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, March 12, 2016

Julie Rommel "A Cheesecake With Your Name On It" @ Overduin & Co.




Cuter by the Day, 2016
oil on linen
86 x 71 inches



The Helgas, 2016
oil on linen
85 1/4 x 72 1/4 inches



Water Tower, 2016
oil on linen
79 1/4 x 56 1/4 inches







The Lavender Lilacs, 2016
oil on linen
71 1/2 x 53 3/4 inches




Punkin Chunkin (Hydraulics), 2016
oil on linen
77 1/2 x 78 3/4 inches





Two Dentists, Six Architects, One Experimental Musician, 2016
oil on linen
81 x 82 inches




Two Apartments, 2016
oil on linen
71 5/8 x 57 inches




From a grouping of paintings that insisted so adamantly about their flatness in reference to what looks like formerly stretched linens; shapes and sizes like windows yet opaque; and one-liner titles also referencing places; I could not help but notice their acute relationships to the external structures of the space, namely how the light and shadow forming on the translucent windows of the gallery and  how light fixtures overhead seemed to frame, reflect and integrate the works in a greater complexity of depth than anything that seemed to be actually proposed.  These things happen.  They're hard for me to ignore sometimes, and that can be a good thing for my interests as edges and transitions here seem to allow for such musings.