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, May 18, 2018

Eleanore Mikus @ Marc Selwyn

Tablet, 1968
Epoxy on fiberglass
71 1/4 x 66 1/2 inches

No Title, 1969
Acrylic on fiberglass
60 x 37 1/8 inches

Tablet 180, 1967-1968
Acrylic on fiberglass
71 1/4 x 65 1/2

Tablet 137, 1965-1966
Acrylic on wood
14 1/4 x 14 1/4 inches

Friday, May 11, 2018

Mokha Laget @ Louis Stern Fine Arts

Overland, 2018
acrylic, pigment, flashe on shaped canvas
50 x 50 inches

from Left to Right:

Hoodwink, 2018
acrylic, pigment, flashe on shaped canvas
28 x 32 inches

Outskirts #2, 2018
acrylic and clay pigment on shaped canvas
47 x 27 inches

Overland, 2018
acrylic, pigment, flashe on shaped canvas
50 x 50 inches

Nave, 2017
acrylic, pigment, flash on shaped canvas
72 x 50 inches

Jesse Stecklow "Staging Grounds" @ M + B

Set Flats, 2018
aluminum, steel cable, hardware
108 x 145 x 2 inches

Metronome Lights, 2018
paper, MDF, tool clips, hardware, warm and cool light bulbs, sockets, aluminum enclosure, timer
9 1/4 x 14 inches

Alternating warm and cool lights.
Also like an x-ray lab or similar medical facility.

Metronome Light (Squirrel Cage), 2018
paper, MDF, tool clips, hardware, warm and cool light bulbs, sockets, aluminum enclosure, timer, wire, chipboard flap, printed steel
9 1/4 x 14 x 4 inches

The cage. Actual repeated element from 2015 or sufficient motif? 
See here/below:

one anagram of eight...

Fire Curtain, 2018
8 anagrams for the word "fire curtain," aluminum, steel hinge, display
24 x 30 inches

Bus Shelter Box Set (Sidewalk User Behavior), 2016-2018
powder coated aluminum, chipboard, paper, bookbinders cloth, rubber bands, silicone, ribbon, button wire, powder coated and printed steel, ball bearings
10 1/4 x 15 x 15 inches

Like that pocket-sized, plastic game where all the tiny balls are meant to stop in each of the  paper cut outs. A delicate balancing act to be sure...

In having viewed two installations of Stecklows' work three years apart (2015 and 2018), both in the same spaces at M+B, I have found common ground in thinking about a game of mouse trap (the board game literally and also more figuratively), perhaps even more so in this recent showing, a staging of works that resemble the tenor of interstitial, public spaces.  In 2015, a small cage on the floor appears curiously repurposed as a light fixture here in the 2018 version.  Whether it be the exact same element makes no difference to me (save clever resourcefulness), because its appearance and also its shift between floor and ceiling fixture seems worth considering independently;  the works seem to address more of the vertical space this time around.  From the press release, one gets the idea that this exhibition, notably about waiting, embodiment, and mobility, leaves one feeling like a rat in a cage, again the labyrinth/maze as one also can't help but also think about Beckett et al.  

Such remembered experiences as bus transportation, waiting and navigating public spaces is reasonably successful in this present installation as one circumnavigates the exhibition attempting to make sense of it.  The checklist offers discrete objects to be considered but the works themselves, layered one on top of another, do not appear in any way intelligible as such.  Hence, supermarkets, bus stops/rides, as highly stimulating, thought-provoking and chaotic. While potentially interesting to think about parts, wholes, contingencies and how such things organize/constellate, it simultaneously seems potentially confusing and likely unnecessary to call objects out individually, especially given that the entire arrangement is a staged set, staging grounds.  It's in the title and certainly its appearance as theater is unmistakable. I was actually ok treating the work as one large installation that could only be appreciated and understood as a whole for this brief moment in time.  I'm also willing to consider its re-staging at some future time elsewhere, certainly not broken apart with missing pieces.  It seems important that the "game" be "played" as a complete set.  Breaking it apart and distributing it piecemeal seems too far scattered a notion to consider entropy thoughtfully,  importantly as aspects of the exhibition suggest.  That said, the work seems more about a desired thread of continuity between lived experience and its constituent, contingent representations.  So, the checklist was more confusing than clarifying, which could easily have been yet another point of the show.  

The object/installation identities issues aside, the raised ideas and viewing experience were worthwhile as stasis and dynamism interacted spatially.  The metronomic warm/cool Metronome Lights on the one hand provided predictability, and Fire Curtain offered variability while also lending a funny image of, let's call it, bus route communication aesthetics. Somehow it resonates with the same level of signification about direction, street literally.  Where are we/am I headed anyway, the exhibition and this rambling post seem to ask? One possible answer may very well have been discovered while sitting on the provided bale of hay at the entrance.  For whatever reasons, rather than watching drama unfold thence from the front, I did not elect to sit and wait; I walked (and wondered).

Mark Handforth "Zig, Zag & Flag" @ Kayne Griffin Corcoran

Green Flame, 2018
Aluminum, Pigeon Plum, Tropical Almond, paint, fluorescent light fixture and gels
60 x 72 x 12 inches

Saturday, May 5, 2018

Graduate Show and Open Studios @ CSUN

J.N. Kim
Patterns That Develop, 2018
Oil on canvas

J.N. Kim
Maintenance of Structures, 2018
Oil on canvas

J.N. Kim
Somewhere Between Nowhere and Goodbye, 2018
Oil on canvas

J.N. Kim
Sequels Are Never as Good as You Want Them to Be, 2018
Oil on canvas

J.N. Kim
Modern Age, 2018
Oil on various wood

J.N. Kim
Person to Person, 2016
Oil on canvas

J.N. Kim
Patternized Behaviours, 2016
Oil on canvas

Naomi Nadreau
VWP03 Another Scroll, 2018
Steel, plexiglass, soil, living organisms

Michelle Nunes
glass catching the light, 2018
TRT: 2 hours and 10 minutes 

Gone With the Wind Erasing Itself in 24 Hours, 2018
TRT: ongoing