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.

Friday, January 3, 2014

Waltercio Caldas @ Christopher Grimes



Rumor, 2013
stainless steel and wool yarn
87 1/4 x 140 x 106 inches


Rumor (detail)


Too Soon, 2013
stainless steel, enamel, and acrylic
62 3/4 x 39 x 43




Step by Step, 2013
stainless steel and enamel
The work consists of four components in two units, each
17 1/2 x 29 1/2 x 5 3/8






Untitled, 2013
acrylic paint, ink, and painted stainless steel on paper
45 1/2 x 34 1/8 x 3 inches

Untitled, 2013
acrylic paint, ink, pastel and assemblage on paper
34 1/8 x 45 1/2 x 3


Untitled, 2013
acrylic paint, ink, plastic and painted stainless steel
45 1/2 x 34 1/8


Untitled, 2013
ink, wood and painted stainless steel on paper
34 1/8 x 45 1/2 x 3 inches


Untitled, 2013
ink, pastel, plastic and collage on paper
45 1/2 x 34 1/8 x 3 inches

Much like Caldas' last show (see an earlier post from 2010), I enjoyed looking, the simplicity, the elegance and the proposals.  Just like before, things lying between spatial dimension seems of great import and apparently more complicated than one might first think; note that "Step by Step" was to be thought about as a whole in four parts. I suppose, as stated, it's not quite a diptych but something like that.  Whatever the case, I missed the nuance.  

Further, as with all of my rants about reflected surfaces hindering a a potentially uninterrupted view, the works that one might be tempted to call flat works (2D) are actually listed with a dimension of 3."  I'm assuming this accounts for the relief objects within the frame and not the frame itself (Note: I cropped the frames out to focus on the mounted materials).  So many questions seemingly outside of the work, but yet somehow I feel like they are the pertinent ones here, especially as the work suggests so much ambiguous spatial condition, albeit open-ended literally within the work AND the body of work presented here.

My two boys enjoyed looking at it with me.  Their observed fragments are listed here in quotes: "Thin. Lines. Round. Bottles. Objects. Security Lasers Guarding a Very Ancient Toilet. Bars/Jail. 3D plans. "