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, January 7, 2017

Kim Fisher "A Little Bit of But" @ LAXART


Abutment. Painting in a corner like the crease in the center of a book (or magazine). 


This photo appears courtesy of www.laxart.org Visit here for more images

Dark, empty holes. Motherwell rhythm... Bontecou void. And altarpiece... 




Shape, space, surface. What lies below, just beneath? Beauty or...? Language. Word play.  Image/Text.  Or, another conjunction which opts for an alter altar rather than another other. An other, what a but offers (with one T). 



A butt (with two Ts) offers body intersections, leg extensions, nexus. A butt conjoins the body.  A little bit of butt would also be like a little bit of funk (a whiff of beauty’s other.) Or perhaps a nickel bag of funk (blooming buds) just because it rhymes. 
Rough around the edges yet intact. Yet, yet another conjunction. 


The way things hang, curtains (or paintings in a room). A sly and considerate move to clarify the space while contextualizing other works in the show and the assertion of spatial consideration, positive and negative. 


The way things hang together, groupings of artworks. Cf. Morgan Fisher, no relation, but... He too used painting to consider architecture and vice versa. He too questioned the surface integrity of things (he the floor, she the wall); the paper thin surface. Interesting how the "curtains" are thinner than the aluminum panels that are mounted on the dyed linens. And yet diaphanous thoughts...Paintings that approach edges and transitions, emergence, becoming other things (sculptural/architectural elements, immersive installations, ephemera)...

Torn about the edges. As in uncertain, undecided… (a promise of things to come). 
Searching for an image through fragments and images. Run-ons...
Periods and ellipses... (lips that is).
And yet an other yes, but(t).
Between two things...