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, October 21, 2017

Julian Stanczak "DUO" @ Diane Rosenstein

Succession, 1989
Acrylic on canvas
60 x 60 inches

Offering Violet, 1970
Acrylic on canvas
70 x 60 inches

Mystic, 1976
Acrylic on canvas
38 x 28 inches

Touching Purple, 1986
Acrylic on canvas
70 x 70 inches

Interactive, 1989
Acrylic on canvas
44 x 22 inches

Offering White, 1991
Acrylic on canvas
33 1/4 x 24 1/8 inches

All the complications of vision are present with these works, paintings that reference color, pattern, and rhythm.  The restlessness of of each one reminds more about the value of a present moment as they eye continuously shifts to locate something.  Such was the movements of earlier Op Art attempts  as well. If the tension of structure and contrast within each is not enough in terms of line and shape, then color itself can be seen as complicated within the viewing experience itself AND my photographic representations. If you look at the first image, both the whole composition and my details reveal the diversity within a single image. If that's not enough, the camera's inability to grasp some kind of "truth" about the primary viewing experience should also be cause for contemplation.  Such a medium and the media it represents ought to be taken in proper context and perspective not for a means to a simple end of pleasure (but partially why not and in spite of my own partial distaste of these, partially because most won't look past the Op dazzle and partially because they are too uniform in my opinion) BUT rather too consider the symbolic language offered here about how something as seemingly simple as color, form, and pattern can give way to complex thoughts about difficulties of understanding, perception, and possibly how such things change over time.  Taken together over a thirty year period, it is also remarkable to consider the shift, slight as it is within a single body of work, one that asks how to ponder and reconcile the relations of two or DUO as the exhibition title states. Just compare the first two paintings in this post as a starting point; they are twenty-nine years apart yet could have been made the same day off the same palette. Change and an understanding about change is subtle at best.

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