#foor Drew <3

[house-of-slayterr]

Marko headcanons? Please 🥺 am in much need of my trash baby cause am much sad

Of course, anything for you my love! I too am experiencing Marko brain rot!

Marko loves pretty things, and by pretty I mean unique. Someone’s style, hair, makeup or lack there of. He notices all that stuff right away. It’s like he’s constantly searching for the next coolest person in town.

Cause we all know Marko is a platonic whore (as well as a regular one) boy could make friends with his eyes closed and his mullet on backwards. He’s just a really charismatic guy!

And that’s when he’d spot you, with your new blue hair! He thinks it’s possible the coolest thing he’s ever seen in his life. Before Paul or David can even tease him, he’s marching on over to you. Determined to at least leave with your number.

He probably uses the cringiest of pick up lines to attempt to flirt. “Are you a parking ticket? Cause you’ve got fine written all over you!” And don’t you for a second think it stops after just one. No, he makes it his mission to find the worst ones just to hear your laugh.

“Do you believe in love at first sight? Or should I walk by again?”

“Feel my shirt, wanna know what it’s made of? Boyfriend material.”

This is your life now. I hope you don’t mind a little golden doodle following around everyone, because you now have your own personal vampire body guard. The only time he’s not with you is when he’s hunting. He wouldn’t want to scare you off, but little does he know it makes him more irresistible.

Prepare for a lot of Paul time. Where on terror twin goes, the other fallows. He probably flirts as well, but Marko cuts him down with well places glares. He loves teasing Marko, and making you blush. So the behaviour again, won’t stop. Not unless Marko asks him too in the moment.

This man will drag you to EVERY concert on the board walk. If they’re selling t-shirts, prepare for a whole new wardrobe! Marko is a master Kleptomaniac. He could steal from five different people before anyone notices. What can I say, he’s got sticking fingers to go with the devious smirk of his.

Dates under the stars! He will fly you to the highest point in the city so y’all can look at stars together. He probably just picks up Chinese and turns it into a little rooftop picnic.

YOUR JACKET! That’s right, you heard me! Marko custom made you a jacket to match his iconic one. He pays attention to bands and colours you like and collected patches for months before gifting it to you. Sometimes you help him see new patches onto both of you jackets.

Dwayne whole heartedly approves of this. You mellow him out a Little. He’s not like a kid who’s on a sugar high, and claustrophobic, always needed to be on the move anymore. He doesn’t care how much you weigh, he’s content to have you sit on his lap. He’s a vampire after all, you weigh nothing to him. Get you a boy who can handle some skin!

David is wearing of you at first. But he sees how happy the two of you are so he lets it happen. But he’s probably had a chat or 100 about Marko turning you. David is impatient and would rather you be a fledgling than a human. Even if like Star and Laddie you don’t want to feed right away, he’d respect that. But he’s much more excepting of you after you turn.

And don’t worry, Marko would make it special. He’d be careful not to hurt you, and make sure everything goes smoothly. He can’t go with you, but Marko gives you an entire day to watch your last sunrise and sunset. He doesn’t want you to feel like you’re missing out by being with him. Please assure him your not, this poor Baby would have his heart broken if he continued to think that.

But you’re living your best life now with the boys, and Marko couldn’t be more proud of you. You’re Marko’s person, and he’s yours. And everyone respects that. Those other people better stay away, cause an angry hungry fledgling is not someone you want to piss off. You kill someone for flirting with Marko, he goes fucking feral.

Don’t expect to be getting any rest anytime soon. He’s keeping you up well I got he morning in that cave. Cue David yelling at Marko for his poor timing, why couldn’t he do this when they weren’t all stuck in the cave for the day.

Marko’s love languages are gift giving. He sees something that reminds him of you, it’s yours now. He’d buy the whole world if he could, but you’ll settle for an ice-cream and the random set of rings he thought would look nice on your fingers. But he’s keeping that one finger empty, so one day he can get you a real nice ring and start your forever together.

An: hope this was what you were looking for! I’m all soft and mushy now 🥺

#marko tlb #marko #the lost boys imagines #the lost boys #vamprie boyfriend #vamprie best friend #foor Drew <3

[whumpqin]

13 or 39 for the smutty prompts >:)

You got it! (I went for 39 hehe)

From this set of prompts (still open, feel free to send some <3)

CW: Pet whump, noncon, semi-explicit noncon, noncon touching, forced to stand, mention of broken bones, nonhuman whumpee, light sleep deprivation, creepy/intimate whumper, abusive language, Jeremiah is his own warning

Content under the cut!

