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 6, 2017

Mary Weatherford "like the land loves the sea" @ David Kordansky


Daisy, 2017
Flashe and neon on linen
117 x 123 x 4 1/2 inches


Yellow exceeds the frame. Light extends beyond and bends. 


The photograph integrates the work. 







emerald underwater,  2017
Flashe and neon on linen
117 x 104 x 5 inches




Most striking deep red against pthalo green or viridian. Suddenly, tampon string and the stains which surround. 


Blue poles. Pollock. 


Jackson Pollock
Blue Poles, 1952
83 x 191 inches


Eden, 2017
Flashe and neon on linen
117 x 234 x 4 3/4 inches




Scale shift. The line does not integrate. It's a superficial appliqué. 
Not sure how the neon enhances the paintings that conjure Mitchell and Frankenthaler, albeit a horizontal orientation which emphasizes land over person (as the earlier AbEx painters would). Perhaps the lit line is the mark and reminder of the human. Yellow as representation of light juxtaposed with some version of itself. Phallic and formless(ness). Firmness. Formless. 



Butterfly, 2017
Flashe and neon on linen
117 x 234 x 4 1/2 inches



Light as distraction (subtraction) or addition. Arbitrary or intentional placement of light in relation to painted marks? The question, perhaps the very essence of this kind of painting. Splash. Waves. 



City, 2017
Flashe and neon on linen
117 x 234 x 4 3/4 inches






Complementary play between light and paint. Two separate yet simultaneously separate systems within perception and language. Passages that construct form in terms of painted marks through lights and darks. And so, the literal light juxtaposed signifies the emphasis. 



Animals, 2017
Flashe and neon on linen
117 x 234 x 4 1/2 inches






purple gecko, 2017
Flashe and neon on linen
117 x 104 x 4 inches


Mannered and spare. 


Arroyo walk, 2017
Flashe and neon on linen
117 x 104 x 4 1/2 inches





Tasteful neutrals. 


silver mountain cave, 2017
Flashe and neon on linen
117 x 104 x 4 inches



Rosalita, 2017
Flashe and neon on linen
117 x 104 x 3 5/8 inches




Application of paint v. Application of light. 

Endless, restless viewing the way sculpture works, the way these seem to be. 

Alchemy, Vulcan ritual, oil and water not mixing (flashe) the way light and pigment don't reconcile yet bind. Emulsions. 

At one point, Flavin affixed a light fixture to a painted support. How is this different aside from literal, nit picky distinctions, such as neon v. fluorescent, for example? 

Continual horizon(tal) quest... The line/light that divides. Like where the land meets the sea (see?).
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