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, April 3, 2015

Jason Bailer Losh "Plow Louise" @ Anat Ebgi





Carving line(s). 

















Continuous...


And break... (frame).







Very formally, works in this show ask a viewer to think harder about how things that define themselves by linear continuity and its other relate to objects that occupy opaque volumes.  Said objects seem more like a second body of work than anything connected with the works that I like most in the show, works that take the curving, carving line as a relief cut and sculptural tool within the space of a flatter surface, a painting. In all instances, how each work carves or is carved by its surroundings does lead toward wholeness in terms of individual parts (discrete works (2, 3 or 4d) which in turn cohere). Is that enough in terms of ideals (concepts that suggest concern with dimensionality, broken planes, and spatiotemporal continuity) or do these forms merely stretch toward style and I'm simply putting too much on them?  Perhaps there are clues in the superball (a material, shape and color associated with other works in the show), an object that also functions unpredictably and playfully when activated in other contexts?  

An afterthought conjures the word "circus," which in its most literal means "about" or "around." Somehow this fits the circuitry of this show.  Then again Calder mobiles as well as seals balancing balls on their noses are not far off here, in which case we return to simple play and balance of forces, representationally in two-dimension and literally in three and beyond.  In whatever reading we choose with this body of work, there is certainly a lot to sort out, and I still can't decide whether I was looking at one, two, or three shows.