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.

Tuesday, July 17, 2012

Allison Miller "Lake," oil, acrylic, and dirt on canvas, 2012 @ Made in LA (Barnsdall)

Having followed Allison's work over the past five years or so, I have observed an earnest evolution within the framework of painting.  Aside from the one posted here and just a few others recently at ACME, much of the work lately is easily dismissible for whatever reasons. On the other hand, the few that work seem to really work. One may not take such odds to Vegas, but then again, it's not even the point to suggest as much.  "Lake" (pictured here) makes a clear comparison between lights and darks, blue and orange, contrasts and complements---things intermingling, gurgling beneath the surface.  Space is  understood as layered, lines as aberrations, occasionally stuck where things intersect---all worth considering important.  She's at her best when repeated lines are long and shapes cover large areas.  Variations in surface texture further heighten the viewing experience where the eye continues to  loop from the edge towards the middle then back. In this way, it makes a nice, static foil to Cayetano Ferrer's dynamic light and carpet installation as seen elsewhere in this same show. On this point, these two works--Millers and Ferrer's--may very well be the ones worth remembering the most as standouts in an exhibition that proposes to encapsulate an art moment for such an expansive, sprawling, and incomplete region. On this point, I suppose the aims of the exhibition succeed by reflecting as much.

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