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, January 27, 2018

Xylor Jane "Magic Square for Earthlings" @ Parrasch Heijnen

Zahav (Ninety-four 11 digit prime palindromes arranged in from columns, selected from a group of 42,100), 2017
oil and ink on board
30 x 24 inches

Data punch cards and woven fabrics. 

Magic Square for Earthlings, 2017
oil and ink on board
19 3/4 x 19 3/4 inches

91418, 2017
oil on board
16 x 20 inches

92277, 2017
oil on board
14 1/2 x 20 inches

PeopleMover, 2017
oil on board
31 x 29 inches

Sevens, 2017
oil and ink on board
16 x 20 inches

LED. Binary language. Dot-matrix. Lite Brites. 

Paintings and patterns. Smaller supports. Smaller brushes. Looking more like motherboard surfaces and less like large-scale, abstract paintings (see here).

Invites closer, more intimate view by size, scale, and mark. 

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