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.

Sunday, August 21, 2016

Made in L.A. 2016 @ Hammer Museum


Laida Lertxundi

We Had the Experience but Missed the Meaning, 2014
16mm transferred to DVD, color, sound
8 min.

Vivir para Vivir, 2015
16mm transferred to HD, color, sound
11 min.

025 Sunset Red, 2016
16mm transferred to HD, color, sound
13:41 min.



Landscape Plus, 2016
Photo engraving, transfer, chine colle, hand drawn ink line


Orgrasmo, 2016
C-print



Shahryar Neshat

Hard Up for Support, 2016
Marble, HD, video, color, sound
9:20 min.











Accident (After David Antin), 2016
HD Video, color, silent
2:43 min.




Huguette Caland

"Rossinante under Cover VII" dragon fly, 2011
Mixed media on canvas







Untitled, 2000
Oil on canvas



Rafa Esparza












Rebecca Morris








Sterling Ruby

Table 1-6, 8-9, 2016
Steel



















Margaret Honda

Spectrum Reverse Spectrum,  2014
Cases and reels; 70mm film (aspect ratio 2.2:1), color, silent
21 min.

Color Correction, 2015
Cases and reels; 35 mm film (aspect ratio 1.85:1), color, silent
101 min.




Dena Yago




Something Difference, 2016
Waterjet-cut silicon, semitransparent paper




Even Babies Sing the Blues, 2016
Waterjet-cut silicon, semitransparent paper


Pay Up, 2016
Waterjet-cut silicon, semitransparent paper




Lauren Davis Fisher





For the following five images, I was unable to capture what I would qualify as adequate both in sound, image, and space. So, I am sharing ones that I have found online with the corresponding source beneath. Perhaps, because of, or in spite of this challenge of reproducibility, this work embodies what I considered most essential about the works for Made in L.A. 2016: the experiential, phenomenological as aspect of a moment.  This is also what I think a biennial such as this one is attempting to frame, however possible or loosely, and what notions of "contemporary" are trying to access/apprehend in such a context (a biennial of artist who may or may not be from around here). Certainly, pulse/rhythm and pattern are close to the point for all the works I include in my survey of Made in L.A. 2016.



Waddada Leo Smith

blogs.artinfo.com


blogs.artinfo.com


republicofjazz.blogspot.com


hammer.ucla.edu


hammer.ucla.edu


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