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.

Wednesday, May 7, 2014

Tariq Alvi "Deep, East, Real" @ Michael Benevento















Cutting [Clippings]. Trees and paper.  Nature. Culture. Time. Value. Hinoki. Composite, synthetic panels uphold signs of value and materiality. Distant Andre. Floor sculpture which resides low to the ground. Fallen limb. Rising prices. Singularity/Multiplicity. Surface decay. Splintering. Fragmentation. 

Nothing carves wood better than time, the great equalizer of nature. Nothing creates more confusion than culture constructing value. Perhaps Charles Ray’s “Hinoki” makes this most poignant by replicating the process of nature at such a high level of precision; Ray hired master craftsmen.  

Carving/cutting as criticism literally and as sculpture essentially (historically). With the additive process of constructed, assembled sculptural tendencies, space itself becomes carved. As such, a work like this hovers uncertainly between a contained sculptural object and one that seems (seams?) with its space. Hovering awkwardly out of time, its impermanence is clear and its statement perhaps too much so.