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.

Sunday, February 1, 2015

Paramount Ranch 2015




Amanda Ross-Ho



Rainer Ganahl "El Mundo" @ Kai Matsumiya




Kate Costello @ Wallspace





NPS interaction with Kya-Marina Le





Paul Kneale @ Evelyn Yard






Norm Laich @ Paradise Garage





I'm not sure what I saw, or if I saw anything, but there were a few things and moments that caused me to pause, not the least of which was a general conviviality in a shared environment of meandering amongst sprawling sprawling displays of statement and wares. From Amanda Ross-Ho's white glove treatments to Rainer Ganahl's "El Mundo" (two-channel video installation reduced to an iPad) to Kate Costello's single-pin sculpture (sun dial?) to stream-of-consciousness interactions with National Park Service (Kya-Marina Le with my #planttothestick) to Paul Kneale's process paintings (time sandwiches; depictions of time; representations of time; resolution translation and its unexpected effects) to Norm Laich's interplanetary signage, Paramount Ranch 2015 was a place at the edge of things that welcomed all walks, particularly artists who seemed to thrive in such an atmosphere of suggested freedom and exchange. 

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