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, March 25, 2017

Ellen Carey "Dings & Shadows" @ M+B

Caesura, 2016
uniques color photogram
40 x 30 inches

Caesura, 2016
unique color photogram
40 x 30 inches

Dings & Shadows, 2016
unique color photogram
24 x 20 inches

With titles likes Caesura, it's difficult not to think about recent ceramic works by Liz Larner, some with same or similar title (see here), and to further think about how they look the same frontally (formally) and therefore what they may actually represent despite their abstract ambiguity. I like how titles and materials can shape how we view abstract works.  As abstract images, it's also not difficult to think about the photographic processes of both Walead Beshty which explore very similar means and Anthony Pearson who, in his photographic works, often embraces and celebrates an alchemical moment that delays resolution into a coherent, recognizable image. With Carey and Beshty it's a diverse, saturated range of color while Pearson remains more subdued and singular in the visual.

With Beshty and Pearson belonging to a younger generation, formally, and Larner somewhere in between, it leads to questions about the dialogue and how such practices can be differentiated. To be continued...

Liz Larner
vi (caesura), 2013
Ceramic, epoxy, and pigment
21 1/2 x 35 x 10 1/2 inches

Walead Beshty
Black Curl (CMY/Five Magnet: Irvine, California, March 26th 2010, Fujicolor Crystal Archive Super Type C, Em. No. 165-021, 05110), 2011
Color photographic paper
51 7/16 x 106 3/8 inches

Image not possible from gallery; see link below.
Untitled (Solarization), 2013
 solarized silver gelatin print in artist's frame
17 x 12 x 0.75 inches

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