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 20, 2018

Young-Il An "Unexpected Light" @ LACMA


Water ALSW 16, 2016
Oil on canvas








Water music, 2007
Mixed media









Water LLG 12, 2012
Oil on canvas






Water LLBG 16, 2016
Oil on canvas







Water BLRG 16, 2016
Oil on canvas




Somewhere around twenty years ago, 1998 or so, I saw Kusama's work for the first time.  The works I liked best were the large paintings, the one with skeins  of white marks on light surfaces.  Below is an example of a smaller one:


Upon seeing the paintings of Young Il-An, I thought of these Kusamas and how similar the process of mark-making, about the movement on the surface of things (light, sound, paint, optical titillation, subconscious thoughts...), shimmering, fleeting, repeating.  Fragments over a unified field like unknown words on a page, notes...

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