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, September 16, 2017

"Unpacking: The Marciano Collection" @ The Marciano Foundation








Sterling Ruby
BC (3442), 2011
Collage, paint, bleach and fabric on stretcher





Christopher Wool
Untitled, 2012
Silkscreen on linen






Albert Oehlen
Untitled (Baum 3), 2014
Oil on disband







Wade Guyton
Untitled, 2007
Epson UltraChrome inkjet on linen





Wade Guyton
Untitled, 2009
Epson UltraChrome inkjet on linen




Carol Bove
Peel's foe, not a set animal, laminates a tone of sleep, 2013
Brass and concrete












Damian Ortega
Building #4, 2009
Unique structure, eroded bricks, and metallic internal support






Oscar Tuazon


Another False Wall, 2013
Plaster, cement, clay, and steel




Playboy Papecrate, 2012/2013
Concrete, paper, wood




Bleach, 2013
Plaster, blue paint, and steel




There were numerous directions to go in terms of how to look at this inaugural show in such a highly codified space, a building steeped in, well,  building history and mystery, one that houses a private collection of art works that we are asked to consider in terms of process (therefore time) and archaeological status (which is to say artifact of a particular time).  Perhaps a bit redundant, it still seemed worth considering time as a series of moves and as static moments. As luck would have it, my own preferences seemed to align nicely with this agenda. As such, the images I share are the works I found most interesting according to such criteria as well as less tangible aspects of looking and liking. mysteries to be sure.
  
Much could also be made of props, architecture and quests for freedom. cf. the opening image of this post and the few that follow (elements of the building symbolizing its former purpose).  As one scrolls through this post from the beginning, it is worth noting a thread between them, that the form and transitions between works has a kind of seamlessness which may underscore said themes and purposes and also suture art and architecture in interesting ways: modularity and materials.

At times, the architectural fixtures were potently more interesting, and yet heightened by the collection of viewable works.  Such symbioses may be worthwhile had such intent been magnified purposefully or had there not have been so many works pressed together into typical arrangements/associations.  It seems cliche to even mention how sprawling group shows must often be disclaimed by such complications. Had this show taken a different route with fewer works and deeper connections, not only would the viewer have had a chance to absorb the consequences of process and archaeology, but also to view works independently as each artist intended. On the other hand, such issues of history and time are known to be (necessarily) messy, and the secrets of modern societies and art institutions are to be paralleled as typical and similar to the ancient ones that spawned them.

Saturday, September 9, 2017

"Los Angeles to New York: Dwan Gallery, 1959–1971" @ LACMA


Dan Flavin
"monument" on the survival of Mrs. Reppin, 1966
Warm white and red fluorescent light









light in three dimensions moves to line in three dimensions



Fred Sandback
Blue Corner Piece, 1970
Blue Elastic Cord




line and illusion give way to layers of color 



Robert Smithson
Glass Stratum, 1967
Glass










repetition radiates from and toward a center



Robert Smithson
A Nonsite, Pine Barrens, New Jersey
1968 (nonsite)
Painted aluminum, sand, and painted wood





Robert Smithson
Gyrostasis, 1967
Painted steel







would have been nice to see this work as isolated object, the way Spiral Jetty, for example, works in Utah; this constellation of works certainly underscores the dialogue between spatial event, artwork, and representation concerns


an odd framing device of the moment



difficult not to consider Heizer out the window in relationship to the works and the show itself



Robert Grosvenor
Untitled (yellow), 1966/2016
aluminum and expoxy paint 








frozen beam of symbolic light gives way to cerebral motion; a different kind of levity


Marcel Duchamp
From or by Marcel Duchamp or Rrose Selavy (The Box in a Valise), 1935-41
Paper, board, and mixed media







open-mind and dingy tinge of collected pictorial plays; 
blacks and whites gives way to inter-dimension



Lee Bontecou
Untitled, 1960
Welded metal, canvas, and wire relief



Charles Frazier
Albion, 1962
Wood and canvas


Duchamp, Bontecou and Frazer seeking to understand surface and contact based on proximity (viewing distance)



Jean Tinguely
Odessa, 1963
Scrap, forged iron, wheel, electronic motor, and black paint


color or rather the suggested absence of color in forms; 
speaking of color and form, this Liz Larner work came to mind



Ad Reinhardt
Ultimate Painting, 1963
Oil on canvas


Color as a material and a visual/perceptual problem as it pertains to direct viewing and photographic representations such as these (my concern more than the actual concern of the works themselves save notions of absence and limitlessness)


Yves Klein
Untitled Pink Monochrome, 1961
Dry pigment and synthetic resin on gauze mounted on panel