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, September 9, 2017

"Los Angeles to New York: Dwan Gallery, 1959–1971" @ LACMA

Dan Flavin
"monument" on the survival of Mrs. Reppin, 1966
Warm white and red fluorescent light

light in three dimensions moves to line in three dimensions

Fred Sandback
Blue Corner Piece, 1970
Blue Elastic Cord

line and illusion give way to layers of color 

Robert Smithson
Glass Stratum, 1967

repetition radiates from and toward a center

Robert Smithson
A Nonsite, Pine Barrens, New Jersey
1968 (nonsite)
Painted aluminum, sand, and painted wood

Robert Smithson
Gyrostasis, 1967
Painted steel

would have been nice to see this work as isolated object, the way Spiral Jetty, for example, works in Utah; this constellation of works certainly underscores the dialogue between spatial event, artwork, and representation concerns

an odd framing device of the moment

difficult not to consider Heizer out the window in relationship to the works and the show itself

Robert Grosvenor
Untitled (yellow), 1966/2016
aluminum and expoxy paint 

frozen beam of symbolic light gives way to cerebral motion; a different kind of levity

Marcel Duchamp
From or by Marcel Duchamp or Rrose Selavy (The Box in a Valise), 1935-41
Paper, board, and mixed media

open-mind and dingy tinge of collected pictorial plays; 
blacks and whites gives way to inter-dimension

Lee Bontecou
Untitled, 1960
Welded metal, canvas, and wire relief

Charles Frazier
Albion, 1962
Wood and canvas

Duchamp, Bontecou and Frazer seeking to understand surface and contact based on proximity (viewing distance)

Jean Tinguely
Odessa, 1963
Scrap, forged iron, wheel, electronic motor, and black paint

color or rather the suggested absence of color in forms; 
speaking of color and form, this Liz Larner work came to mind

Ad Reinhardt
Ultimate Painting, 1963
Oil on canvas

Color as a material and a visual/perceptual problem as it pertains to direct viewing and photographic representations such as these (my concern more than the actual concern of the works themselves save notions of absence and limitlessness)

Yves Klein
Untitled Pink Monochrome, 1961
Dry pigment and synthetic resin on gauze mounted on panel

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