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
Saturday, February 23, 2013
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
Detail
Frederick Hammersley (two paintings) @ LA Louver
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| In Two the Fray, #5, 1978, oil on linen, 45 in x 45 in |
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| Side wise, 1994, oil on linen, 45 in x 45 in |
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!
