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, June 20, 2014

Terry Winters "patterns in a chromatic field" @ Matthew Marks | Los Angeles

Seeing paintings like these in person is SO different than as jpegs.  Honestly, I think I like them better as photographs.  Not surprisingly, the colors appear brighter and more harmonious as a digital image.  In person, the paintings are kind of ugly but not in that good way (cf. Magritte Vache paintings).  Whatever the technological, representational conundrum, some details are better than others, particular as it pertains to color/form harmony (see detail shots within this post).

Note: I came to the work of Terry Winters about eight years ago, when I, at that time was making paintings that seemed to ask similar questions of computation. How far does one go? How many layers? Basically, how much?, a question of value to be sure. (If one digs deep enough on the internet, one may find my examples).