Elisha let a whine seep from his throat, face wrinkling in discomfort. His legs ached so, so badly.

He'd been standing here for god knows how long. Forced to wait at the kitchen counter for his Master to decide what to do with him. Except... Aridai was gone for the day. Now only Jeremiah was left, and he'd been so busy on that stupid laptop that he ignored Elisha entirely. His fingers curled against the counter, tail tightly wrapped around his ankle, trying to lean his weight onto his arms to ease the strain upon his legs. Despite healing from their breaks the nerves were still so tender, and Elisha's Masters thought it fun to see him in such pain. And he wanted to keep his frustration a quiet secret, inner guilt telling him that bad tempers must be punished.

"I thought I told you to shut up," Jeremiah's voice sounded from the kitchen table.

Elisha closed his eye, a tear slipping down his cheek. His Sir was not kind today, as he had been before. And Elisha didn't want to see the excited glint in his eye either.

"I'm s-sorry, Sir," he gently muttered.

He physically flinched when Jeremiah rumbled out a low and sudden growl, and suddenly to his feet. His arms instinctively raised to defend himself, covering his torso. More tears pricked Elisha's eyes, bubbling up as his weariness took hold. He was so tired, unable to sleep, and he just wanted a small scrap of mercy. Of something.

"Did you not fucking hear me? I told you to shut up, Caleb. Did you forget how to listen? Huh?" Jeremiah's words were poison, like Aridai's, drawing closer and closer. Hands gripped against Elisha's bony wrists, forcing them away from his face. "Look at me whem I'm talking to you."

Elisha obeyed, blinking a blurry eye up to his Sir. Looking into his angry face was pure horror, and it only drew more tears to the surface. Sobs found their way from his throat as Elisha was chipped at, bit by bit, from Jeremiah's sole presence.

There was an unsympathetic sigh. "I'm so sick of your voice." His Sir's eyes glittered as they narrowed. "Why don't you come over here and put your mouth to better use?"

A key was produced, and Elisha was released from his standing hell. The leash remained affixed to his collar as Jeremiah dragged him to the table, down and down. Beyond the shuffling of claws against hardwood and the uncontrollable, breathy sobs, Elisha was silent as he was forced underneath the table. His horns scraped the wood as he was forced to hunch his back to fit underneath the table.

Jeremiah sat in the chair, and slowly undid his belt buckle and pants buttons, scooting in closer so he was just close enough to continue whatever he was doing and be able to look at Elisha if he leaned back. He drew himself out with one hand, and grabbed a fistful of Elisha's brown hair in the other.

"Open up. I'm sure you can figure out the rest, can't you? Or are you too stupid to do that, too?" Jeremiah's jeers were cutting as he pulled Elisha closer.

Elisha swallowed. Despite the fear and sadness coiling in his heart, there was also a keen sense of relief. He closed his eyes for a moment, feeling the aches in his legs lessen a bit now that he was sitting on the foor. A part of himself told him he should be grateful, that Sir was kind enough to let his legs rest, even if it were to be earned with services. Another part knew the torture was just beginning.

The grip in his hair tightened, and Elisha knew there was no more delaying the inevitable. So with a bitter taste growing in his mouth already, he reached forward and slid hands across Jeremiah's thighs to brace himself. He allowed his Sir to guide his cock into his open, waiting mouth, wrapping his lips around the head, trying not to cry more when he heard the pleased hum above him.

"There's a good boy." Jeremiah drew him further down, just enough to make Elisha squirm as it began to tease the back of his throat, threatening to gag him. His Sir was warm against his tongue as he swallowed around it, already half hard - had he been thinking of this the entire time? "Should've done this hours ago. I think you fit just right under there."

Now his Sir was just being cruel for cruelty's sake. Elisha furrowed his brows, peering up at Jeremiah with hopeless, sad eyes. He watched as his silent plea went unnoticed in favor of Jeremiah returning his attention to the laptop.

His sob was choked down, and Elisha slowly bobbed his head up and down. He tried not to focus on the sadness or fear, but on the relief. At the very least, his Sir was allowing his legs to rest while he pleasured him.

And Elisha knew he should be thankful.

