Motivated by curiosity and a thirst for adventure I am always searching for innovation. Professionally, I'm a multimedia creator, photographer, style editor, and founder of this digital enterprise. I wear many hats, but they all lead me back to my love for fashion, art and design culture. www.reggiecasagrande.com www.reggieworld.com


I'm totally loving Dutch photographer Jan Dibbets. His work is up at Gladstone for another week. If you get a chance, check it out.
(press release about his work) Gladstone Gallery is pleased to announce our third exhibition with Jan Dibbets. Born in the Netherlands in 1941, Dibbets trained to be a painter, but turned to the photographic medium in the late 1960s. Harnessing the potential of photography to elucidate the conceptual variables of optics, his witty yet rigorous investigations of the elastic synthesis between object and space resulted in acute queries of vision and reality. Dibbets' practice often resulted in richly paradoxical photographs such as his "Perspective Correction" series in which trapezoids drawn on his studio wall became perfect squares through the camera's transformation of three-dimensional space into two-dimensional images. Challenging the myth that the photograph never lies, Dibbets fills the assumed paltriness of the reproduced image with a sense of intellectual wonder assumed to be absent from the unequivocality of both the photographic eye and reality.
For this new body of work entitled "New Horizons," Dibbets returns to the optical structure that has become his hallmark. As Erik Verhagen says in his recent study of Dibbets' oeuvre, "The horizon is not a subject like other subjects, for it exists only through and in relation to our sense of sight." It is objective and subjective, circular and rectilinear, static and mobile. In these photographs, which conjoin different photographs of a landscape and seascape along the line of the horizon, Dibbets channels it as structuring principle, not only determining space and point of view, but also--in a very painterly way--the composition itself. By subordinating the mobility of the camera to the standardization of a straight line, these panoramas create a subtle tension between the seamlessness of the horizon line and the disjunction of land and sea, only further accentuated by the resulting asymmetrical compositions. The new works in this exhibition continue Dibbets' sentiment when he said "In the whole world what is more beautiful than a straight line? And the horizon is a straight line in three dimensions: it's an almost incredible phenomenon."
Jan Dibbets lives and works in Amsterdam. He has had solo exhibitions at Stedelijk Van Abbemuseum, Eindhoven; Kunsthalle, Bern; Solomon R. Guggenheim Museum, New York; Walker Art Center, Minneapolis; Detroit Institute of the Arts, Detroit; and Fundacion Espai Poblenau, Barcelona; DePont Stichting voor Hedendaagse Kunst, Tilburg; among others. His work has been included in numerous group exhibitions worldwide, including "In & Out of Amsterdam: Travels in Conceptual Art 1960-1976" which was on view this past summer at the Museum of Modern Art, New York. In February, the Musée d'Art Moderne de la Ville de Paris will present a complete retrospective of Dibbets' "Horizon" series from the1970s until today.




Gallery gathers together a diverse array of hundreds of the nation's most talented visual artists under one roof to celebrate that role and join with our gay (LGBT) friends, family members and co-workers to demand full and equal rights for all Americans.
The
THE artist Spencer Tunick put out the call - and Sydney
answered. More than 5000 volunteers began arriving from 4am,
queueing from the Opera House forecourt round to the Museum of
Contemporary Art to be part of the American's nude art
installation; a crowd so big it spilled on to the Royal Botanic
Gardens. From Sydney Morning Herald
They were willing to risk being late for work, being filmed by
television cameras - and worst of all, being spotted by someone
they knew - for the honour of being the 2000th buttock cheeks from
the left in a Tunick photograph. (photo Nick Mohr)
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