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

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