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.
Over the past five or six years, I have become completely enamored with Hammersley's work. Through the course of three exhibitions at LA Louver in 2013, 2014, and this one from 2017, I have seen a large segment of his oeuvre. Very little disappoints with its interests between organic/geometric abstraction formally, consistent inconsistencies (or is it inconsistent consistencies), and so on. The point is that through an art practice, comprised primarily of painting, and drawing, Hammersley has managed to dissect and draw attention to irreconcible yet irrevocably connected issues surrounding concepts of sequence and form, some revelation of thought itself, I presume.
In the spirit of cutting up, I have rearranged the sequence of my viewing and the viewing sequence of the gallery show itself to be sure. For the most part, I often share my images in the same sequence that I view the show, as if there were some kind of authenticity at stake about such ordering. Sometimes, rigid structures must give way to softer, more malleable things, and, this, I believe, is where my interest in Hammersely connects. Note, also, that there is missing information. As I learn more about certain works, I will update. Would be great to have the information complete. Alas, like the reordering/cutting-up, things may never quite be ideal. More than anything, is my hope that these images will reveal the value of chronology and its alternative synchronic approach. Perhaps, it can be said that form is out of order.
Family Tree #2, 1991
oil on 7-ply oak in artist-made-frame
panel: 8 3/8 x 11 1/2 in.
frame: 11 3/4 x 14 3/4 in.
Hot & heavy, #5, 1990
oil on cotton on birch in artist-made frame
panel: 9 x 11 in. (22.9 x 27.9 cm)
frame: 14 x 16 in. (35.6 x 40.6 cm
Money from home, #8, 1986
oil on rag paper on linen on wood in artist-made frame