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.

Sunday, July 10, 2016

"Don't Look Back!" @ MOCA LA


Evan Holloway
Left-Handed Guitarist, 1998
Styrofoam, spray-foam, plaster, paper, and graphite











Cady Noland
Misc. Spill, 1990
Awning frames, aluminum, trash, shopping art, flag,
cinder blocks, car bumper, and concrete










Basket of Nothing, 1990
Wire basket with assortment of building tools and materials





Sarah Sze
Many a Slip, 1999
Mixed media















Roni Horn
How Dickinson Stayed Home, 1993
Solid plastic and aluminum






Do-Ho Suh
Seoul Home/L.A. Home/New York Home/
Baltimore Home/London Home/Seattle
Home/L.A. Home, 1999
Silk and metal armature





Jason Rhoades








Sam Durant
Proposal for Monument at Altamont Raceway, Tracy, California, 1999
Polyurethane foam, acrylic, wood, steel, speakers, CD player, and miscellaneous hardware










Cindy Bernard
The Searchers, (1956/1989)
Color photograph


Cindy Bernard
3:10 to Yuma, (1957/1991)
Black and white photograph


Cindy Bernard
Vertigo, (1958/1990)
Color Photograph


Cindy Bernard
North by Northwest, (1959/1990)
Color photograph


Cindy Bernard
Splendor in the Grass, (1961/1990)
Color photograph


Cindy Bernard
It's a Mad, Mad, Mad World, (1963/1991)
Color photograph


Cindy Bernard
Faster Pussycat Kill! Kill!, (1965/1990)
Black and white photograph


Cindy Bernard
Bonnie and Clyde, (1967/1991)
Color photograph


Cindy Bernard
The Godfather, (1972/1990)
Color photograph


Cindy Bernard
Chinatown, (1974/1990)
Color photograph



Catherine Opie
Untitled #1-18, 20-31, 33-42, 1994-1995
40 Platinum Prints





Jennifer Bolande
Footprint of Man, 1992
Home movie screen, slide carousels, and plaster cast of Coliseum





Christian Marclay
Telephones, 1995
VHS, color, and sound
TRT: 7:30 minutes




Renee Green
Import/Export Funk Office, 1992-93
Installation with audio, video, and reading materials