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, December 16, 2017

Phyllis Green "LIFE AFTER LIFE AFTER LIFE" @ Chimento Contemporary

Sky Shade, 2016
wood, canvas shade, fluorescent tubes
45 x 60 x 8 inches

Having seen an early body of Green's work, I was surprised by this particular piece.  I was also surprised with how much it resonated with something I had made and shown myself in 2012 (see here).  Assuming no relation other than happenstance, it occurred to me in viewing Green's version of a similar idea that while I was thinking about an architectural top line, a light valance, I just as easily could have been thinking about blinds.  I like the blind metaphor better. It fits better with the arc of my vision.  Whether shade or blind or valance, certainly how vision relates to architectural features is worth considering, especially if one is willing to allow human body and architectural body to  commingle, even if conceptually.  In this work, the window illusion seems obvious and fixed.

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