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, January 23, 2016

Chris Bradley "Ceilings" @ Shane Campbell Gallery, Chicago

I tend to notice ceilings in art spaces and how they influence the reception of work within.  I like work that asks me to think about this physically in the present as well as metaphorically about present notions of a word "ceiling" as well as the more reflective bits about what it represents in the past, brick and mortar venues, sites of human congregation and revelry. Somehow these connect to Pierre Hugyhe's  "L'Expedition cintillante, Act 2 (light show), 2002" as a miniature performative space of light and sound where and when the audience is a strange participant in terms of scale and temporal displacement. The lights are on, but nobody's home.  Not only does this take a literal dimension in terms of stage lighting without performers (wherein the assumption is that the viewer is said audience) but also metaphorically as it refers to spaces once congested with human interaction, marketplaces (galleries) for example. So, the work reflects its site of reception.

Pierre Huyghe
 L'Expedition cintillante, Act 2 (light show), 2002.