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.

Sunday, January 8, 2017

Stephanie Taylor "Kong Boos" @ MAK Center

Broom and Rum, 2009

Kindling, 2016
Bronze with tin plate

Ass, 2015
Bronze with partial brass plating

Hopper, 2006
Bronze with copper plate

Pheasant, 2014

Buoys, 2012
Rope, cement, stainless steel

The Goodbye Song, 2011
TRT: 2:35 minutes

Piston Toggle, 2013
TRT: 4:57 minutes

Swam Sea Span, 2012
TRT: 1:52 minutes

Camp.  A place to gather for adventure as kids in summer and an idea about culture and taste.  Certainly, word play and free association is welcome here in Taylor's world of objects and sounds.  How song, sound, image, and material feedback through such an architectural context as Schindler's early 20th century, west coast porto-modernist encampment seems apropos and simultaneously ridiculous all at once.  Such seems to be the flavor of works.  I'm either wandering through a summer cabin/bunkhouse imagining myself aboard a ship at sea or I'm reveling in one of Modernism's earliest residential sanctuaries.  Whatever the fantasy, and I'm assuming such worlds are not mutually exclusive here, there is such an oddity and peculiarity to it all that one must stop and consider carefully what is and possibly what is not.  Knot? Such is the purpose of art when so contextualized, I believe.  Whether or not you enjoy camp or Camp, you can't deny you had some fun.  It's just a matter of whether you are telling anyone about it or not. Knot. Knob Goos...

Susan Sontag's 1964 essay, "Notes on Camp," may or may not apply here, but, regardless, it's worth thinking about. Click here to read.

Saturday, January 7, 2017

Kim Fisher "A Little Bit of But" @ LAXART

Abutment. Painting in a corner like the crease in the center of a book (or magazine). 

This photo appears courtesy of Visit here for more images

Dark, empty holes. Motherwell rhythm... Bontecou void. And altarpiece... 

Shape, space, surface. What lies below, just beneath? Beauty or...? Language. Word play.  Image/Text.  Or, another conjunction which opts for an alter altar rather than another other. An other, what a but offers (with one T). 

A butt (with two Ts) offers body intersections, leg extensions, nexus. A butt conjoins the body.  A little bit of butt would also be like a little bit of funk (a whiff of beauty’s other.) Or perhaps a nickel bag of funk (blooming buds) just because it rhymes. 
Rough around the edges yet intact. Yet, yet another conjunction. 

The way things hang, curtains (or paintings in a room). A sly and considerate move to clarify the space while contextualizing other works in the show and the assertion of spatial consideration, positive and negative. 

The way things hang together, groupings of artworks. Cf. Morgan Fisher, no relation, but... He too used painting to consider architecture and vice versa. He too questioned the surface integrity of things (he the floor, she the wall); the paper thin surface. Interesting how the "curtains" are thinner than the aluminum panels that are mounted on the dyed linens. And yet diaphanous thoughts...Paintings that approach edges and transitions, emergence, becoming other things (sculptural/architectural elements, immersive installations, ephemera)...

Torn about the edges. As in uncertain, undecided… (a promise of things to come). 
Searching for an image through fragments and images. Run-ons...
Periods and ellipses... (lips that is).
And yet an other yes, but(t).
Between two things...

Thursday, December 22, 2016

Maria Lassnig @ Hauser Wirth & Schimmel

Violette Form (Purple Form), 1951
Oil on canvas

Flächenteilung Schwarz-Grau 9 (Field-division black-grey 8), 1953
Oil on cardboard

Flächenteilung Schwarz-Weiss-Grau 2 (Field-division black-white-grey 2), 1953
Oil on cardboard

Flächenteilung Schwarz-Weiss-Grau 1 (Field-division black-white-grey 1), 1953
Oil on cardboard

detail from Dornenreif/Frau im Dornenreifen, 1963/1964
Oil on canvas

detail from Der Indianer in Berlin (The Native American in Berlin), 1979
Oil on canvas

Unterbrechung (Interruption), 1989
Oil on canvas

Selbstporträt mit Sprechblase (Self-portrait with speech bubble), 2006
Oil on canvas

Having come to know Lassnig's work a bit within the past ten years or so, it was a nice surprise to see these earlier works, the ones from the 50's where her investigation of pictorial space seemed to precede the likes of Ellsworth Kelly, for example. Kelly's negotiation of organic and geometric space came to mind instantly with Purple Form.  So, Lassnig, too, was preoccupied with how color occupies space and what contains it.  That said, I believe it is the psychology of her figurative work that brought her attention, and so, again, it was interesting to make this connection between earlier structurally-based works, let's call them, and later works that fuse the body to such concerns.  The space a body occupies continues to be amorphous in Lassnig's paintings. In fact, the space a body IS also seems slightly ambiguous, amoebic, a fluid, a spill barely contained, and somehow the color juxtapositions hold things place.

Ishmael Randall Weeks "Constructive Resistance" @ Steve Turner

Exercises for the New World, 2016
Steel and hand-polished minerals
93 x 93 x 78 3/4 inches

Pablo Rasgado "Horizon" @ Steve Turner

Wolfgang Tillmans @ Regen Projects