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, 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