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, June 30, 2018

Paul Kremer in "Texas" Curated by Matthew Brown @ Philip Martin Gallery

Deborah Hede "SLINKY" @ Shoot the Lobster | Los Angeles

L to R (Top to Bottom):

Curb Schematic, 2010
graphite, charcoal, pastel and enamel on paper
26 x 19 inches

Meridian, 2010
graphite, pastel and enamel paint on paper
26 x 19 inches

Double Transport, 2009
graphite, pastel and enamel paint on paper
26 x 19 inches

Displaced Geometries, 2008
graphite, charcoal and pastel on paper
26 x 19 inches

Sequential Curb, 2010
graphite, pastel and enamel paint on paper
26 x 19 inches

Becca Man "Protea" @ Ghebaly

Tiger, 2013
Oil on linen
60 x 60 inches

Maria Thereza Alves in "Bounty" @ Grice Bench

Utopia: A Phototext, 1984-2018
Set of 4 inkjet prints, edition 1 of 2; 1 AP, 
each 20 1/2 x 16 1/2 in. (framed)

Reena Spaulings "The Male Gates" @ Matthew Marks | Los Angeles

Medusa 3, 2018
Acrylic and oil on linen
66 x 50 inches; 168 x 127 cm

Gate 1 and 3, 2018
Enamel paint on security gate
87 x 32 x 23 inches each

Gate 3, 2018
Enamel paint on security gate
87 x 32 x 23 inches

Gate 1, 2018
Enamel paint on security gate
87 x 32 x 23 inches

Gate 4, 2018
Enamel paint on security gate
87 x 32 x 23 inches

Seascape, 2014
Farrow & Ball’s Estate Emulsions on canvas
120 x 336 inches; 305 x 853 cm

Medusa 7, 2018
Acrylic and oil on linen
66 x 50 inches; 168 x 127 cm

Medusa 1, 2018
Acrylic and oil on linen
50 x 78 inches; 127 x 198 cm

Saturday, June 16, 2018

Katie Grinnan "Electric Data Wave Serenade" @ Commonwealth and Council


Electric Data Wave Serenade/Dissolving the Rock, 2017-18
Three-channel video installation
Dimensions Variable

Channel 1 of 3:
stills from HD Video, color, sound
TRT: 13  minutes

Cast body sleeping with Friendly Plastic and sand, nylon fabric, gator board, grommets
Approx. 44 x 58 x 13.75 in

Earthquake Performance, 2018
Aggregate of Friendly Plastic and earth from Death Valley
Approx 30.5 x 60 x 27 in (77.5 x 152.4 x 68.6 cm)

Channel 2 of 3:
still from HD Video, color, silent
TRT: 5 minutes, 19 seconds

Channel 3 of 3:
stills from HD Video, color, sound, 5 min, 19 sec, cast resin rock molded from a rock in Topanga Canyon, projector, speakers
Approx. 13 x 30 x 24 inches


Data-Mind Geo-Phonics, 2018
CNC'd wood data fragment, PLA plastic data fragments, Bronze data fragment, wood, paint, wooden mallet

Road Trip Interpolation, 2017-18
Sculpture with video
Dimensions overall: 48 x 70.5 x 136 inches (121.9 x 179 x 345.4 cm)

Single-channel HD video, color, sound, 5 min 22 sec
Animation traveling through EEG date of 5 seconds of dreaming


Cast resin rock molded from a volcanic rock in Death Valley, projector, speakers
Approx. 11.5 x 27 x 16 in (29.2 x 68.6 x 40.6 cm)


Wall cast from a CNC'd interpolated image of a rock from Zabriskie Point, aggregate of Friendly Plastic and earth from the same rock at Zabriskie point
Approx. 48 x 70.5 x 20 in (121.92 x 179 x 50.8 cm)

5 Seconds of Dreaming (aggregate), 2017-2018
Cast aggregate molded from a 3D printed landscape derived from 5 seconds of EEG date made of resin and sawdust from CNC's data fragment, sand, enamel paint, welded steel, spray paint
Approx. 60 x 96 x 96 in (152.4 x 243.8 x 243.8 cm)

Like the last show of Katie Grinnan's that I saw at LA><ART in March of 2016 (see here), the elements of the installation were challenging to parse.  That said, this exhibition seemed to clarify significantly more so how layers interact and reflect one another between material and less tangible conditions, namely energy waves as it applies to earth, human body, motion, and how things become other things, or at the very least reflect one another.  cf. How earth samples bear striking resemblances to body surfaces, wave contours, and even digital imagery, organic irregularities all!

Body, mind, matter and technology are certainly integrated as one matrix within this installation.  How is not exactly clear and the checklist does not exactly help, as the overlapping and layering effects of works persist to the dismay of any kind of linear check-listing.  This, in my opinion, is an important value of this work, that things relate and are not always what they seem though strongly connected, certainly structurally.  While the viewing experience and the checklist are at odds, it it no way compromises the value of the primary viewing itself.  Navigating with uncertainty as a viewer somehow aligns with the video subject who navigates wavy mountains or occasional, visual delays with the sculpture which moves in parts like actually seeing rates of digital decay, the rise and fall of actions.

Having built a conversation surrounding the analog and the digital, the wave and the step, the contour and momentary sample, this installation/installations evolves what I was seeing previously within such terms in Grinnan's work. To show you what I mean, I thought about the following ones, how they simultaneously/continuous (virtually contiguous?) situate with one another, both stacked and extended.

Image result for katie grinnan laxart

Nocturnal Hologram, 2015
Sand, Friendly Plastic, inkjet prints on protoplast made from photograms of dream images
48 x 63 x 46 inches


 Mirage, 2011
Friendly plastic, enamel, and sand 
79 x 63 x 72 inches Installation 
View at the Hammer Museum, 2013 | Photo: Brian Forrest

Image result for katie grinnan armory center for the arts

Shipwreck, 2003
Photos on foam, cellpaint, enamel, and dirt
82 x 38 x 87 
@ Armory Center for the Arts