I Decluttered These 10 Things After 45 — And Don't Regret a Single One
A lot of things have become harder since I hit the 45th birthday milestone. I may have celebrated this occasion with a martini-fueled evening involving dozens of people I know and love, but the reality of it all is that I've started to feel a lot older, more tired, and less tolerant of all the stressful things in life that keep coming up. And, to be honest, the walls in my tiny studio apartment have started to feel as if they are closing in on me.
I tell my friends often that the key to feeling like you have a handle on things when life gets more complicated is something I like to call 'life administration.' This is multi-faceted, and it involves taking care of any paperwork, finances, and other personal affairs, as well as dealing with physical items that have accumulated throughout the years.
I've discovered that the more of these things I remove from my life and my space, the more in control I feel about every aspect of that post-45 life. Here's everything I decluttered after turning 45.
I've accrued an impressive (read: unnecessary, frustrating, and mildly ridiculous) amount of novelty shot glasses, mugs, and other glassware and cups. What may have felt, at the time, like a cute nostalgic souvenir from that tequila trip to Mexico has ended up never being used and taking up too much space. Since decluttering, I've downsized to a single set of wine glasses, martini glasses, and coffee mugs that I either use regularly for myself or for entertaining friends.
I've gone to so many concerts and festivals over the years, from my favorite musicians to food festivals and fairs. Everything has resulted in tickets, wristbands, and lanyards that then litter tables and drawers — at one point I had a whole collection of backstage or media passes lining the coat hooks on my walls. But what purpose do they really serve in the long run other than taking up a ton of space? If anything is super important to you — maybe the concert ticket from your first date with someone you love — then you could put it in a photo album or memento box. But most of this stuff you can toss and not miss (and you can always just take a photo of it to maintain the memory!). All of my mementos, with a tiny sentimental fraction exception, are now out of my home.
It's funny how I bemoan how little space and storage I have, and then waste that exact same space and storage keeping items that are long past their expiration dates. Vitamins, medicine, beauty and skin products, and, of course, pantry items such as spices and canned goods were all given the heave-ho after I turned 45 if they weren't still usable or effective. Why give anything space that is not serving you? That's a larger life message of adulthood if I've ever heard it.
Every time I go through my drawers and piles that live on my desk, I'm shocked to find old mail and papers that simply don't serve my current life needs. Itineraries from trips that have long passed, takeout menus from restaurants that I no longer go to (or maybe don't even exist anymore!), random brochures and sales catalogs, and billing statements from items long ago paid (when all that info exists online anyway!). If it has any personal data, shred it — and toss the rest.
Unexpected job hazard of being a food writer: You end up with a lot of pretty random kitchen tools. Some are super useful, while others … not so much. Many get used once, thrown in a junk drawer, and then forgotten about for years — until one day you open the drawer to clean it out and find a bunch of stuff you can't identify. Treat it as you treat your closet (more on that in a minute): If you aren't currently using it and can't identify it, then toss it or give it away. While I fully believe someone's trash is someone else's treasure, it's no use to you if you have no idea what it's even used for or why you have it in the first place.
Once upon a time, I was a 25-year-old moving into her first apartment, and I thought that meant decor like pink leopard print pillows and shower curtains and polka-dotted towels and throw pillows. Super cute when you were a teenager five minutes ago, but not as cute when you are officially (gulp) AARP-eligible. I got rid of all that household decor that no longer serves who I am today, and now I have a bathroom and bedroom that has a whole lot more black in it (with a splash of pink, where it makes sense, for good, but tasteful, measure). There's nothing wrong with cheetah print or dots if that is what reflects your current style, but if you have the decor from three-versions-of-you-ago, it doesn't belong in modern-you's home.
Over nearly two decades in my current apartment, I've amassed a whole lot of cords, cables, and chargers. Some of them are for phones and other tech I've long since sunsetted. So, if these cords and cables and adaptors don't actually work with or fit anything I'm currently using or own, why do I still have a giant tangled bag of them? No idea. But adult me decided it was time to get rid of everything that doesn't currently have a purpose.
Much like obsolete cords and cables have no place in my home at this stage of my life, the same is true for instruction manuals and receipts from items I no longer have. I'll keep the receipts with my tax files if they were work-related and something I deducted and need to hold onto. But if it's the owner's manual for an air fryer that went to kitchen appliance heaven last year? Why am I holding onto that? Same thing for old fans, chargers, and everything else I don't currently need to flip through. (And, note, most of these manuals have digital versions anyway — even if they do happen to be for current products in your home!)
