dayoutlast is a record of my direct engagement with mostly contemporary art, mostly Los Angelean.

As this blog has evolved since its 2010 inception, so has my perspective. What I once perceived as central within the investigation was what was central, literally, within the photographic frame that I shared here. While still an important consideration, such thinking has also given way to more peripheral considerations, ones also accompanied occasionally by text (written manifestation of thought) and the oscillations between them. What's missing here are larger unknowns surrounding issues of presentation and representation; the amount of time and space it actually takes to accomplish such first-hand observations; and the quandaries between documentation and interpretation.

Despite my attempt to communicate here with image and text what is essential in some respect about the artwork, neither representation should ever be considered a substitution for the primary viewing experience. Of course, occasionally there are exceptions.

Most of the time, these posts are merely remnants---residual fragments---from my last day out.

Thursday, August 16, 2018

Selections @ The Marciano Art Foundation


Jennifer Guidi
Seen in Stillness (Universe Mandala SF #5G, Rose, Black, Sand), 2017
Sand, acrylic and oil on linen


And yet more radiance...


Ugo Rondinone
the sun, 2017
Gilded Bronze

When I first saw this Rondinone, I thought it was a variation of Evan Holloway's Willendorf Wheel, 2013.  I'm sure you can see what I mean. 



Mark Grotjahn "50 Kitchens" @ LACMA

















And so radiating forms persist even in two dimension, even as surface facture seems to disrupt these large works on paper, works that are mean to conjure the dimensions of daily living spaces. For me, these works simultaneously involve advancing/receding space, quickly to be sure, bit like a punch in the nose, a body part that can only be seen through reflection or fabrication.  Obviously, our own face in general is such a place.  With some of the works that have come between these and earlier paintings, it's not that difficult to think about parts of the face, especially as recent positions have illustrated as much.  Sometimes I wonder if abstraction is always searching for what a face looks like, certainly a sur-face and what may lie just beyond either side.

See here for some other possibilities.

I probably should have taken better care of the inventory I include here, but, as you can see from the following list, there are only slight variations across the body of work, all 50.



John Gerrard "Solar Reserve" @ LACMA




An interesting idea about structures that respond to solar position...



Saturday, August 11, 2018

James Turrell @ Kayne Griffin and Corcoran


Pluto, Small Glass, 2018
L.E.D. light, etched glass and shallow space
27 1/2 x 19 5/8 inches



Sometime in the summer of 2000 for the first time, I came across a large body of Turrell's work at the Scottsdale Museum of Contemporary of Art in Arizona.  Seeing certain works, especially the ganzfeld works, they profoundly changed the way that I would think about the possibilities of art, painting in particular, and the effects of light and color specifically.  It seemed that painted pigments other than reflective whites would eventually fall by the wayside as light itself would become a focal point of my own artistic investigation. 

Over the past twenty years, my interest in this work has waned some, especially where small lozenge works like the one pictured above apply.  I have said it before in this blog, but these glass-surfaced light works seem like a regression; they resemble the early holes in the walls with light provided by CRT television sets.  The only difference now is that it seems the CRT itself is reinvented and situated in the wall.  

While the colors may be pleasing enough, they don't seem to challenge nor push concepts of being nor perceptions about bodies in space.  Such things easier said than done, perhaps they hold an important place in the Turrell portfolio, especially where such works may fund larger ones, for example, the Roden Crater, somewhere in the northwestern Arizona desert. I'm looking forward to completing the circle by visiting this earthwork when it is open for public-viewing. Until then, I will likely bypass future iterations of these wall works. What can I say? I mean, even Pluto has been demoted.

Fiona Connor "Closed Down Clubs" @ Mackey Garage


Passage. 
Of time.
Doors—closing doors figurative and literal. 
Which side is one on? 


Doors as monuments. 
Like grave markers. 







All aligned facing one of two directions. 

Cf. Benches in Blackwelder installation from 2009. See image below and more information here.

Photo appears courtesy of Amy Howden Chapman via Chartwell Collection website.









Trompe l’oeil exactitude. 
Recreated rather than appropriated.








Push/Pull but not in that Hans Hoffman kind of way. 




Semi inventory. An ethnographic study of sorts, if buildings could have such a thing. Perhaps, typology...