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, September 9, 2022

Susan York "Distilling Carbon" @ Parrasch Heijnen

Golden Mean Rectilinear Solid Vertical, 2022
solid graphite
6-3/4 x 2 x 3-1/2 inches





Vertical Wedge, No. 4, 2022
solid graphite
7 x 1-1/4 x 3 inches




Untitled (Asymmetrical Cube), 2018
solid graphite
5-1/4 x 5-2/5 x 5-4/5 inches




 






Rectilinear Solid: Joined, no. 1, 2022
solid graphite
9-1/2 x 12 x 3 inches






Double Golden Mean Rectilinear Solid, 2007 
solid graphite
16 x 26 x 10 inches








Vertical Bar, 2009
solid graphite
24-1/4 x 3-1/4 x 4-3/4 inches






Left:
25.9 cm, 2022
graphite pencil on paper 30-1/2 x 22-1/2 inches framed: 32 x 24 inches

Right:
41 cm, 2022
graphite pencil on paper 30-1/2 x 22-1/2 inches framed: 32 x 24 inches





Double Column no. 1, 2018
solid graphite
74 x 6 x 3 inches overall
Sculpture in 2 parts: 40 x 3 x 3 inches & 42-1/2 x 3 x 3 inches





Tilted Rectilinear Solid, 2008
solid graphite
15-1/2 x 22-1/2 x 15-1/2 inches











After Malevich, 2017 
solid graphite
16 x 16 x 2 inches





Carbon. Foot print. 8th element. 

Pencil lead? 

Monolithic—literally one stone OR a grouping of stones. 

Corners. Floors. Shadows. 

Levels. Elevations. 

Walter de Maria
Richard Serra
Agnes Martin
Sol LeWitt
Channa Horwitz

Saturday, August 27, 2022

Anthony Pearson "Casements" @ David Kordansky

Untitled (Casement), 2021
linen embedded in pigmented Hydrocal
54 1/4 x 41 1/8 x 2 7/8 inches 
(137.8 x 104.5 x 7.3cm)





Untitled (Coupled Casement), 2022 
cotton Spandex embedded in pigmented Hydrocal 
15 x 16 x 3 3/8 inches 
(38.1 x 40.6 x 8.6 cm)

Untitled (Casement), 2022
cotton Spandex embedded in pigmented Hydrocal
 53 1/4 x 18 1/4 x 1 1/2 inches 
(135.3 x 46.4 x 3.8 cm)




Untitled (Coupled Casement), 2022
 cotton Spandex embedded in pigmented Hydrocal 
32 3/4 x 14 3/4 x 3 5/8 inches 
(83.2 x 37.5 x 9.2 cm)

Untitled (Coupled Casement), 2022
 cotton Spandex embedded in pigmented Hydrocal
 35 1/2 x 23 3/8 x 2 3/4 inches 
(90.2 x 59.4 x 7 cm)




Untitled (Upright Casement), 2022
cotton corduroy embedded in pigmented Hydrocal
4 5/8 x 18 1/2 x 10 3/4 inches 
(11.7 x 47 x 27.3 cm)


Untitled (Upright Casement), 2022
cotton Spandex embedded in pigmented Hydrocal
6 x 13 x 18 3/4 inches
(15.2 x 33 x 47.6 cm)


Untitled (Tablet), 2022
 bronze
 35 1/8 x 15 5/8 x 1 1/2 inches 
(89.2 x 39.7 x 3.8 cm)



Sheets. Bedding. Pillows. 
Lint. 
Surface. 
Uncanny material memory. 
The word felt, a material and the past tense of feel. 
Wrinkles. Folds. 
Bodies. 
Relations(hips). Clusters. Groups. 
Simultaneously soft and hard, a visual illusion. 
Impressions. Casts. Cast impressions.