I have one closet in this apartment, and that has to store everything. My clothes, coats, shoes — everything. I clearly don't have room for a whole lot of excess, and yet I discovered clothes in there that I stopped wearing years ago. Whether they're ripped, stained, damaged, or faded, or I simply outgrew them and they don't match my current style — if I'm not wearing them, why am I keeping them? Everything I haven't worn in the last year, I gave away.
I like holding onto books, cookbooks, and albums that I still love and enjoy decades later. But there are also those I haven't listened to or read in forever that aren't where I am at this point in my life. And that's fine — make room for the things that are, for the current era of you. I gave all this stuff away, and I don't miss it.
We Tested (and Rated!) All the Living Room Seating at Burrow to Determine the Best for Every Space and Need
I Tried the 90/90 Rule and My Closet Is Now Fully Decluttered
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A new art exhibition says we've gotten sexual identity all wrong
When did homosexuality become a fixed identity? At the Wrightwood 659 gallery in Chicago, an expansive, century-spanning exhibition charts the period when 'homosexuality' and 'heterosexuality' were new concepts, by looking at the queer subjects and artists of the period and how they depicted love, sex and gender. Set in the contemplative brick and stone space designed by architect Tadao Ando, 'The First Homosexuals: The Birth of a New Identity, 1869-1939' features 300 works assembled from the collections of more than 100 museums to better understand how restrictive ideas on sexuality and gender became culturally ingrained in society and the labels they came to be known by. Included are Alice Austen's sapphic-coded Victorian-era photographs; Gerda Wegener's 1929 painting of her trans partner, Lili Elbe (the subject of the 2015 film 'The Danish Girl'); portraits of influential LGBTQ+ writers Gertrude Stein, James Baldwin and Oscar Wilde; and figure studies by the painter John Singer Sargent. The exhibition — and forthcoming book of the same name — emphasize a pivotal moment, when the West's notions around sexuality began with a misapplied label, which was then spread around the world as a strict binary. 'There is something specific about the West that sought to police the boundary between the two (homosexuality and heterosexuality), and so I wanted to do a show that looked at how that boundary emerged,' said curator Jonathan D. Katz, a founding educator in several pioneering queer studies programs in the US, who now teaches at the University of Pennsylvania. 'We came to realize that, of course, the clean line we wanted to draw between the West and the rest of the world was smudged by virtue of colonialism — and so that then became a big part of the exhibition as well.' The first published instance of the words 'homosexual' and 'heterosexual' appeared in an 1868 letter between journalists Karl Heinrich Ulrichs and Karl Maria Kertbeny, two pivotal figures who defined modern ideas around sexuality. Kertbeny officially coined the two terms and advocated for the sexual and political freedom of homosexuals, refuting that it was a fringe identity. In the 1880s and '90s, German psychiatrists co-opted the word 'homosexual' but largely viewed it as a treatable sexual deviation, against Kertbeny's beliefs. Before the late 19th-century, one's sexual proclivities were 'something you did, not necessarily something you were,' the show notes. The earliest works included in a section called 'Before the Binary' shows a number of late 18th-century neoclassical works that used classical themes to portray same-sex desire; artworks made in Peru, Japan and Burma (now Myanmar) that don't conform to modern ideas of sex and gender; racist depictions misunderstanding Native American Two-Spirit people; and a portrait of the the Chevalier d'Eon, who was officially recognized as a woman by King Louis XVI. (While she wasn't the first transgender person in Europe, few achieved her status or fame.) 'From the very get-go… queer and trans have been joined at the hip,' Katz said. 'This idea that we're now experiencing trans as if it's something novel is a complete, complete misunderstanding of history. In many other cultures, questions of sexuality and questions of gender were widely discussed and completely natural.' As the idea of a sexual binary grew in the West it was transported to its colonies, fundamentally re-shaping many parts of the world, as explorers and settlers recasted divergence from heterosexuality as immoral. When Katz began the project, he knew that colonialism transported the concept of homosexuality globally. 