LA art revisited, sites pacific, and occasionally elsewhere
dayoutlastis 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.
I can't quite decide how these paintings hang together as whole in such a large vacuous space. They instantly reminded me of the first ones that were shown there, the first ones ever publicly displayed there to my knowledge. They were the Laura Owens paintings that inaugurated the space, her space. So, big paintings in a big place that function visually on any scale in terms of content, likely macro. Grids and relations, abstractions and decorations... Patterns. Or not.
How abstraction and figuration can be sutured and conflated through activity such as group groping is worth considering as body and mind interact and reflect continuously. Titles reinforce the connections and flat-bed picture plane comes to mind also, one that is simultaneously flat and deep.