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...

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