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, March 12, 2011

James Benning, stills from "Two Faces," 2010, Digital Video @ Steve Turner

Pae White, Portfolio Edition, 1999, Set of 6 silkscreen on paper @ 1301PE

Jedediah Caesar "Mango Obstruction" @ Susanne Vielmetter

Julian Hoeber "Endless Chair," 2010-2011, Plywood, rubbed color finish and steel hardware Installed dimensions variable @ Blum & Poe (Part 6)

Julian Hoeber "His and Hers," 2011 Plywood, fabric, needlepoint, foam. Two parts; 25 x 30 x 80 inches each @ Blum & Poe (Part 1)

Julian Hoeber "Execution Changes 16 (VS Q1 LMJ DC Q2 RMJ DC)," 2011. Acrylic on panel with collage 62.5 x 44.5 inches framed @ Blum & Poe (Part 5)

Julian Hoeber "Execution Changes 21 (NS Q1 CJ LC)," 2011. Acrylic on panel 50.3 x 36 inches framed @ Blum & Poe (Part 3)

Wonderfully problematic in terms of color reproduction...