#whump #whump writing #my writing #ask answered #pet whump #nonhuman whumpee #creepy whumper #intimate whumper #noncon tw #semi-explicit noncon #noncon touching #forced to stand #broken bone mention #sleep deprivation #abusive language #Jeremiah #Elisha/Caleb #Elisha's Story #god he's just so depressingly sad in this one it hurts my heart #nsft

[micaramel]

Artist: Steven Parrino

Venue: The Power Station, Dallas

Exhibition Title: Dancing on Graves

Date: April 5 – June 16, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of The Power Station, Dallas

Press Release:

“I want to be profoundly touched by art, by life. I came to painting at the time of its death, not breathe its last breath, but to caress its lifelessness. The necromancy of the pietà, Pollock’s One, timed with the birth of a synthetic star, 1958 BLACK PAINTINGS, DEATH & DISASTERS, modernism at its most powerful, before the point where circuses began. / The dust clears (just barely), and I stand in my own graveyard. I hear the constant din of BLACK NOISE.” – Steven Parrino

Dancing on Graves is five minutes of video shot by Steven Parrino (1958-2005) in 1999. He might describe it as a “sex and death painting thing.” But, before that, it’s grainy footage (handheld) of a woman dancing on a stacked platform of black-enameled aluminum. She looks into the lens, turns her body and bends over. Sits in a chair and opens her legs. Distortion blasts off-camera and the dancer’s body, suddenly all-vector, forms a “V.” It’s been suggested that Eros is a form and Thanatos a kind of entropy. And these two extremes seem to inform the dialectical friction one encounters in Parrino’s work. The video abruptly concludes with a cut to Parrino sawing into a black sheet of painted aluminum. A black screen. A loud silence.

Parrino comes to painting at the time of its death in the 1980s. He produces intensively reductive paintings. Black monochromes (painted with ‘one-shot’ sign-painters enamel) that he mishapes and distorts into bi-products of formed material. Canvas is unstapled, folded and restretched without a rigorous or declarative narrative. He intentionally avoids “melodramas” and “fantasy.” Instead, he reduces the structure of painting to the status of equipment (as per Heidegger, not just a specifc tool, but a system (Parrino would call it a “black system”) of tools that are collectively put to use), adhering to its materiality through a practice of applied distortion. Entropy endowed with form.

The paintings aren’t ‘pictures.’ Sometimes an inverted pyramid leaned against the wall (Untitled, 2004) or a kind of sensuous drapery (3 Units Aluminum Death Shifter, 1992).[1] But Parrino continues to unstretch, pull and contort the canvas to negotiate the literal boundaries of possible action while simultaneously limiting them. It’s his system. Disciplined and uncompromising. This isn’t formalism gone wrong, but formalism laid bare. A real thing. Fucked-up. And it gives Parrino the ability to un-ironically speak about the “reality” one finds in “abstract painting” because “reality” itself is incomplete and fucked-up. If the “the world is falling apart,” then painting should too. Like distortion (power chords and feedback), painting should “vibrate until it disjoins.”

The distortion “thing” is important. In conversation, Parrino would never not talk about noise. His sometimes collaborator Jutta Koether describes the vibe of Parrino’s group Blood Necklace in terms of his visual output: rigorous, stripped down, hard.[2] He listens for the constant din of black noise in the white static of Manhattan’s traffic and attempts to channel this into his work. He is as attracted to a New York Post cover (“A Murder Most Posh”) as to the Black Square of Malevich.[3]

In this sense, Parrino’s work is committedly realist. Not because it shows us a picture of reality, but because it participates in reality’s entropy. Even when real materials are historical or necrophied artifacts (the monochrome, the action paining or modernism) subjected to “theoretical distortion” (his words) or appropriation. Parrino directs attention to the structuring of painting’s “facts” through their destruction. And it’s through their mutual fragmentation and intercession (the gloss of black enamel or shine of crushed aluminum) that we get a glimpse of what’s at stake in painting’s entropic undoing. Adorno says “the splinter in your eye is the best magnifying-glass,” because distorted vision is the only way to confront something objectively. Like running into an object in the dark.

The selection of works on view at The Power Station adhere to Parrino’s elemental vocabulary: black, white and aluminum. Like Titian, Parrino begins his paintings with a fundamental contrast. Black. White. A positive.

