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.

Thursday, August 23, 2012

Kevin Appel @ Susanne Vielmetter































My first time with an Appel painting was as a Preparator at LACMA in the late 90's. A spare white surface with subtle indications of space barely allowed visibility let ability to handle, practically, as was my task at the time. As I recall the pristine surface now, I am thinking this voyage into landscape, photography, and painting---all confrontation and representation---has not led the artist that far in 15 years toward substantially richer surfaces. Though it may sound like a negative as I have stated it, I now appreciate the brushwork in relation to the dissolution of photographic image.
My own act of looking, aided by camera and notes reminded me of the tenuous space of representation between media as well as place, in this instance "displace" as I am asked to seek artifacts of a distant landscape though all I end up thinking about is the painting facture, which indeed should be thought about as artifact. Occasionally I find grain or perhaps surface injury via nails, but mostly I think of surface layers and movements from a middle toward an edge and back where any quest for image is supplanted by another technical move (save the one that appears with a photographic horizon where I begin to think, concretely, about a ground, not a painted one just a memory of a distant space.  Pictorial of other artists were as follows (as they came to mind): Gerhard Richter, Nate Hylden, John McCallister, Richard Aldrich, Roy Lichtenstein, Adolph Gottlieb, and John Divola.