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, July 8, 2017

Artists of Color @ The Underground Museum

Jennie C. Jones
Composition for Sharps, 2010
Piano key sharps adhered to linen

Noah Davis
2004 (1), 2008
Dutch boy house paint on linen

Joe Goode
Purple, 1961-1962
Oil on canvas with painted milk bottle

Jo Baer
Untitled, 1967
Oil on canvas

Dan Flavin

Donald Judd
Untitled, n.d.
Aluminum and colored plexiglass (sic)

Diana Thater
RBD Windows for MOCA adapted for The Underground Museum, 2001-2017
Color PVC, metal brackets

Jennie C. Jones
SHHH, The Red Series #2, 2014
Noise cancelling instrument cable, cable ties, and endpin jacks

Imi Knoebel
Z.T.1, 1987-88
Acrylic on wood

Michael Asher
no title,  1966
Heat-formed plexiglass (sic)

Lita Albuquerque
SIRIUS, 2006
Salt, fiberglass and pigment

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