SO FAR.AND LUDOVICO WAS LIKE A FATHER TO ME. HE HAD ME MAKE MODELS FOR THE FACTORY OUT OF GLASS, PLASTIC, AND NEON. I HAD THE FULL RUN OF THE FACTORY AND ACCESS TO THE GLASSBLOWING TEAMS TO MAKE WHATEVER I NEEDED FOR THE MODELS. THE TEAMS WERE MADE UP OF ANYWHERE FROM THREE TO SIX GLASSBLOWERS. THE MORE COMPLICATED THE GLASS PIECE, THE MORE MEN ON THE TEAM. I LEARNED TO UNDERSTAND THIS VERY WELL, AND OVER THE YEARS I HAD AS MANY AS EIGHTEEN.IT'S A MYTH THAT ALL INTERPRETATIONS ARE EQUALLY VALID. AN INTERPRETATION HAS A BETTER CHANCE OF HOLDING UP IF IT IS BASED ON CLOSE LOOKING. REALLY, ATTENTIVE LOOKING HEADS MISINTERPRETATION OFF AT THE PASS. OF COURSE, SOME KINDS OF MISINTERPRETATION ARE PRODUCTIVE -- AND FUN.NOT TO MENTION THAT ART SHOULD HAVE AN EFFECT, SHOULD COMMUNICATE SOMETHING. DO YOU THINK ART'S PURPOSE IS SIMPLY TO PROVIDE A PLATFORM FOR AN ARTIST'S EXPRESSION?GLASSBLOWERS ON ONE TEAM. THE MORE SKILLED YOU WERE, THE HIGHER UP YOU WERE ON THE TEAM. THE HIERARCHY WAS NOT A QUESTION OF YOUR AGE OR HOW LONG YOU'D BEEN BLOWING GLASS--IT WAS STRICTLY A MATTER OF EXPERTISE. YOU COULD BE AS YOUNG AS SIXTEEN OR EIGHTEEN AND BE MASTER OR HEAD OF THE TEAM IF YOU HAD THE TALENT. SOMETIMES IT SEEMED LIKE THEY WERE BORN WITH THE KNOWLEDGE. UP UNTIL THE 20TH CENTURY YOU COULDN'T BE A MASTER UNLESS YOUR FATHER WAS A MASTER. LINO TAGLIAPIETRA AND PINO.WELL, A GOOD WORK OF ART DOES ABOUT 15 THINGS SIMULTANEOUSLY WHEN IT HANGS ON THE WALL, AND ONE OF THOSE THINGS IS TO MAKE THE ROOM LOOK BETTER. ANOTHER IS TO GIVE THE VIEWER ACCESS TO FEELING. I DON'T THINK ART IS A PURELY PRIVATE LANGUAGE -- BUT THAT DOESN'T MEAN THAT IT HAS TO BE EASY. MAYBE "COMMUNICATE" ISN'T THE RIGHT WORD FOR WHAT AN ARTWORK MIGHT DO; MAYBE "SING" IS BETTER.I'M CONSCIOUS OF A NUMBER OF RESPONSES THAT I MIGHT HAVE TO AN ARTWORK-- SOMETIMES IT PROVOKES A FEELING IN ME, OR I HAVE A REFLEXIVE, ESTHETIC APPRECIATION OF IT -- AND SOMETIMES IT MIGHT ENGAGE ME INTELLECTUALLY, AND I'LL SEEK TO DISCOVER SOME REVELATION WITHIN IT. OFTEN IT'S MANY THINGS AT ONCE.SIGNORETTO ARE TWO EXAMPLES OF MASTERS WHO WERE PUT IN CHARGE OF A TEAM AT A YOUNG AGE. BEFORE I RETURNED TO THE STATES I WAS ASKED TO BUILD A GLASS PROGRAM FOR THE RHODE ISLAND SCHOOL OF DESIGN. DURING THE EARLY PART OF MY TEACHING CAREER THERE WERE THREE GREAT ARTISTS THAT I COLLABORATED WITH--JAMIE CARPENTER, SEAVER LESLIE, AND ITALO SCANGA. WE ALL BECAME CLOSE