A negative. Not to outline a form, but to establish matrices for possible action and intervention. Here, Parrino’s decision to limit painting to a narrow economy seems to amplify the works’ materialism and “heighten” their exteriority, context or “social feld.” The problem isn’t to stop paring away, but to produce paintings that destroy themselves in their making. Because “all creation hinges on destruction.” Because “all things destroy themselves or are destroyed.”

Steven Parrino was born in 1958 in New York, and died in 2005 in New York. He received his A.A.S. in 1979 from SUNY Farmingdale, New York, and his B.F.A. in 1982 from Parson’s School of Design, New York. Parrino’s work has been exhibited in major exhibitions around the world including the Kunstmuseum St. Gallen, Switzerland (2000); Ludwig Museum, Köln (2000); Contemporanea, Milan (2001); Nuremberg Museum, Germany (2002); The Swiss Institute, New York (2002); Museum of Contemporary Art, Tokyo (2003); Le Consortium, France (2004); Museum of Modern Art, Frankfurt (2005); P.S.1 Contemporary Art Center, New York (2005); and Yerba Buena Center for the Arts, San Francisco (2006). Recent solo shows include Massimo De Carlo Arte Contemporanea, Milan (2000); “Exit/Dark Matter,” FriArt, Switzerland (2002); “Steven Parrino Videos 1979-Present,” Circuit, Lausanne, Switzerland (2002); Massimo DeCarlo Arte Contemporanea, Milano Galerie Jean Brolly, Paris (2003); “A Retrospective (curated by Fabrice Stroun),” Musée d’Art Moderne et Contemporain, Geneva (2005-07); Palais De Tokyo, France (2007) (curated by Fabrice Stroun and Marc-Olivier Wahler); “Born to Be Wild: Hommage an Steven Parrino,” Kunstmuseum St. Gallen, Switzerland (2009); and “Steven Parrino: Armleder, Barré, Buren, Hantaï, Mosset, Parmentier, Toroni,” Gagosian Gallery, Paris (2013).

The Power Station thanks the Parrino Family Estate and Gagosian Gallery for their assistance with the exhibition. – [i.] Bob Nickas. “Steven Parrino at Palais de Tokyo.” Artforum, September 2007. [ii.] Jutta Koether and Bob Nickas. “Dark Star, Bob Nickas and Jutta Koether on Steven Parrino.”Artforum , March 2005. [iii.] Artforum , September 2007. [iv.] Most quotations taken directly from Steven Parrino’s The No Texts, (1979-2003) (Abaton Book Company: New Jersey: 2003) – Screened on the third foor of The Power Station throughout the duration of the exhibition: Drew Heitzler and Amy Granat T.S.O.Y.W., 2007 Two channel projection, 16mm flm transferred to digital video TRT: 3 hours 18 minutes 21 seconds Edition of 5, 3AP Courtesy of the Artists and BLUM & POE

Filmmakers Amy Granat and Drew Heitzler collaborated to makeT.S.O.Y.W., a two-part flm based on Wolfgang von Goethes loosely autobiographic, tragic novel, The Sorrows of Young Werther (1774). Following the style of the American road movie Easy Rider (1969),T.S.O.Y.W. chronicles a dysfunctional love story between a man and his motorcycle while representing what the artists call Americas wartime malaise. Werther, portrayed by artist Skylar Haskard, steals a friends Harley-Davidson to cruise the desert, eventually arriving at art historical destinations including Robert Smithson’s Spiral Jetty, Walter de Maria’s The Lightning Field, and James Turrell’s Roden Crater. Granat and Heitzler’s variations on the theme which they edited from 16-millmeter footage that they shot simultaneously on identical Bolex cameras are screened as dual projections.

Link: Steven Parrino at The Power Station

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2sj9VGL

#micaramel

[dawnajaynes32]

Dana Arnett: Great Work Feeds Great Work

Imagine meeting a legendary designer and strategist during your design school years when he gives a lecture on campus. Imagine forming a bond with this legend, a bond that develops into deep conversations and, ultimately, into a business partnership. Imagine that partnership evolving into one of the industry’s foremost agencies.

That’s the “met cute” story of Dana Arnett and Robert Vogele. In 1990, Vogele hired his young protege to join Vogele, Stoik Associates, Inc., renaming the firm VSA Partners. Today, VSA employs around 300 people in 3 offices, working with the cream of the global business world and creating a range of solutions across branding, marketing, communication and digital platforms.

