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, May 4, 2013

Mungo Thomson "Untitled (TIME)," single-channel video installation, TRT: 2:30 minutes looped @ Ambach & Rice

Despite my lowly iPhone's built-in camera's inability to capture any one image from this continuous stream of magazine cover footage (which may also say something about optical perception more generally, even in a human body), it was fun to see which one I would catch. Unfortunately, also due to technical issues outside the work, the image appears in black and white. Despite my own shortcomings and playfulness, I think the point was well-taken about watching a stream of historical images flicker by, again at eye-level for the average adult (which was a nice touch. The other was that the projected imaged was the same size as an actual TIME magazine cover).  Once my 2:30 minutes were up, I moved on to Cameron Gainer's video installation in the next room, also about time, but perhaps being much less of a one-liner than this one here.

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