FRIENDS AND SUPPORTED AND HELPED EACH OTHER FOR YEARS. ITALO BECAME A MENTOR AND MY BEST FRIEND TILL HE DIED IN 2001. IN 1971 FRIENDS AND I STARTED THE PILCHUCK.YES, OFTEN IT'S MANY THINGS AT ONCE. DETERMINING WHAT CONSTITUTES AN AUTHENTIC RESPONSE TO SOMETHING IS A BIG DISCUSSION. BUT I THINK IT'S IMPORTANT TO TRY TO SEPARATE OUT THE LEARNED OR GROUP RESPONSE FROM THE INDIVIDUAL ONE. WHEN I WORK WITH STUDENTS I TRY TO GET THEM TO BE AWARE OF WHAT THEY FIND THEMSELVES ACTUALLY THINKING AND FEELING WHEN THEY'RE LOOKING AT SOMETHING -- INSTEAD OF WHAT THEY THINK THEY'RE SUPPOSED TO BE THINKING AND FEELING. I FIND THAT THERE IS OFTEN A BIG DIFFERENCE BETWEEN THE TWO.THE REAL ISSUE IS ABOUT "AUTONOMY." HOW MUCH AUTONOMY DOES A WORK OF ART HAVE, AND HOW MUCH DOES THE VIEWER HAVE? I TEND TO PLANT MY FLAG ON THE SIDE OF MORE AUTONOMY -- FOR ART.GLASS SCHOOL IN THE FOOTHILLS OF THE CASCADE MOUNTAINS. BY THIS TIME THERE WERE SEVERAL SCHOOLS TEACHING GLASSBLOWING, BUT ONLY PILCHUCK TAUGHT STUDENTS TO WORK IN TEAMS. IT OPENED MANY MORE POSSIBILITIES FOR EVERYONE. WE SOON STARTED INVITING VISITING FACULTY, ARTISTS, AND MASTER GLASSBLOWERS FROM THE GREAT GLASS CENTERS OF THE WORLD. OF COURSE THEY ALL WORKED IN TEAMS AND THE TEAMS WOULD BE MADE UP FROM STUDENTS OR FACULTY FROM PILCHUCK.I MADE THAT DISTINCTION INITIALLY TO ILLUSTRATE A POINT ABOUT HOW A PAINTING WORKS -- I DON'T MEAN IT TO SOUND OVER-DETERMINED. MOST ART IS A COMBINATION OF BOTH THE PICTORIAL AND THE PRESENTATIONAL -- NOTHING IS PURELY ONE OR THE OTHER. BUT IT'S A QUESTION OF EMPHASIS, AND HOW EACH IS WEIGHTED. WHILE THERE IS A STRONG PRESENTATIONAL ASPECT IN MY OWN WORK, IT'S EMBODIED IN A PICTORIAL TRADITION AND ORIENTATION. WHAT I MEAN BY THE PICTORIAL IS A LEVEL OF INTEGRATION AND ORGANIZATION OF ALL OF THE ELEMENTS OF THE PAINTING THAT RESULTS IN A WORK SINGING A KIND OF SONG ABOUT ITSELF -- BUT NOT IN AN ACADEMIC, SELF-REFERENTIAL WAY; RATHER WITH A JUICY AND EXPANSIVE KIND OF AWARENESS.PAINTING HAS A PERFORMATIVE ASPECT TO IT -- SOMEONE HAS TO PAINT IT. AND THAT PERFORMATIVE ASPECT IS ALSO PART OF THE PICTORIAL. WHEN I TALK ABOUT COMPOSITION, I MEAN IT IN THE LARGEST SENSE: THE WAY THE PAINTING ORCHESTRATES ITS IDEA OF ITSELF. WHAT DOES THE PAINTING THINK ABOUT ITSELF, SO TO SPEAK. WHAT ARE ITS ASPIRATIONS?SO MANY OF THE SKILLS WE HAVE IN THE STATES CAME FROM THESE GREAT MASTERS--THEY WERE WILLING AND DID SHOW US