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, October 26, 2013
Unlike sculpture which has infinite points of view, these works, in spite of their claim for painting as object, are to be viewed singularly the best that I can tell. Like sculpture, these paintings defy photography, at least to the extent that this can even be a concern. More importantly, they have a distinct relationship to the wall on which they hang as well as whatever color relations arise between them. Though not obvious with any intent, the one in the office on the gray wall (as opposed to ones on the default white walls of the rest of the gallery) was most interesting.
Sunday, October 20, 2013
|Zachary Leener, Untitled, 2013, glazed ceramic|
|Eric Palgon, Untitled, 2013, oil on canvas|
|Matt Paweski, Rascals, 2013, birch plywood, steel,|
enamel, copper hardware
|Michael Rey, Freeway Song, 2013,|
oil on plasticine on panel
Saturday, October 19, 2013
A Monument to Infrastructure (Bunker #1), 2013
Concrete, acrylic paint, wood, hardware
76 x 76 x 76
Aside from it's funny presentation on a very undersized plinth (read: base), I was only interested in this sculpture. If the base wasn't enough to complicate the viewing, it would also have been nice to see the work by itself without any other visual distractions in the field (other artworks on the wall). In one version of my viewing (seen in the photographs above), the only way to isolate the object was to get in close and lose the whole. This was actually a good idea as it afforded thoughts about the subject of the work (architectural defense) and the numerous perspectives available: eyeball, globe, pac-man...