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.

Saturday, January 6, 2018

Garage Exchange Vienna - Los Angeles | Gravity's Peacock: Johann Lurf "Earth Series" @ MAK Center Garage

Johann Lurf
in collaboration with Laura Wagner
Earth Series, 2017
30 x 44 inches each
pigment print and pencil on paper

Because sometimes looking is just plain fun! It's also worth thinking about how these groupings of earth images is working, some certainly before Google Earth and some even before the Apollo 17 astronauts caught a first glimpse. So, a combination of real and imagined images of this celestial body are collated and displayed in certain arrangements on paper.  Such inquiry is testament to a persistent especially by those transfixed with cinema, in particular Hollywood (a space both filmed and lived), and to whom truth and fiction interact and synthesize continuously, infinitely. 

This is a broad cross-section of earth images taken from movies of all kinds. Such an egalitarian approach yields both universal considerations (kinds of truths) as well tempting theories and assumptions/suspiciions about why which ones may be grouped with which ones.  For somer reason, of all of them, I can't get Space Buddies out of my head. Elsewhere, Mallarme.

Tomoharu Murakami @ Kayne Griffin Corcoran

Untitled, 1984-85
Oil on canvas
63 3/4 x 51 1/2 inches

The Stations of the Cross, 2001
Mixed media on paper in black leather bound book with slipcase. Spine foil stamped in silver
8 5/8 x 6 3/16 x 11/16 inches

Lady Chapel, 2012
Oil on canvas
9 x 6 3/8 x 1 3/8 inches
22.5 x 16 x 3.5 cm 

Untitled, 1990-91
Oil on canvas
36 x 28 3/4 x 1 3/8 inches

Nothing about nothing.

Henry Flynt "Thinky Art & Fantasy: 1987 - 2017" Curated by Kye Potter @ The Box

Counting, 2011
Digital print mounted on foam core
10 1/8 x 12 7/8 inches

Tritone Monochord, 1987
Mixed media
48 x 40 1/2 inches

Flinx in Flux, 1989
Custom frame and book
20 x 36 inches

two from Aesthetics of Eeriness, 1992
Text painted on MDF
14 1/2 x 28 inches each

Needle Sandwich, 1992
Plexiglas, nails, paint, vinyl
10 x 8 x 3 1/2 inches

Light Flies, 1987
Vinyl lettering

Grey Planes #2, 1993
Oil on canvas
72 x 92 inches

Stroke Numeral II, 1989
Mixed media
80 x 28 x 40 inches

DIY Clock, 2011
Digital print mounted on foam core
12 7/8 x 10 1/8 inches

Shadow Painting, 1988
Canvas, Plexiglas, light
20 3/4 x 24 3/4 inches

Nothing Written Here (Lambda), 2011/2017
Digital prints mounted to wall

Wandering Painting, 1990
Acrylic painting and hypnotic induction audio
18 x 18 inches

The Architect, 2017
Marker and pen on paper
13 1/4 x 10 3/4 inches

Logically Impossible Space (L.I.S.), 1990
Custom built room, vinyl, light, sound device

The Seminar, 1988
28 frames photos, book, brochures, postcard, 5 pages of text
10 x 8 inches each

That feeling when you feel like you get it, but you can't put it into words.