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, January 29, 2016

Michael Henry Hayden @ ACME

Untitled, 2015
oil on wood, acrylic, and brass

Untitled, 2015
acrylic, paper, aqua resin, fiberglass, wood
84 x 47 inches

Untitled, 2014
oil on wood, acrylic, and brass

Who doesn't love the color of shadows and what they suggest about presence/absence and time?Blinds and doors are opaque, architectural features that prevent the passage of light or any sense of depth or knowing. They are a block between inside and out. So, what does it mean to convert a dynamic moment into a static one besides an excuse to make art objects? Light’s on but nobody’s home OR light is off and somebody’s home. Polyphemus was once involved in that kind of game too. Trickery. Trompe l'oeil. Painting. Object. Reproducing a moment in time with light and shadow. After one or two, they all start to look the same and so seem a bit one-trick pony. Good to know. And so, I find myself thinking more about Katie Sinnott’s "Gateway," her recent installation within the same spaces. See here

All said, the cast blind seems worth contemplating.