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, July 9, 2016

Carl Cheng "Nature is Everything -- Everything is Nature" @ Cherry & Martin


Erosion Machines, 1969
Plexiglas, metal racks and fittings, plastic, water pump, LED lights,
black light, pebbles, 4 erosion rocks wood base
15 x 25 x 9 inches










Erosion Series, 1975
Compacted sediment, cardboard, wooden box
6 x 13 x 11 inches





Liquid/Solid Series, 1980-81






Specimen Viewer, 1970
Plexiglas, vacuum formed acrylic plastic, plastic cases, 4 specimen cases, 
LED lights, wiring, metal latch and hinges
11 x 12 x 19 inches




Landscape Essay, 1967
Print, matted and framed
29 1/4 x 19 1/2 inches





Sculpture for Stereo Viewers, 1968
Film, molded plastic, wood, Plexiglas
16 1/2 x 18 x 8 inches





V.H., 1967
Film, molded plastic, wood, Plexiglas
15 1/2 x 31 1/2 x 11 inches