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 30, 2014

"The Cartographer" Curated by Alise Spinella @ Charlie James Gallery

Charles Gaines
Numbers and Trees, X1, #3, Audrey, 2014
acrylic sheet, acrylic paint, ink, foamboard
46 1/2 x 50 1/4 x 3 1/2 inches

Clarissa Tossin
Shared Napkin (Andrezza, Guilherme, Ludovic, and I),  2007
paper napkin, lipstick, grease, red wine, chocolate, tomato sauce, and coffee
11 1/2 x 16 1/4 inches

Clarissa Tossin
Shared Napkin (Louisa, Lindsay, and I),  2007
paper napkin and pomegranate
9 1/2 x 9 1/2 inches

Alise Spinella
I Hold the Line, 2014
charcoal, grease pencil, graphite, acrylic polymer on canvas
36 x 28 inches

Steve Roden
Gloppen = Open Glow,  2007
Four-color offset printed map
27 x 39 inches

The map, a representation of a surface largely uneven and virtually incomprehensible at any scale, charts a landscape, a body, a relation of parts.  Seeing these works had me thinking about Vermeer's paintings that included maps in their backgrounds thereby suggesting a way to look at painting as map but also to think about a subject of exploration, one of great unknowns in Vermeer's time since so few had developed any sense of a world-image, certainly as we know it today from satellite photos and daily, global exchange.  So, this show had me wondering, ultimately, how I was to think about the map-maker, the cartographer (the artist I'm assuming) rather than the the map as subject.