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, May 26, 2017

Diana Thater "A Runaway World" @ The Mistake Room


Mediated landscape and animal kingdom. 

Viewership.  Confrontation. Animals and humans equalized within video space. 

James Herman "Glass Island Studio" @ Ibid

Dwelling, 2017
plywood, redwood, found eucalyptus wood, bamboo, polycarbonate, metal roofing, glass, sink hardware, soil

Walls are paintings. Grain. 

Cycles, sustainability, and flux. 

Dave Hullfish-Bailey

Andrea Zittell meets Simon Rhodia meets Robert Gober.
Gallery setting makes it quaint and safe rather than vital and risky. 

Garden Shelf, 2015
plywood, cement, wood, glass
19 x 12 x 5 1/2 inches

Shower Hour, 2017
cement, shells, currency, rocks, marbles, bottle caps, mosaic, tile, glass
73 (diameter) x 1 1/2 inches

Holistic integrity. 

Mauna Kea, 2017
acrylic on panel
78 x 50 x 1 1/2 inches

Paintings are walls. Grain. 

Walkabout, 2017
plywood, found wood, bottle cap, cement glass
37 x 25 inches

Dianna Molzan "Usirpico" @ Kristina Kite

Untitled, 2016-2017
oil on canvas
30 x 23 x 3 inches

Fabric association. Totes. Pillows. 
Tribal. Totemic. Blinky Palermo. 

Untitled, 2017
oil on linen and canvas
38 x 9 x 5 inches

Untitled, 2017
oil on canvas and cotton batting
34 x 25 x 3 inches

Context. Floor. 

Untitled, 2015-2017
oil on canvas
61 x 45 inches

Painting recall 2010 @ Overduin & Kite "The Case of the Strand." Faux finish. Carpet, pie shapes. Where the triangle meets the curl. 

Untitled, 2016-2017
oil on jute with wooden dowels
30 x 24 x 3 inches

Pegboard. Dowels. Towels?

Untitled, 2016-2017
oil on canvas with Los Angeles Daily Times Morning Edition, August 16, 1926
36 1/2 x 17 1/2 x 4 inches

Chimes. Cell phone covers. Tactile (sometimes literal, sometimes illusion (the fussy faux dabbing, again)). Surface of cropped shrub/bush. Turf. Synthetic. 

Untitled, 2017
oil on canvas with poplar
30 x 35 x 7 inches

Pillows. Boob euphemism. Dual whatever the (pillow) case. Eye-popping. 

Untitled, 2017
oil on linen with canvas with carabiners
36 x 5 x 3 inches

Coin purses. Intimacy. Personal. An invitation to look closely, be close. 

Decorative all.