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.

Tuesday, July 25, 2017

"CD SM KSS" @ Redling Fine Art

Light/color, pink effect/affect,
 a color of light said to be a formula for insanity(at the very least increased anxiety) when exposed for too long

Constance DeJong
Red Emerson, 2015-2016
Re-engineeered radio with amplitude-sensitive LEDs, audio
8 x 13 1/2 x 21 inches
TRT: 22:25 minutes

Sound conveyed through obsolescence/revival/retro

Sarah McMenimen
Flow, Swarm, Swirl, Follow, 2017
collected shells, poured aluminum, aluminum-cast Mooring seed pods, brass tubes, bells, plaster, tape, string, steel
60 x 24 x 20 inches

Stage, mic stand, laundry list of ingredients, a level of specificity well-beyond mixed-media or combine

Kate Spencer Stewart
Decorative Triptych, 2017
Flashe and casein on canvas
84 x 252 inches

Paintings that signify a historical, sublime conversation, whence vacuity is more apropos than seeing things for what they are; colored light unifies the exhibition (and alludes to as much), yet it's not clear what benefit to each part, especially painting surfaces on such a (desired) scale

A clear image about things moving light to dark (and beyond) without the confusion between media and form with this grouping of works.  Conversations about time as it pertains to the space itself rather than the constellations within. The whole (lighting) dominates the parts (paintings, sculptures), and so if we don' care about seeing things in their proper (apropos) light, then why should we consider them at all.  While the sound from Red Emerson be excepted from this concern and also valued as also the value of light presence should (in terms of art concern and well beyond), the view that this last image presents could just easily be any one of the others, a speaker, a mic stand, or mural-sized painting. After all, it was available. Thus, interesting concepts were cluttered by contextual confusion, especially where seeing (and seeing a point) is concerned.

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