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, January 13, 2017

Doug Aitken "Electric Earth" @ MOCA LA, Geffen

Sonic Fountain II, 2013/2015
Live sound installation with computer-controlled nine-valve fountain, 
tinted water basin, non underwater microphones, and speakers

Water. Hole in the architecture. Water. Fall. Reverse fountain. Sound of the surface of water. Optical imagery (acid drops). Dropping acid.  Erosion by nature (dirt); erosion by culture (broken concrete and artist intervention). Water wears down all matter in time. The great and waning solvent.
I occasionally think about the last drops of water on earth. One day evaporation and entropy will reduce moisture on our planet to a single drop. Mars had its day and Venus will be next as the sun withdraws, itself a member of entropic processes. 

A meditation, a contemplation, a reflection, a spectacular event. Water as medium. 

I also found myself thinking about Robert Gober's installation at MOCA in the fall of 1997 (see image directly below). It involved cutting into the floor with tide pools visible under grates inside the suitcase all accompanied by a strong rush of water down a flight of stairs.  So, not only was it water in the museum from higher to lower elevations, but it was water beneath the surface, or at least the perception thereof.  

How is this work any different than a fountain feature at a shopping mall? Processed sound. Process. Process. Process. No end. Priceless. Waves expand; waves contract. Sound. Light. Water. Microphones hold the position of a body's ears in a bathtub. Submerged and muffled. 

Land art returned to town. 

twilight, 2014
Cast resin, acrylic, and responsive LEDs

lighthouse, 2012
Video documentation
Jill and Peter Kraus residence, Duchess County, New York
TRT: 5:10 minutes

Acid Modernism, 2012
Private residence Venice, California
Video documentation
TRT: 4:30 minutes

Acid trips. Architectural acid playhouse.

cf. Bruce Nauman's writings title, Please Pay Attention Please.  

Looking forward and through. Back and forth both sides. Reversals. Another kind of mirroring. 

cf. Bill Viola, The Veiling, which utilized projections through scrims

Bill Viola
The Veiling, 1995
Nine scrims, two video laser disc projectors and players, speakers
Edition of 2

these restless minds, 1998
Video installation with three channels of video (color, sound) three monitors and plywood platform and benches
TRT: 8:03 minutes/loop

Attention Deficit Disorder (ADD) art. 

A final sunset (see also entropy) except it feels too much like a bad 80's version of Europe's "Final Countdown."

Too literal. Too narrative. Too hyper. Too obvious. 

All stations to contemplate the passage of humanity. Evolve...

Mirror fun house. Looking involves sound, language, and feeling. Immersive. 

"The museum is now closed." 
These actual words over the loudspeaker at MOCA not only punctuated the final viewing day of this exhibition but somehow echoed the darker themes that I kept getting as I wandered from work to work within the show, a show that seemed to be about last days rather than lasting days. I suppose all bad, acid trips must come to an end.

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