EVERYTHING THEY KNEW. I THINK IN SOME WAYS IT WAS EASIER TO PASS THEIR SECRETS TO US THAN TO THE YOUNG GLASSBLOWERS OF MURANO. WE WANTED IT MORE AND APPRECIATED EVERY LITTLE TRICK THEY WOULD SHOW US.I STARTED THE BLANKET CYLINDERS IN 1974 AT PILCHUCK AND WORKED ON THEM LATER AT THE RHODE ISLAND SCHOOL OF DESIGN. I COULDN'T AFFORD TO HIRE A TEAM.SO I USED FIVE OR SIX OF MY STUDENTS AS A TEAM ALONG WITH KATE ELLIOTT TO DO THE GLASS DRAWINGS AND LATER FLORA MACE AND JOEY KIRKPATRICK. I WOULD MEET THE TEAM AT 4 AM IN THE GLASS SHOP AND WE WOULD WORK UNTIL 9 AM, AT WHICH TIME I WOULD TURN THE SHOP OVER TO THE STUDENTS AND THEY WOULD WORK UNTIL MIDNIGHT--LATER IF THE GUARDS DIDN'T KICK THEM OUT. I DON'T KNOW WHAT KIND OF ARRANGEMENT.WELL, THAT'S HOW EVERYONE TALKED ABOUT PAINTING, 30-40 YEARS AGO. EVEN 25 YEARS AGO. I DOUBT IF IT'S ONLY ARTISTS WHO TALK THIS WAY TODAY-- BUT I DON'T REALLY KNOW. MAYBE YOU'RE RIGHT.IN ANY EVENT, "ESTHETICS," AS YOU CALLED IT, CAN'T ACTUALLY BE SET APART FROM THE LIFE OF THE THING. THEY'RE INSEPARABLE -- ONE IS EMBODIED BY AND THROUGH THE OTHER. HOW IS IT THAT YOU CAN COME TO KNOW ANYTHING ABOUT AN ARTIST EXCEPT BY WHAT THEY ACTUALLY DID? NOT WHAT THEY SAID ABOUT WHAT THEY DID, BUT WHAT THEY ACTUALLY DID. ALL THAT STUFF ONLY MATTERS INSOFAR AS IT MAKES YOU FEEL SOMETHING, AND HOW A PAINTING MAKES YOU FEEL IS A FUNCTION OF HOW IT LOOKS; HOW IT LOOKS IS THE WAY THAT IT GIVES YOU ACCESS TO CERTAIN FEELINGS. SEPARATING THE TWO WOULD BE LIKE TALKING ABOUT LITERATURE WITHOUT TALKING ABOUT THE SENTENCES.PINO SIGNORETTO CAME TO PILCHUCK FOR THE FIRST TIME IN 1989. I DID A DEMO THAT SUMMER AND HAD PINO MAKE SOME PUTTI AND ATTACH THEM TO LARGE VASES THAT LINO WAS BLOWING--THAT WAS THE BEGINNING OF THE PUTTI SERIES. I'VE MADE ABOUT 15 SERIES OF WORK OVER THE LAST 30 YEARS WITH TEAMS OF TWO TO EIGHTEEN. I WANT TO THANK EACH AND EVERY ONE OF YOU FOR GIVING SO MUCH AND MAKING SUCH GREAT CONTRIBUTIONS TO MY WORK. NONE OF IT WOULD HAVE BEEN POSSIBLE WITHOUT YOU.YOUR WORKS DRAW FROM THIS VAST ARSENAL OF REFERENCES AND MOTIFS, AND THEY THEREFORE BEG TO BE UNDERSTOOD BY SOMEHOW CONNECTING THESE PARTS. PARADOXICALLY, THEY ALSO RESIST THAT INTERPRETATION, IT SEEMS. THIS TENSION IS SOMETHING THAT HAS COMPRISED MUCH OF THE DIALOGUE ABOUT YOUR WORK.IT MIGHT SOUND STRANGE, BUT I'M NOT THAT INTERESTED IN REFERENCES AS SUCH, ICONOGRAPHICAL IDENTIFICATION AND ALL THAT. MY WORK