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, August 18, 2018

Charles Long "husbands sons fathers brothers" @ Tonya Bonakdar | Los Angeles

husbands, 2018
Acrylic lacquer, epoxy, pump, blessed holy water, Los Angeles tap water
31 x 29 x 12 inches each

fathers, 2018
Hydrocal, papier-mâché, Carapace, wood, steel
63 x 70 x 43 inches

brothers, 2018
Acrylic lacquer on epoxy resin
Six parts: 17 1/4 x 20 inches each

sons, 2018
Papier-mache, Carapace, plaster, water color
17 x 54 x 19 inches

leave it to boys to fiddle, to come up with a name for it, to personify it
a bundle of sticks
pieta, flaccid
innies and outies
religious angst

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