dayoutlast: May 2016

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.

--Justin Lowman

Friday, May 13, 2016

Oscar Tuazon @ Hammer Museum

Natural Man, 2015

Black walnut, fiberglass concert, pump, water

Mind Pipeline, 2016

Aluminum

"Leap Before You Look: Black Mountain College 1933-1957" @ Hammer Museum

Robert Rauschenberg

Minutiae, 1954 (1976 replica)

Oil, paper, fabric, newspaper, wood, metal, plastic, mirror, and string on wood structure

W. Pete Jennerjahn

Color and Design: Color Study

Black ink and Color-aid paper on board

Josef Albers

Black Frame, 1934

Oil on Masonite

Josef Albers

Tenayuca, 1943

Oil on Masonite

After Robert Rauschenberg

White Painting Facsimile, 2015 after 1951 original

Oil on canvas

Robert Rauschenberg

Untitled (Night Blooming Series), 1951

Asphaltum & gravel on canvas

Friday, May 6, 2016

Karen Lofgren "Other Relevant Experience" @ Royale Projects

No True North, 2016

Felt, resin, copper leaf

12 part installation

Dimensions variable

On Pain of Extraction, 2016

Copper, rope, copper plated bronze

37.5 x 14.25 x 3 inches

Approaching the Limbless Gods #3: Positions for Believers

Aqua resin, wood, titanium and carbon pigments

62 x 24 x 24

Symptom, 2016

Leather-cow, pig, snake, lamb, deer, copper pipe, foam, copper plated steel installation

68 x 58 x 5 inches

Under Influence, 2016

Leather (cow, deer, pig, lamb skin) copper pipe, copper plated steel, foam, copper plated bronze

Dimensions variable

Leaning Figure (Feedback Loop), 2016

Aqua resin, powder pigment, felt

67 x 21 x 7.5 inches

Untitled Steel Form with Copper, 2016

Copper plated stainless steel

6 x 13 x 2 inches

Could You Name What is to Cure? #3, 2016

Magazine image, guayaba leaf, toe leaf on sandpaper, copper frame

10.75 x 8.5 inches

Keith Sonnier "PORTALS" @ Maccarone

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