IS NOT A SCAVENGER HUNT. OF COURSE, ICONOGRAPHY IS PART OF THE PAINTING -- YOU HAVE TO DEAL WITH IT, YOU HAVE TO LOCATE IT WITHIN YOURSELF AS AN IMMEDIATE EXPERIENCE. ON THE ONE HAND, TO POSE A MODEL IS A VERY IMMEDIATE EXPERIENCE, FOR EXAMPLE -- WHILE THE BORROWED STILL LIFE, ON THE OTHER HAND, MIGHT BE MORE OF A MEDIATED EXPERIENCE. AND THE TWO THINGS HAVE TO WORK TOGETHER. SO WHAT AM I TRYING TO DO WITH ALL THAT? IT MIGHT SOUND SIMPLISTIC, BUT I WAS REALLY JUST TRYING TO MAKE WHAT I THOUGHT WAS A NEW KIND OF BEAUTY.SOMETIMES I THINK OF MYSELF LIKE AN ORCHESTRATOR, WORKING WITH THIS PALETTE OF SOUNDS. I THINK ABOUT INSTRUMENTATION IN COMPOSITION. A COMPOSER WRITES A MELODIC LINE, LET'S SAY. AND THEN HE MUST THINK ABOUT WHAT INSTRUMENTS CAN EXPRESS THAT LINE, AT WHAT TEMPO AND TIMBRE, ETC. CERTAIN COMPOSERS HAVE A GIFT FOR ORCHESTRATION -- KNOWING THAT A CERTAIN PHRASE CAN BE BEST EXPRESSED BY THE WOODWINDS, OR WHATEVER.I THINK PAINTING IS THE SAME: IT'S KNOWING HOW TO ORCHESTRATE ALL THOSE SOUNDS IN ORDER TO MAKE MEANING, AND I DON'T INTEND "MEANING" IN THE PRE-DETERMINED, NARRATIVE SENSE NECESSARILY, BUT IN MORE OF THE MUSICAL SENSE. WHAT IS THE MEANING OF MUSIC? I DON'T KNOW. IT'S TEMPERAMENTAL, LOCATED WITHIN A DEEP PART OF THE PSYCHE. MINE IS MORE A PROCESS OF MOVING INTO THE PAINTING AND ASKING THE PAINTING WHAT IT WANTS AND NEEDS. IT'S AN ADDITIVE KIND OF PLAY.Hi, 2 Honest strong reliable guys here ready today/tomorrow or @ anytime to help with Loading/Unloading Pack Etc.. Anywhere in the Brooklyn.Queens.Manhattan areas Etc.. we are not a moving company just 2 cool Strong reliable guys ready to help..(we are a great group of guys and we guarantee great service also) 3rd or 4th guy available if needed.. we do have the experience and we also have plenty of references if needed... (LABOR ONLY WE DO NOT HAVE A VAN OR A TRUCK) we help with Big/Small last minute Loads no problem, Even if its just a couch or something.. (GARBAGE ETC) (WE ALSO HAVE SEVERAL HAND TRUCKS AND DOLLIES IF NEEDED) (We also drive U-Hauls if u need) Rates are fair and depend on your load, No Minimum of hours are required... we agree on a price or our hourly rate and we go from there.. No Hidden Fees! No Extras for stairs! we go straight through with our hourly rate from start of the job to Finish... Please call or text me @ .......Thanks, Victor


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