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, 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



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