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.

Tuesday, July 25, 2017

"CD SM KSS" @ Redling Fine Art


Entrance
Light/color, pink effect/affect,
 a color of light said to be a formula for insanity(at the very least increased anxiety) when exposed for too long


Constance DeJong
Red Emerson, 2015-2016
Re-engineeered radio with amplitude-sensitive LEDs, audio
8 x 13 1/2 x 21 inches
TRT: 22:25 minutes



Sound conveyed through obsolescence/revival/retro







Sarah McMenimen
Flow, Swarm, Swirl, Follow, 2017
collected shells, poured aluminum, aluminum-cast Mooring seed pods, brass tubes, bells, plaster, tape, string, steel
60 x 24 x 20 inches


Stage, mic stand, laundry list of ingredients, a level of specificity well-beyond mixed-media or combine




Kate Spencer Stewart
Decorative Triptych, 2017
Flashe and casein on canvas
84 x 252 inches


Paintings that signify a historical, sublime conversation, whence vacuity is more apropos than seeing things for what they are; colored light unifies the exhibition (and alludes to as much), yet it's not clear what benefit to each part, especially painting surfaces on such a (desired) scale


Exit. 
A clear image about things moving light to dark (and beyond) without the confusion between media and form with this grouping of works.  Conversations about time as it pertains to the space itself rather than the constellations within. The whole (lighting) dominates the parts (paintings, sculptures), and so if we don' care about seeing things in their proper (apropos) light, then why should we consider them at all.  While the sound from Red Emerson be excepted from this concern and also valued as also the value of light presence should (in terms of art concern and well beyond), the view that this last image presents could just easily be any one of the others, a speaker, a mic stand, or mural-sized painting. After all, it was available. Thus, interesting concepts were cluttered by contextual confusion, especially where seeing (and seeing a point) is concerned.


Andrea Zittell @ Regen Projects


Planar Configuration Three [#3], 2017
Powder-coated steel and aluminum, cushion,
weaving, newspaper
50 1/2 x 83 7/8 x 91 inches (128.3 x 213 x 231.1 cm)


Proper viewing height may be like a small child. Or wheelchair or similar. 




Suffers the loss of lighting distractions. Something that would register very differently if surfaces were non-reflective AND lighting systems were not present. Perhaps natural light in the way Judd set up Marfa… 






Or simply an issue with work that absorbs its environment and fosters long views in order to consider the whole in relation to the parts. Either each part is its own whole or it works as a group, which I believe is the question embedded (pun intended) in this work. The one and the many and ones relation to one and an other, which is to say another or possibly other. Or should I say many’s relation to such things…?



Planar Configuration Four [#3], 2017
Powder-coated steel and aluminum
71 5/8 x 66 x 134 inches (181.9 x 167.6 x 340.4 cm)



Dimensional work that fosters flat, frontal views.


Study for Planar Configuration #4, 2017
Wood and paint
37 x 26 x 6 1/2 inches (94 x 66 x 16.5 cm)



Study for Planar Configuration #5, 2017
Wood and paint
38 1/2 x 26 x 5 1/2 inches (97.8 x 66 x 14 cm)



Study for Planar Configuration #1
2017
Wood and paint
24 x 24 x 5 1/2 inches (61 x 61 x 14 cm)



Study for Planar Configuration Variant #1, 2016
Gouache and watercolor on paper
Framed Dimensions:
27 5/8 x 34 7/8 x 1 1/2 inches (70.2 x 88.6 x 3.8 cm)



Study for Planar Configuration Variant #2, 2016
Gouache and watercolor on paper
Framed Dimensions:
27 5/8 x 34 7/8 x 1 1/2 inches (70.2 x 88.6 x 3.8 cm



Study for Planar Configuration Variant #4, 2016
Gouache and watercolor on paper
Framed Dimensions:
27 5/8 x 34 7/8 x 1 1/2 inches (70.2 x 88.6 x 3.8 cm)



Study for Planar Panel #5, 2017
Watercolor and gouache on paper
Framed Dimensions:
35 1/4 x 27 1/4 x 1 1/2 inches (89.5 x 69.2 x 3.8 cm)


Plan views. Floor. Reflected ceiling. 



Cubicles. As in workplace division of space/labor, but these seem to be open chambers of intellectual/contemplative/restful pursuit. Calming.

cf. Moholy-Nagy.



Planar Configuration Two [#1], 2017
Powder-coated steel and aluminum, cushion, newspaper
32 1/8 x 54 3/4 x 100 1/8 inches (81.6 x 139.1 x 254.3 cm)

Either you’re going to look down on these or you are going to participate. 
Embodiment.


Headlines. Head Lines. (a tale of two cities...; two places; (neither) here (nor) there)


Interior structure as opposed to exterior contour. 





Planar Configuration Two [#2], 2017
Powder-coated steel and aluminum
32 1/8 x 54 3/4 x 100 1/8 inches (81.6 x 139.1 x 254.3 cm)


Not exactly about comfort (physically). Cold metal.  And therefore an appeal to mental comfort (for lack of a better phrase).



Judd. Earthbound. Low. Rug. 





Kissing couches. 


Parallel Planar Panel #3 (grey, black, off-white, pink), 2017
Powder-coated aluminum and steel and woven wool textile
94 1/8 x 59 1/2 x 33 1/4 inches (239.1 x 151.1 x 84.5 cm)





De Stijl in form and color 











Vernacular architecture for public space, liminal transitory spaces. 


Parallel Planar Panel #4 (grey, black, off-white, gold), 2017
Woven wool textile
94 x 58 1/2 x 1/4 inches (238.8 x 148.6 x .6 cm)




One leads into the next in such a viewing. Rather than take them as wholes individually, it's tempting to start seeing them relationally (how similar color and shape accomplish form). Thus, the space begins to feel something like a transit terminal of some kind. 


Various offerings of repose. Recline/Sit. Manet. Olympia. Dejeuner w/o dejeuner. 


Planar Configuration Four [#1],  2017
Powder-coated steel and aluminum
71 5/8 x 66 x 134 inches (181.9 x 167.6 x 340.4 cm)







Very rect and erect with respect to frame. Perpendicular. Parallel. 90 degrees all. Static. Staid. Serious. 




Planar Configuration Four [#2], 2017
Powder-coated steel and aluminum
71 5/8 x 66 x 134 inches (181.9 x 167.6 x 340.4 cm)



Carl Andre. Floor plan. Units. Modules. 



Unfinished After Thoughts... Open Tomb cf. Egyptian art for the restful beyond
cf. minimalist closed cube having become inverted, opened beyond. 

A space that suggests interior accessibility while not affording such per institutional (gallery system) limitations.

Each work functions like pivot points, unmoving objects that activate the spatial relations physical and psychologically. Objects also function like video game nodes or pins on the game of Plinko.  

"Variant" cf replicant. agents of some kind/type. Human body and yet not.

Lingering questions...
Organizing Principles for the works as a whole...? Numerical title sequence...? Practical studio organization or relational within the works...?