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, January 30, 2014

Dewey Ambrosino, David Galbraith, Jacqueline Kiyomi Gordon, David Schafer @ Samuel Freeman

David Galbraith
Density, 2013
Custom software; computer-generated installation of projected video and six channel sound.
TRT: 15:00 minute generative loop

David Schafer
Four Letters to Mahler, 2013
Aluminum I-beams, rivets, hardware, amp, ipods, cables, PA speakers, fluorescent lights, and text panels on film.
6 x 11 x 7 feet

David Schafer
 Poster / Listening Station / DSE NOISE

Dewey Ambrosino & Jacqueline Kiyomi Gordon
Porting/Baffling, 2014
Single channel audio installation, bass drivers, wood, electronics, glitter

What I liked about this show is also what I found most challenging about it.  Difficult to convey (represent) what was seen and heard, due to both temporal and spatial constraints of multidimensional works such as these (time-based media all) and the limitations of any kind of documentation as such, I often want to say, "you had to be there."  I also know that even as I was there in one instance, it was only one iteration.  I'm certain repeat visits to the show would have produced different results for some of the works, and I am remiss to have missed the scheduled performances.  It occurs to me now that the more contained works may transfer well to a set of headphones and a bean bag just about any where, and that would be nice. In fact, were there seating as a concession to the works, I wouldn't have sat on the floor. But I didn't mind...