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, April 28, 2013

Lorenzo Hurtado Segovia "Papel tejido #22," 2008, acrylic on paper @ Hammer Museum





Charles Long, "Untitled," 2011, aqua resin fiberglass and latex paint over steel and found object @ Hammer










At first glance you would think you were looking at a flattened Irwin disc from the late 60's. Upon closer inspection, you discover the crunchier (read: more organic) version of a Charles Long with a nod to high design mixed in for good measure.  I like how it contrasts similarly to another work of his (posted here late last year) that also seems to simultaneously address logic and irrationality, though in this instance from the wall.

Roy McMakin, "Untitled," 2012, acrylic paint on maple, graphite on panel @ Hammer







Friday, April 26, 2013