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, April 14, 2012

Elad Lassry @ David Kordansky

Expecting another suite of exquisitely framed, well-manicured photos, instead, I was reminded how much more important an installation space can be to a viewing experience than is often considered for such a regular showing of smallish black and whites.  Not quite leaving with anything memorable in that department, again I was enthralled with how beautiful light, surface, and color can be for their own inter-relations in such a space.  (Note subtle interplay of light, shadow, and color in my hand-held installation shots).  I guess if I were to attempt any kind of full-circle thinking, perhaps Lassry's previously colored, photo frames were to be thought about as reflection (past elements) and more importantly, something outside of the presence of the still (dead), black and white photograph.  To extend this thinking, I guess with this recent body of work, we are to see ourselves more complicit in the viewing experience--peek-a-boo, repetitive, frame by frame, and so on.  Come to think of it, I do recall an overall character of deep history and nostalgia within the images. Unfortunately, nothing concrete registers save the distant view of a man, and that feels like too much of a partial story. Perhaps I'm just being selfish here, but I could have used more of the artist's more recent past, a fix for high quality finish in frame and image.  Because this showing seems like such a big risk in one sense, and so transitional in another, the only thing to do is default to the "wondering-what-might-be-next" line of thinking.  As for now, I'd rather have stayed in a present.