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, February 19, 2016

Marcia Hafif @ Marc Selwyn Fine Art

Neutral Tint (Scheveningen), 2001
Oil on canvas
16 x 16 inches

March 29, 1976, 1976
Pencil on paper
25 1/2 x 40 1/2

March 31, 1974, 1974
Pencil on paper
40 1/2 x 25 1/2

Arm Drawing, 1978
Pencil on paper
13 x 13 1/4 inches

Painstaking, persistent and meditative. Works on paper set up an appreciation for the brushwork in the smaller monochromes, paintings similar in tone and scale to the works shown in Made in LA 2014 at the Hammer Museum. See here.

Mechanical drawings of body parts attenuated by joints. So, what a hand and wrist can do to make things in repetition and consequence.

Hatch marks somehow recall Jasper Johns works from the 70s.