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, March 15, 2014

Marcia Roberts @ Rosamund Felsen


#60-12 Soft White, Dome Series, 1969
acrylic on canvas over kapok, wood backing
48 1/2 x 48 1/2 x 4


#47-6 Light Gray, Dome Series, 1969
acrylic on canvas over kapok, wood backing
48 x 48 x 3 3/4 inches


#48-7 Soft Medium Gray, Dome Series, 1969
acrylic on canvas over kapok, wood backing
48 1/2 x 48 1/2 x 4 inches


#2 Hard Black Series, 1969
acrylic on canvas over kapok, wood backing
48 x 48 x 3




Los Banos, Diablo Mts Series, 2001
acrylic on canvas
22 x 30 inches


Detail.



Estero, Santa Lucia Series, 2003
acrylic on canvas
22 x 30 inches


Detail.

This show took me a moment because the first works in this show that I encountered (the ones near the bottom of this post) were oddly scaled for what they suggested. I would love to see them on a large scale, larger than Rothko.

It wasn't until I made it into the back gallery where four works (the ones at the start of this post), one on each wall, were hung in a kind of arrangement (an apparent kind of specificity) that pushed me around by their placement and simplicity.  Robert Irwins' mid-sixties paintings just before his acrylic discs came to mind, and so I thought these ones existing in parallel with his was something worth thinking about.

Upon further reflection, in fact upon posting the images here, I came to think more so about Morgan Fisher.  Of course, Mary Corse, in my mind, was everywhere in the rooms.  Once such associations subsided, I was able to enjoy them for what they are in the present and how I was able to think back through the paintings as objects of place (cf. titles), placement, and displacement of their times.