'What I didn't realize is how many pockets of the resistance there were to that understanding, and also how profoundly it changed Indigenous cultures,' Katz explained. In the Pacific Islands, for example, which were largely claimed by Britain and France, colonists established strict laws around same-sex acts — which continue to impact LGBTQ+ rights in the region today — while fetishizing and sexually exploiting Indigenous communities there. In artworks from the era, that exoticizing eye can be seen in nearly any major institution of modern art through the Tahitian-era works of Paul Gauguin, who painted idyllic views of the island and its inhabitants while taking multiple child brides. At Wrightwood 659, the show hangs a 1935 work by David Paynter, a Sinhalese-British artist, of two young nude men on the beach, redolent of Gauguin's works but seen as a 'sardonic' take on the artist, according to the show. Among the other featured artists who rebelled against the colonial gaze is the painter Saturnino Herrán, who imagined sensual figures of Mesoamerican cultures in heroic forms, with full lips and outfitted in loosely draped and knotted fabrics. Other photographs and paintings illustrate the erotic Orientalist tropes that both tempted Europeans and reinforced their desire to enforce Western values far and wide. Katz considers art history to be a largely untapped archive of how we might understand sexuality — and one problem is that 'queer art history' continues to be considered niche, when in fact many major classical and modern artists expressed same-sex desire through their work. Many artists are deeply misunderstood to ironic effect — classical art is often upheld by the right wing to support their nationalistic beliefs (from Nazi Germany to thinly veiled X accounts today), though works from antiquity and the Renaissance are often blatant in their depictions of same-sex erotic desire. 'We have so naturalized a heteronormative perspective on art that we regularly turn queer art into straight art, and don't even notice it,' Katz said. 'It's a very weird thing as a professor of queer art history to be saying, 'I pray for the day when my field disappears,' but I do.' The art world maintains this status quo, he added. Museums, beholden to boards, donors and corporate sponsors, often rotate the same artists — and water down the more complex parts of their lives — instead of deepening our collective understanding with new perspectives, he said. Many artists in 'The First Homosexuals' have only just begun to be revisited in recent decades, including the Pre-Raphaelite painter Simeon Solomon, whose career ended in a sodomy scandal, and Marie Laurencin, an important French avant-garde painter of her time who created sapphic worlds without men. 'There are vast sums of money riding on what we do. And I think there's a mistaken understanding that talking about sexuality will diminish the value of work of art,' Katz said. Despite a decade of increased representation in the arts, Katz warns that the contentious political climate and rollback of LGBTQ+ rights in the US threatens scholarship around queer history and art. The US has a long history of censored LGBTQ+ art, his own shows included: In 2010, he co-curated a landmark show on same-sex desire in American portraiture at the National Portrait Gallery; an exhibited video by David Wojnarowicz, featuring ants crawling on a crucifix, was removed after it was criticized by the Catholic League and Republicans, who deemed it offensive to Christians. 'We keep seeing cyclically that as queer history begins to assert itself, something comes along and, frankly, kills it,' he said. Through 'The First Homosexuals,' Katz hopes to narrow the 'profound and absolute gulf' that has been created to distinguish heterosexual and queer identities, he said. After all, in the context of all of human civilization, it's a modern idea, and one that can be shifted again. 'There's nothing natural about sexuality,' he said. 'It has always been structured by history.'


CNN
31 minutes ago
- CNN
A new art exhibition says we've gotten sexual identity all wrong
When did homosexuality become a fixed identity? At the Wrightwood 659 gallery in Chicago, an expansive, century-spanning exhibition charts the period when 'homosexuality' and 'heterosexuality' were new concepts, by looking at the queer subjects and artists of the period and how they depicted love, sex and gender. Set in the contemplative brick and stone space designed by architect Tadao Ando, 'The First Homosexuals: The Birth of a New Identity, 1869-1939' features 300 works assembled from the collections of more than 100 museums to better understand how restrictive ideas on sexuality and gender became culturally ingrained in society and the labels they came to be known by. Included are Alice Austen's sapphic-coded Victorian-era photographs; Gerda Wegener's 1929 painting of her trans partner, Lili Elbe (the subject of the 2015 film 'The Danish Girl'); portraits of influential LGBTQ+ writers Gertrude Stein, James Baldwin and Oscar Wilde; and figure studies by the painter John Singer Sargent. The exhibition — and forthcoming book of the same name — emphasize a pivotal moment, when the West's notions around sexuality began with a misapplied label, which was then spread around the world as a strict binary. 'There is something specific about the West that sought to police the boundary between the two (homosexuality and heterosexuality), and so I wanted to do a show that looked at how that boundary emerged,' said curator Jonathan D. Katz, a founding educator in several pioneering queer studies programs in the US, who now teaches at the University of Pennsylvania. 