At HOW Design Live, Arnett will take the stage for a keynote presentation, Pioneers, Prophets and Provocateurs, that recaps how Chicago has shaped his life and work. We recently asked Arnett about key moments in his time at VSA. (Foor more great insight, follow @DesignArnett and @VSAPartners on Twitter.)

The Breakers Hotel Identity

In an interview last year with Print magazine, you noted that you were inspired by legends like Charles and Ray Eames to pursue a multi-disciplined approach, and that your college program offered a comprehensive view of design. That multi-disciplinary mindset was unusual at the time, when design was so specialized. How did being a creative polymath, not just, say, a print designer, serve you in your career?  I’ve always believed there’s this inherent virtue of designers to think big — how can my idea expand in all directions, across multiple platforms, channels and experiences? Bringing this holistic mindset to any design challenge came natural for me, and it’s proven to be a good bet as my career’s taken flight. With today’s proliferation of content and channels for delivery, the lines are blurring even more. Trusting my multi-disciplinary skills, and those of others, has helped VSA connect the dots for clients in new ways. I have a pretty good feeling this type of dexterity will continue to be a designer’s best friend.

Creatively speaking, Chicago for a long time labored in the shadows of New York and L.A. That was certainly the case when VSA was founded. What did being in Chicago do for the agency? Did it inform your work in some way? Make you hungry? Shape your point of view? Well, I respectfully disagree. I think Chicago went about its work more quietly but with all the power, impact and brilliance of any global city. Perhaps our noble downfall was putting the emphasis on our skills and clients versus ourselves.

From the beginning, there are countless examples of how Chicago has shed its beacon, not shadow, on global design. I still draw from Chicago’s deep well of design — the new American Bauhaus that later become the Institute of Design, Walter Paepcke’s Container Corporation and his creation of the Aspen Design Conference, the seminal typefaces of Oswald Cooper, the early and brilliant corporate identities of Unimark, the editorial design of Art Paul, and the list goes on. This work drew me to Chicago and keeps me (and many others) here.

IBM Smarter Planet

Was there a certain project at VSA that really made a name for the agency? How did it come to you, and what did you learn from it?  Our work in the arena of annual report design had the most profound influence on VSA’s early trajectory and success. We started that run with the design of the Chicago Board of Trade annual report, and once that work got noticed, VSA’s reputation spread like wildfire to the big multi-nationals like IBM, GE, Harley-Davidson, Kodak, to name a few.

Those early annual report victories created VSA’s foundation and passion for design. And those early wins also catalyzed our insatiable entrepreneurial mindset. Put more simply, great work feeds great work. These characteristics remain core to our current identity and our ongoing desire to always be better. We’ve never been afraid to make bold moves that will help us win that next big project, build that next important practice, find that new and brilliant colleague. Awards and accolades will come and go, it’s how we stay inspired and hungry that keeps us ahead of the game.

You’ve been an influential presence in the design field for 30 years, give or take. Is there a common thread — a creative approach, or strategic viewpoint or way of working — that has woven through your career thus far?  Respect those that came before you and those who will succeed you. Mediums, processes and clients will come and go, but at the end of the day, design is an ever-changing people business. I want be remembered for how I honored the giants that got me here and the next generation that will keep this great industry going.

Northern Trust Identity

What’s the single most important thing you do every day at VSA? Listen. Leadership effectiveness is hearing someone’s view and giving them the privilege to express it.

Finally, for the creative pros who are flocking to your city in May, any tips on what they should see and where they should eat? Definitely spend a day in Millennium Park, and then walk across the street to the Modern Wing of the Art Institute of Chicago. These are two of Chicago’s great treasures. As for eats … You have to experience the Billy Goat Tavern underneath the Michigan Avenue Bridge at Wacker Drive. The food is just OK, but the atmosphere is legendary. And, of course, pizza is a given. I love Coalfire Pizza on Grand and Ogden — ditch the deep dish and enjoy Chicago’s other best pizza.

Catch Arnett in his hometown — along with a legion of luminary keynote presenters at HOW Design Live. You’ll never again have this opportunity to hear from this collection of leaders and visionaries! Hurry: The conference is right around the corner. Register by May 1 and book your seat in Chicago.

The post Dana Arnett: Great Work Feeds Great Work appeared first on HOW Design.

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