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, February 4, 2017

Ian James "Time in the Technosphere" @ Vacancy LA


Reliquary: CanaryWPDNTM- for neck- M I'V (head 2- various modes for the state of crisis we continually find ourselves in), 2016
WilsonArtxYou laminate, acrylic, pigment print, frame
24 x 36 inches

The acrylic "strips" cut the picture plane at various angles (vertical, diagonal, and horizontal), all with edges exposed to the viewer. Not only does this suggest three-dimensional space (for photography) but it also refers to the more typical flat plane acrylic glazing that would accompany more typical photography presentations. I like this reference without the glare and reflections as well as how it seems to suture the edgier concepts of the show at large.




Reliquary: CanaryWPDNTM- for neck- M I'V (head 2 - various modes for the state of crisis we continually find ourselves in), 2016
WilsonArtxYou laminate, acrylic, pigment print, frame
24 x 36"




Win MoreYour Lovers' Love, 2016
Electric pulse body massager, slate, stainless steel
39 x 19 x 15 inches


Vibrations and carvings. Edgy incisions.



Vibration is fundamental when working with sensory integration (Massage Snake), 2016
Synthetic Adhesive pigment print, pigment print, acrylic, frame
Dimensions variable



Astoria Hot Springs Figure, 2016
Pigment print on acrylic
7 x 10 x 1.5 inches



13:20 Frequency Shift within 12:60, 2016
Wall calendar
8.5 x 11 inches


(the date that I viewed the show)



(my birthday (I couldn't resist))



Reliquary: Gold Collagen MNLF - M I'V (will gradually dissolve under body temperature and permeate quickly into skin), 2016
WilsonArtxYou laminate, acrylic, pigment print, frame
35 x 58 inches

Optical focus.
Eye therapy?



Gallery space as spa (spa-ace).



D2GO (LP Assembly_1), 2016
Displays2Go magazine stand, pigment prints, assorted detritus
10 x 14 x 58


Facets and accumulations. How an eye registers information.


Touch and what the effects of time look like (optical texture) and what they actually feel like (literal texture sensation). A man contemplates the delicate balance of accumulated stones while a woman is subjected to technological stimulus to obfuscate the effects of time (or at least ameliorate them). So, nature and culture collide within these terms to ask us to consider, feel, and choose which version as the artist considers the dilemma through these works. Touchy subjects, to be sure. 
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