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 19, 2013
Maureen Gallace @ Overduin & Kite
Landscape. John Marin. An extremely, modestly-scaled picture that suggests a greater whole, the vast. Friedrich without the human figure. Here, a domestic building void of activity stares blankly toward and from the horizon, partial to the sky in amount. Each door/window is the frame within the frame which alerts the viewer to the game, the game I have chosen to play by photographing each door and window detail in order to not only enjoy the intimacy of carefully appointed brushstrokes, but also to think about histories since Marin. Rothko springs to mind next (but only in structure); this is a tough one, because landscape painting of this kind tends to find its way to shops and stands in beachside communities. By context (contemporary, urban art gallery) and installation strategies (the paintings themselves spread spare throughout the viewing space like tiny little portals), I can also read Gallace's work as multiple layers of the ongoing questions surrounding flatness/depth, doors and windows. The painter's obsession with light (broad strokes and smaller dapples) continues.