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, April 14, 2012

Sarah Braman "These Days" @ International Art Objects Galleries

"Calling Wendy," 2012, aluminum, plexiglass, paint, radio, 67 x 63 x 32 1/2

"Time Machine," 2012, aluminum, plexiglass, paint, 70 1/2 x 53 x 25

"Dawn Dog," 2012, aluminum, plexiglass, paint, 51 x 24 x 68

What's not to enjoy about light, surface, and color?  The better of the works in the exhibition (images shown here) refers less to form as cast-off readymade and more to an ongoing potential to transform the present through interplay of movement (light and sound), though it was not clear to me, for example, what the boom box was referencing in "Calling Wendy" outside of nostalgia, formal accretion and vertical reassertion. Of course, that might be enough.  On the the other hand, I tuned in to what was playing, and it felt far too random (though left end of the dial) for what appeared like otherwise very deliberate decisions within each work and possibly as a whole installation, especially where there was adventitious dialogue between objects ("Time Machine" and "Dawn Dog," for example).  For "Calling Wendy," (indie pop reference or love lost paean?) I would have been happier with "static"---both it and not---as a way to oppose the formal dynamics phenomenally and linguistically. Perhaps that would have been too easy...? Either way there is enough verifiable seduction embedded within these objects to override any suggested, casual indifference; titles and press releases are not enough to disclaim such lacks of desire (and they are not loose enough to be thought of as such).  Besides, art historical references abound here.  Why apologize? I dunno, I guess that's how things go, er um, these days. I keep wanting to refrain, oh well, whatever, nevermind...

Jonas Woods @ David Kordansky

"Calais Drive," 2012, oil and acrylic on canvas, 104"x 84"

"BBall Studio," 2012, oil and acrylic on canvas, 105" x 138"

"Untitled (Kusama Double-Portrait)," 2012, oil and acrylic on canvas, 77" x 53"
Jockney? Wanting to do math where it doesn't make sense to do so (("Jonas" minus "onas"=J) or ("jock"+ Hockney))=Jock Hockney.  Or self + subject + historical referent= another grand celebration of why living in southern California is all about the fine line between interiority and exteriority. Light + color + place= hard to tell the differences sometimes and it doesn't really matter because painting can be a ball!

Elad Lassry @ David Kordansky

Expecting another suite of exquisitely framed, well-manicured photos, instead, I was reminded how much more important an installation space can be to a viewing experience than is often considered for such a regular showing of smallish black and whites.  Not quite leaving with anything memorable in that department, again I was enthralled with how beautiful light, surface, and color can be for their own inter-relations in such a space.  (Note subtle interplay of light, shadow, and color in my hand-held installation shots).  I guess if I were to attempt any kind of full-circle thinking, perhaps Lassry's previously colored, photo frames were to be thought about as reflection (past elements) and more importantly, something outside of the presence of the still (dead), black and white photograph.  To extend this thinking, I guess with this recent body of work, we are to see ourselves more complicit in the viewing experience--peek-a-boo, repetitive, frame by frame, and so on.  Come to think of it, I do recall an overall character of deep history and nostalgia within the images. Unfortunately, nothing concrete registers save the distant view of a man, and that feels like too much of a partial story. Perhaps I'm just being selfish here, but I could have used more of the artist's more recent past, a fix for high quality finish in frame and image.  Because this showing seems like such a big risk in one sense, and so transitional in another, the only thing to do is default to the "wondering-what-might-be-next" line of thinking.  As for now, I'd rather have stayed in a present.

"Requiem for the Sun" Mono-ha @ Blum & Poe