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, August 10, 2013

Nick Van Woert "Labyrinth" @ L&M

Never mind that this show was the gallery's pre-declared final show; it was not a group grand finale nor a final send-off even if it hinted at such conundrums, beginnings and ends. I guess the latter seems somehow fitting... (at least how I mean it).  One part installation, one part range of objects (artworks posturing as archaeological remains),  show title and work titles certainly reinforced the path my thinking seemed to be on. I suppose this would be considered a sign of success for the show.  Whatever the case, and perhaps because I had just finished reading Borge's "Ficciones" (again), it was an interesting start to a day where "Borgesian" thinking would repeat itself literally and poetically as I viewed a handful of shows around town. See my other posts from this date.

Back to this one…(Note that the following comments are my original thoughts in the viewing and purposefully not cleaned up for language flow nor convention).  And I liked that the show was divided into parts where there was no confusion between what was to be thought of as one complete work, The Course Of Empire installation in the East gallery and various wall objects in the other, the West Gallery.

West Gallery

Not Yet Titled, 2013
Steel, White Bronze,
94 inches diameter

Tlon, 2013
Steel, white bronze
75 inches diameter

Uqbar, 2013
Steel, white bronze, blackened white bronze
75 inches diameter

Orbus Tertius, 2013
Steel, white bronze
75 inches diameter

Garden of Forking Paths, 2013
Steel, white bronze, copper, blackened bronze
 Whole. World. Mondrian (vertical handle, horizontal head). Made in USA. Implements. Artifacts. Kubler. Reflective head, absorptive body. Mind/Body.  Plinko factor. Directional views via the negative space. Lights and darks. Hand made v. Machine made. Which tool came first?

East Gallery

"Course of Empire," 2013
165 plexiglass boxes, filled with mixed materials
Approximately, 75 12/ x 235 x 224 inches
Note: This photo appears courtesy of the gallery and Josh White Pictures

East Gallery: An inventory of materials both raw (natural and made) plus products and models, all contained as museological artifact organized as a maze/labyrinth approximately fence high ( just over head). Mostly within the realm of the domestic dwelling (before, during or after life occupation). Cf. Rachel Lachowicz (raw cosmetics in plex containers. see here). Strata of being, plastic catacombs. Suggested hierarchies are both top to bottom or center to edge? Playful and humorous. Paul Thek encapsulation of organic body and synthetic container. Transparency and levity contrasts with solidity (stasis) and opacity of West Gallery. The end (the climb of the working human, the one who works with hands)… Artist or Day-Laborer?  A Mausoleum of Effects…

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