Raised in Berlin, Sao Paulo and NYC I now live in Los Angeles. I'm a rocker mom, wife, art collector, culture vulture and founder of this digital enterprise. I take pictures for a living.
www.reggieworld.com




Photo Credit: I. C. RapoportThis exhibition brings together two artists - Daniel Guzmán (born 1964, lives and works in Mexico City, Mexico) and Steven Shearer (born 1968, lives and works in Vancouver, BC, Canada). Both artists work in a variety of mediums exploring issues of male identity, extended adolescence, rock culture, death, and the seductive ambiguity of self-portraiture. Experiencing their work, one immediately sees a parallel adoption of 1970s and 1980s pop icons and bands as surrogates and personal avatars.
Daniel Guzmán draws. His work is a tidal wave of drawing that also becomes a dynamic inventory of drawing styles. His myriad influences range from Aztec codices, Haight-Ashbury psychedelia, comic books from his youth, and Mexican muralists, particularly José Clemente Orozco. The topics of Guzmán's drawings fuse old gods with current events, cultural idols, inventories of deadly sins, and cardinal virtues.
Guzmán's sculpture is a natural extension of his drawing techniques. He uses the simplest of materials to sketch a three-dimensional incident and establish encounters with the magic realism of the everyday. In much of his work there are two levels of interpretation - what it is (the sum of its parts) and what it signifies (the poetry of its allusions).
While it is impossible to think of Guzmán's art outside of the context of Mexico, it is equally impossible to ignore the wider cultural context provided by the United States and the world beyond. It is the ease of his citations (be it William Burroughs or Roberto Bolaño, Bruce Nauman or Kiss) that creates a floating universe of sublimely mismatched equivalencies.
Steven Shearer curates collections. He maintains thousands of digital files from which his art is evolved and created. In service to his work, Shearer harvests the aspirations of those souls wandering on the Web, riffing on air guitars, catching their zzz's, selling their stuff on eBay, or posing as the stars they yearn to be. From these enormous files, Shearer creates collage accumulations that are epic documentaries of the possessions and the poses of a slacker paradise.
Shearer also paints the ghosts of the Web. His portraits of anonymous adolescents and fallen teen idols are replete with the keyed-up color of the Symbolists whom the artist admires, but they also come with the subjects sheathed in a psychedelic aura that has vibrated around metal bands for decades. It is, in fact, the names and lyrics of metal bands from which Shearer derives the acid-etched poems that are reminiscent of William Burroughs' cut-up techniques.
Shearer's sculpture has grown to be an increasingly important part of his work. It comes with narratives that imply design as a tool for character reformation and psychic healing. Like the music Shearer references, his sculpture is both a narcotic promise and a harmonic convergence.
The exhibition is organized by Richard Flood, Chief Curator.




Matthew is an artist who works in film, video, installations, sculpture and drawing. He is, in my opinion one of the most innovative artists of the 21s century. The film series The Cremaster Cycle is Barney's best-known work. The films had very high budgets by experimental art film standards, and featured such varied celebrities as Norman Mailer, Ursula Andress, and Richard Serra.
In 2006, he released Drawing Restraint 9, a collaboration with his partner Björk, who plays the female of the two central roles in the film, and contributed the music for the soundtrack.
In interviews, Barney has mentioned the phenomenon of hypertrophy
as a metaphorical inspiration for much of his work; several of his
performance pieces have involved Barney restrained or somehow
encumbered while attempting to execute a drawing. The performance
aspects of Barney's work have been described as predominant, while the
resultant drawings have been called "[not] very interesting in their
own right." Some have criticized Drawing Restraint 9 for what has been
termed a superficial treatment of Japanese culture combined with an undesirable awkwardness in the actors/performers, including Barney.[4] A gallery show accompanying the Drawing Restraint 9 project appeared at Gladstone Gallery in New York, April 7-May 13, 2006, featuring thermoplastic sculptures associated with the film and the remains of a private project performed at the gallery April 2, 2006, titled Drawing Restraint 13: The Instrument of Surrender, for which Barney emerged from a crate dressed as General Douglas MacArthur, walked across a platform, and fell into a vat of petroleum jelly. Barney reused his motif of dressing as MacArthur in a show later that year (June 23 through September 17, 2006) at the San Francisco Museum of Modern Art.
That performance involved Barney scaling the museum's atrium to execute
a large sketch of his iconic pill-shaped symbol--another recurring motif
in his work. (source wikipedia)



Bernd (1931 - 2007) and Hilla (b. 1934) Becher first met at the Düsseldorf Academy. Both were studying painting at the time and in 1961, the two were married. They first collaborated on photographing and documenting the disappearing German industrial architecture in 1959, and had their first Gallery exhibition in 1963 at the Galerie Ruth Nohl in Siegen.
They were fascinated by the similar shapes in which certain buildings
were designed. In addition, they were intrigued by the fact that so
many of these industrial buildings seemed to have been built with a
great deal of attention toward design.
Together, the Bechers went out with a large format camera and photographed these buildings from a number of different angles, but always with a straightforward "objective" point of view. The images of structures with similar functions were then displayed side by side to invite viewers to compare their forms and designs. These structures included barns, water towers, storage silos, and warehouses.
The Bechers also photographed outside of Germany, including buildings from the United States and other areas of Europe. Bernd taught at the Düsseldorf Art Academy and influenced students that later made a name for themselves in the photography industry. Former students of Bernd's included Andreas Gursky, Thomas Ruff, and Candida Höfer.
source: Wikipedia
LEICA C lux 2:This is one of my favorite paintings by Rauschenberg. He has told the story of when he started working on this Kennedy was still alive. While he was finishing the piece, Kennedy was assassinated and he was conflicted about showing the painting. In a strange way, the painting is even more profound because of that. He worked alongside another influential pop artist, Jasper
Johns, for many years. He also collaborated with musician John Cage and
choreographer Merce Cunningham. Rauschenberg worked with so many techniques and was part of the conceptual art movement, when he erased the DeKooning 1953 and hung it on display the art world didn't know what had hit them.
1986 BMW art car. So creative, a genius of art. His 1968 sculpture "SOLSTICE" silkscreened ink on motorized Plexiglas doors in metal frame with lights just blows away about anything Damien Hirst has ever done.
I am so sad to see such a ginormous talent pass away.













This
camera is completely waterproof and shock proof. Great for extreme
conditions. You can shoot it like a regular point and shoot as
well. I use it for snorkeling, torrential downpours and
snowboarding.