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.

Tuesday, July 25, 2017

"CD SM KSS" @ Redling Fine Art


Entrance
Light/color, pink effect/affect,
 a color of light said to be a formula for insanity(at the very least increased anxiety) when exposed for too long


Constance DeJong
Red Emerson, 2015-2016
Re-engineeered radio with amplitude-sensitive LEDs, audio
8 x 13 1/2 x 21 inches
TRT: 22:25 minutes



Sound conveyed through obsolescence/revival/retro







Sarah McMenimen
Flow, Swarm, Swirl, Follow, 2017
collected shells, poured aluminum, aluminum-cast Mooring seed pods, brass tubes, bells, plaster, tape, string, steel
60 x 24 x 20 inches


Stage, mic stand, laundry list of ingredients, a level of specificity well-beyond mixed-media or combine




Kate Spencer Stewart
Decorative Triptych, 2017
Flashe and casein on canvas
84 x 252 inches


Paintings that signify a historical, sublime conversation, whence vacuity is more apropos than seeing things for what they are; colored light unifies the exhibition (and alludes to as much), yet it's not clear what benefit to each part, especially painting surfaces on such a (desired) scale


Exit. 
A clear image about things moving light to dark (and beyond) without the confusion between media and form with this grouping of works.  Conversations about time as it pertains to the space itself rather than the constellations within. The whole (lighting) dominates the parts (paintings, sculptures), and so if we don' care about seeing things in their proper (apropos) light, then why should we consider them at all.  While the sound from Red Emerson be excepted from this concern and also valued as also the value of light presence should (in terms of art concern and well beyond), the view that this last image presents could just easily be any one of the others, a speaker, a mic stand, or mural-sized painting. After all, it was available. Thus, interesting concepts were cluttered by contextual confusion, especially where seeing (and seeing a point) is concerned.


Rey Akdogan @ Hannah Hoffman







HHG [north wall_001Brilliant- FPE], 2017
380.945 sq ft






CRA 200F, CRA 200F, CRA 800F, [RAL 9005, RAL 9005] solid #19, 2017
Powder coated aluminum
Three parts, 5.5 x 84 x 1.5 inches (14 x 213.4 x 3.8 cm), 5.5 x 36 x 1.5 inches (14 x 91.4 x 3.8 cm), 8 x 36 x 1.5 inches (20.3 x 91.4 x 3.8 cm)









CRA 200F, [RAL 9005, RAL 9005] solid #14, 2016
Powder coated aluminum, 
Two parts: 5.5 x 24 x 1.5 inches (14 x 61 x 3.8 cm), 5.5 x 24 x 1.5 inches (14 x 61 x 3.8 cm)







 Faction #23, 2017
Acrylic paint on wooden French cleat, Two Parts, each: 4 x 72 x 3/4 inches (10.2 x 182.9 x 1.9 cm), Overall Dimensions: 94 x 72 x 3/4 inches (238.8 x 182.9 x 1.9 cm)



Faction # 24, 2017
Acrylic paint on wooden French cleat
Four Parts, each: 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm)
Overall Dimensions: 21 1/2 x 18 3/4 x 3/4 inches (54.6 x 47.6 x 1.9 cm)



Faction #20, 2017
Acrylic paint on wooden French cleat
Two Parts: 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm), 3 x 24 x 3/4 inches (7.6 x 61 x 1.9 cm)
Overall Dimensions: 15 x 24 x 3/4 inches (38.1 x 61 x 1.9 cm)






Faction #21, 2017
Acrylic paint on wooden French cleat
Three Parts: 3 x 24 x 3/4 inches (7.6 x 61 x 1.9 cm), 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm), 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm)
Overall Dimensions: 3 x 24 x 2 1/4 inches (7.6 x 61 x 5.7 cm)





Faction #19, 2017
Acrylic paint on wooden French cleat
Two Parts, each:, 3 x 24 x 3/4 inches (7.6 x 61 x 1.9 cm)
Overall Dimensions: 24 x 42 1/4 x 3/4 inches (61 x 107.3 x 1.9 cm)





 Faction #22, 2017
Acrylic paint on wooden French cleat
Two Parts, each: 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm), 3 3/4 x 12 x 1 1/2 inches (9.5 x 30.5 x 3.8 cm)


Works that are involved in an exchange of absorption between architecture and intervening elements, finished in black like the opposite of white out on paper and colored edges, discrete shits and subtle reflections between object and place. Not quite knowing which is which is part of the fun as skylights, floor imperfections and other features complicate the viewing experience. Whatever the case, it's not difficult to translate this one into the real world as the below photo will attest; it's an exterior wall just doors down from the gallery space in which Akdgoan has inserted similar dynamic elements, mostly linear to frame an expanding, non-linear universe.


"Hurts to Laugh" Curated by Sarah Lehrer-Graiwer @ Various Small Fires



D'Ette Nogle
A Message from the Artist, 2014
Oil on canvas
96 x 72 inches




D'Ette Nogle
A Message from the Artist, 2017
Oil on canvas
96 x 72 inches




D'Ette Nogle
Open Doors for Gallery Courtyard, 2017
Dimensions Variable
(Recto)


D'Ette Nogle
Open Doors for Gallery Courtyard, 2017
Dimensions Variable
(Verso)





Claude Wampler
Hurts to Laugh, 2017
Digital Video Projection. media player, and speaker
Dimensions Variable
Edition 1/5 with 2 AP





Claude Wampler
University of Virginia Third Annual Festival of Squash Tournament
 at the Thomas Jefferson Scholar Sports Club, 2017
Digital Video Projection. media player, and speaker
Dimensions Variable
Edition 1/5 with 2 AP



When dark humor hurts so good…

D”Ette Nogle: bracketing experience by marking time, opening doors, space and time in between to contemplate passage