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, August 19, 2017

"Martel Window Project: Amy Grafano" @ Richard Telles Fine Art

As the Surrealists once did so many years ago (adorning store front displays with art and interventions to address (and shock a pedestrian public), it seems worth considering how this art installation interacts with a similar commercial built space.  Not sure what to expect from a press release (how could one (ever) entirely?), upon arrival I was disappointed to find a very difficult and inaccessible installation due mostly to lighting conditions with the obvious challenges associated with glass (glare, reflection, filtration et al).  From the content of the work, the context, and the installation shots on the website, the work seems less about anything that I just said regarding glass and art history; it's just where my head took me first.

The immediate lighting concern aside, it was interesting to think about positioning, point of view, such challenges and how a two-dimensional work would foster and reflect such notions by its lines and angles. In fact, a bullet hole in the glass that mirrored the radiating symmetry of the painting detail below could have been a nice touch... Or perhaps too transgressive or obvious...?

Once I was able to reconcile the virtual and the real image in this installation, I was somehow able to make peace with the initial difficulties with the glass as certain perspectives aligned.  

PS: Apparently, the way to see the work is at night, though no invitation nor indication is made save the gallery website's documentation offerings. See below.

The preceding four photographs appear courtesy of the Richard Telles Fine Art website.

Overall, I think the installation was more excited about a display idea though it also seemed to want more than that with such a shifting context.

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