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, July 28, 2012

Ron Cooper "Light Trap 8208," 1982, Plexiglas, front surface mirror, fiberglass and polyester resin, and red pigment @ Nye + Brown

Peter Alexander "08/04/11," 2012, polyester resin @ Nye + Brown



Peter Alexander "Untitled (Big Red Square)," 2012, Urethane 60"x60" @ Nye + Brown



Laddie John Dill "Light Sentence (Ruby Red)," 1970-71, argon gas with mercury, 48 two-inch sections of hand-colored glass tubing in varying colors @ Nye + Brown

Laddie John Dill "White Light Trap," 1969, Cement, glass, and argon @ Nye + Brown

Johannes Girardoni "Peak Light Extractor-Pink/Yellow," 2011, Resin, pigment, LEDs, aluminum and enamel @ Nye + Brown

Claude Collins-Stracensky @ Nye + Brown

Not a big fan of posting images of my own personage within a blog about artwork, it's inevitable with work like this, especially if one prefers the most direct view; I do.  I make an exception in order to a make a point.  Personal disclaimer aside, the reflected image is still there (virtually) in the viewing situation, and I can't tell if I am to be thinking about this work personally or not.  This does seem to be toward a point about this work and how and where to locate the perceiving self, one where cutting through transparent glass only leads to a second opacity, painted nature.  If not, then perhaps it's just me...

James Hayward "Abstract #124," 2006, oil on canvas on wood panel @ International Art Objects

Mark Hagen @ International Art Objects

Mary Weatherford "rose pink cave," 2012, Flashe on linen @ International Art Objects

Pablo Rasgado "Fragmental" @ Steve Turner Contemporary

Sayre Gomez @ Steve Turner

Luisa Lambri "Untitled (Isabella Stewart Gardner Museum #27)," 2009, laserchrome print @ Marc Foxx

Roger Hiorns "Untitled," 2009, atomized passenger aircraft engine @ Marc Foxx

Justin Beal @ ACME

Mel Bochner @ Gagosian | Beverly Hills