'We came to realize that, of course, the clean line we wanted to draw between the West and the rest of the world was smudged by virtue of colonialism — and so that then became a big part of the exhibition as well.' The first published instance of the words 'homosexual' and 'heterosexual' appeared in an 1868 letter between journalists Karl Heinrich Ulrichs and Karl Maria Kertbeny, two pivotal figures who defined modern ideas around sexuality. Kertbeny officially coined the two terms and advocated for the sexual and political freedom of homosexuals, refuting that it was a fringe identity. In the 1880s and '90s, German psychiatrists co-opted the word 'homosexual' but largely viewed it as a treatable sexual deviation, against Kertbeny's beliefs. Before the late 19th-century, one's sexual proclivities were 'something you did, not necessarily something you were,' the show notes. The earliest works included in a section called 'Before the Binary' shows a number of late 18th-century neoclassical works that used classical themes to portray same-sex desire; artworks made in Peru, Japan and Burma (now Myanmar) that don't conform to modern ideas of sex and gender; racist depictions misunderstanding Native American Two-Spirit people; and a portrait of the the Chevalier d'Eon, who was officially recognized as a woman by King Louis XVI. (While she wasn't the first transgender person in Europe, few achieved her status or fame.) 'From the very get-go… queer and trans have been joined at the hip,' Katz said. 'This idea that we're now experiencing trans as if it's something novel is a complete, complete misunderstanding of history. In many other cultures, questions of sexuality and questions of gender were widely discussed and completely natural.' As the idea of a sexual binary grew in the West it was transported to its colonies, fundamentally re-shaping many parts of the world, as explorers and settlers recasted divergence from heterosexuality as immoral. When Katz began the project, he knew that colonialism transported the concept of homosexuality globally. 'What I didn't realize is how many pockets of the resistance there were to that understanding, and also how profoundly it changed Indigenous cultures,' Katz explained. In the Pacific Islands, for example, which were largely claimed by Britain and France, colonists established strict laws around same-sex acts — which continue to impact LGBTQ+ rights in the region today — while fetishizing and sexually exploiting Indigenous communities there. In artworks from the era, that exoticizing eye can be seen in nearly any major institution of modern art through the Tahitian-era works of Paul Gauguin, who painted idyllic views of the island and its inhabitants while taking multiple child brides. At Wrightwood 659, the show hangs a 1935 work by David Paynter, a Sinhalese-British artist, of two young nude men on the beach, redolent of Gauguin's works but seen as a 'sardonic' take on the artist, according to the show. Among the other featured artists who rebelled against the colonial gaze is the painter Saturnino Herrán, who imagined sensual figures of Mesoamerican cultures in heroic forms, with full lips and outfitted in loosely draped and knotted fabrics. Other photographs and paintings illustrate the erotic Orientalist tropes that both tempted Europeans and reinforced their desire to enforce Western values far and wide. Katz considers art history to be a largely untapped archive of how we might understand sexuality — and one problem is that 'queer art history' continues to be considered niche, when in fact many major classical and modern artists expressed same-sex desire through their work. Many artists are deeply misunderstood to ironic effect — classical art is often upheld by the right wing to support their nationalistic beliefs (from Nazi Germany to thinly veiled X accounts today), though works from antiquity and the Renaissance are often blatant in their depictions of same-sex erotic desire. 'We have so naturalized a heteronormative perspective on art that we regularly turn queer art into straight art, and don't even notice it,' Katz said. 'It's a very weird thing as a professor of queer art history to be saying, 'I pray for the day when my field disappears,' but I do.' The art world maintains this status quo, he added. Museums, beholden to boards, donors and corporate sponsors, often rotate the same artists — and water down the more complex parts of their lives — instead of deepening our collective understanding with new perspectives, he said. Many artists in 'The First Homosexuals' have only just begun to be revisited in recent decades, including the Pre-Raphaelite painter Simeon Solomon, whose career ended in a sodomy scandal, and Marie Laurencin, an important French avant-garde painter of her time who created sapphic worlds without men. 'There are vast sums of money riding on what we do. And I think there's a mistaken understanding that talking about sexuality will diminish the value of work of art,' Katz said. Despite a decade of increased representation in the arts, Katz warns that the contentious political climate and rollback of LGBTQ+ rights in the US threatens scholarship around queer history and art. The US has a long history of censored LGBTQ+ art, his own shows included: In 2010, he co-curated a landmark show on same-sex desire in American portraiture at the National Portrait Gallery; an exhibited video by David Wojnarowicz, featuring ants crawling on a crucifix, was removed after it was criticized by the Catholic League and Republicans, who deemed it offensive to Christians. 'We keep seeing cyclically that as queer history begins to assert itself, something comes along and, frankly, kills it,' he said. Through 'The First Homosexuals,' Katz hopes to narrow the 'profound and absolute gulf' that has been created to distinguish heterosexual and queer identities, he said. After all, in the context of all of human civilization, it's a modern idea, and one that can be shifted again. 'There's nothing natural about sexuality,' he said. 'It has always been structured by history.'

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