dayoutlast: February 2013

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.

--Justin Lowman

Saturday, February 23, 2013

"The Assistants" curated by Fionn Meade @ David Kordansky

Matthew Brannon

Contents of his wallet., 2011

linen, paper, acrylic, enamel and ink collage

24 x 18 inches

Andrea Büttner

Tent, (marquee), 2012

woodcut on paper, diptych

each: 76.77 x 48.43 inches

Rodney McMillian "Against a ‘Civic Death’: an overture" @ Susanne Vielmetter

Representation of a Landscape as a Wall, 2013

acrylic, latex, and ink on paper

14 feet x 48 feet six inches

Detail

Frederick Hammersley (two paintings) @ LA Louver

In Two the Fray, #5, 1978, oil on linen, 45 in x 45 in

Side wise, 1994, oil on linen, 45 in x 45 in

Frederick Hammersley "The Computer Drawings 1969" @ LA Louver

Back and White #2, 1971
oil on linen

Monday, February 11, 2013

dayoutlast statement revision

Is it possible to critique art simply by training the camera in such a way that center and edge of frame would constitute the field to be considered? How would additional photos, details or multiple positions support such an inquiry? Would such a constellation and sequence of images constitute ones point of view and assessment? What began as questions much earlier has formalized via blog, here titled dayoutlast.

Not only does each picture presented ask such questions (knowing full well in some instances that galleries may be using very similar photos for promotional purposes and now I too am complicit in such racket), but the spaces between photos both in virtual terms within said blog but also within the spaces of representation can be wondered about as well.

As an important component of an engaged art practice, I consider my obligation for my interests to parse the relations between virtual and actual conditions. As such, I must traverse the southern California landscape physically, at some level embracing all systems in play. It is my hope that the results of such a search will reveal patterns of my interest thereby proposing dialogue and critique in the best examples. Of course, there can be no substitute for pleasure in the process.

Enjoy!

Saturday, February 9, 2013

Michael Rey @ Young Art

Detail