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.

Friday, March 23, 2018

Aaron Wrinkle "LA Salon" @ there-there

VGC 10 with Blue Form/Sleeper, 2018
Flashe and acrylic on cotton bed sheet
77 x 77 inches

Biomorphic. cf. Miro 

VGC 7 Blue/The Fall, 2018
Flashe on cotton

cf. Baziotes

VGC 9/Cut + Paste, 2018
Flashe, acrylic, and enamel on canvas on board with aluminum frame

Pinwheel. Kaleidoscope. Pastiche. Breaking apart. Work rags. Car and painting. 

America Now/Multi Colored, 2017
Acrylic, enamel and spray paint on found educational banner
63 x 29 inches

Flag. Color. Muddled. cf. Jasper Johns (maybe)

VGC 00/Transmitter, 2016
Acrylic, enamel and industrial filler on canvas
39 x 26 inches

Contained. Not fussy. 

Farm Form 1/Missouri, 2016
Auto enamel and industrial filler on canvas
53 x 33 inches

Farm Form 1/Missouri, 2016
Auto enamel and industrial filler on canvas
55 x 33 inches

GOD 999/Black Form, 2016
Scary paint, acrylic, enamel and oil on found canvas in artist frame
60 x 85 inches

The Kiss with Moon/Black, 2014
Acrylic on canvas
96 x 48 inches

Folky. Materials born of necessity (frames, surfaces). Thinking born of a similar sense of need? 

These paintings are like a young girl playing with a super ball. Catch. Release. Move. Chase. Stop. Continue. Try again. Playful. Short-lived. Repeat. And also like handling slime. 

An honest/earnest inquiry. 

Peter Halley @ Kohn Gallery

HUB, 1998
Acrylic, Day-Glo, metallica acrylic and Roll-a-Tex on canvas
92 x 69 inches

Shahryar Nashat "Image is An Orphan" @ David Kordansky

Untitled, 2018
UV printed on Hydrocal, gesso, rubber, and powered-coated steel
42 1/2 x 34 1/8 x 2 inches

Cold Horizontal (GHOST), 2017
synthetic polymer, fiberglass pigment, and powder coated steel
31 1/2 x 70 x 18 1/8 inches

The Dangling Else (LIVE HORNY GUYS!!!), 2018
cotton, magazine clippings, metal, and nylon
25 1/2 x 4 3/4 x 5 inches

Mother on Wheels (Verde Antique),  2018
marble, powder-coated steel, and castor (sic) wheels
34 3/4 x 22 3/4 x 19 inches

Subdued lighting. Death drive. Clenching materiality. Unravel fiber (optics). Tombs and monuments. Umbilicus. 

Broken English, 2018
synthetic polymer, atomized acrylic, and fiberglass
15 1/8 x 12 1/4 x 12 1/8 inches

Image Is an Orphan, 2017
High-definition video, color, sound
TRT: 18:22 minutes

Synthetically real. Really synthetic. Getting a grip. A light condition. Conditional light. Approaching an unattainable threshold. 

"How will I die?
Who will carry me?
Who will feel my after-effects?
How will image die?"

Acts of power and risk that seek answers to these questions. Individual. Collaborative.