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, August 16, 2014

Michael Henry Hayden and Julian Rogers @ ACME


Michael Henry Hayden
Untitled (Palm Frond #2),  2014
acrylic on aqua-resin and wood
25 x 25 inches




Michael Henry Hayden
Untitled (Palm Frond #1),  2014
arcrylic on aqua-resin and wood
9 x 9 inches






Michael Henry Hayden
Untitled (Palm Trunk),  2014
acrylic on aqua-resin and wood
40 x32





Julian Rogers
Double Positive, 2014
oil on canvas
68 x 54 inches


This grouping of images by two different artists exhibiting within the same show demonstrates just how critical lighting is to the viewing.

With Hayden's wall objects, shadow reveals dimension and therefore depth and color (dependent on viewing angle, and lighting condition (day or electrical), certainly not fixed.  In the latter, the same could be said for Roger's paintings, especially in terms of how everything works flatly on the surface, certainly more as illusion, at least how I was looking at them.

Roger's work reminded me of a grouping of dark paintings by Bill Jensen shown at ACME in the fall of 2007 (see related images following this text below).  Jensen's paintings were benefiting from the same placement within the space where the natural light is filtered through frosted glass at the north end.  So, there is no direct light into the space but rather an even diffusion.  As such (with the lights off, and the gallery owner was eager to show the differences as well), Roger's paintings revealed so much of the subtlety like Jensen's though the former's registered the occasional concrete image whereas the latter's reveled in their obscurity in abstraction, save perhaps the titling.

While not to be so divisional, dialectically or comparatively, it's the continual shifts between works that is more to my interests, the subtle modulations within individual paintings, also between artists works in the show (two and three dimensions), and between artists work present and recent past (the time factor).

In whatever relationship one wants to consider these thoughts and these works, the condition for viewing is critical here.  For me, this is probably the most important single fact because it reveals just how important the site of reception is.  The work in this show privileges the presentness of a viewer in the actual space as opposed to the mediation here as weblog, for example, itself a virtual view.


Bill Jensen from 2007:



Ape Herd #10 (Child), 2003-04 
oil on linen 
26 x 20 inches


Ape Herd II (The Earth was Silent as if the Wolves had devoured all the children), 2003-04
oil on linen
28 x 37 inches


Ape Herd (Old News), 2004-06
oil on linen
44 x 32 inches