dayoutlast: February 2020

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.

--Justin Lowman

Thursday, February 27, 2020

Thomas Lawson "Attending to the Bats" @ Louise Alexander Gallery/AF Projects

Roman Head IV, 2016

Oil on canvas

h 76.2 x w 76.2 cm

(h 30 x w 30 in)

White on White, 2018

Oil on canvas

h 213 x w 182 cm

(h 84 x w 72 in)

Brick, 2019

Oil on canvas

h 45.72 x w 60.96 cm

(h 18 x w 24 in)

Stormy Weather, 2019

Oil on canvas

h 182.88 x w 152 cm

(h 72 x w 60 in)

Bats and Umbrella, 2019

Oil on canvas

h 121.92 x w 152.4 cm

(h 48 x w 60 in)

Male Beauty, 2017

Acrylic on satin

h 121.92 x w 101.6 cm

(h 48 x w 40 in)

https://www.louise-alexander.com/exhibition/thomas-lawson-attending-to-the-bats-february-1-2020/

Adam Moskowitz in "Grammars of Creation" @ Moskowitz Bayse

Counterform Grids in Pale Gold, 2019

UV ink on aluminum

36 x 36 inches

Adam Moskowitz in "Grammars of Creation" @ Moskowitz Bayse

Naama Tsabar "Inversions" @ Shulamit Nazarian

TRANSITION, 2019

Wood, amp grill cloth, cables, disassembled Boss Katana 100 guitar amplifier,

knobs, wires, circuit board, ports, speaker

63 x 40.6 x 6.5 inches

INVERSION #1, 2020

Wood, strings, polyurethane and latex paint, banjo tuners,

metal contact microphones, wiring, cable port

66 x 35 x 4.75 inches

TRANSITION, 2019

Wood, amp grill cloth, cables, disassembled Fender rumble 100 guitar amplifier,

knobs, wires, circuit board, ports, speaker

51 x 38.5 x 7 inches

INVERSION #2, 2019

Wood, microphone, metal, plastic, polyurethane and latex paint,

cable port, mixer

50 x 58 x 4.75 inches

WORK ON FELT (VARIATION 22) PURPLE, 2019

Felt, carbon fiber, epoxy, wood, archival PVA, bass guitar tuner,

piano string, piezo microphone, guitar amplifier,

73 x 65 x 30 inches

WORK ON FELT (VARIATION 23) BLACK, 2019

Felt, carbon fiber, epoxy, wood, archival PVA, bass guitar tuner,

piano string, piezo microphone, guitar amplifier

74 x 50 x 18 inches

https://www.shulamitnazarian.com/exhibitions/9/

Sunday, February 16, 2020

Robert Duran and Paul Mogensen @ Karma | Frieze LA 2020

Robert Duran

Untitled, 1974

Acrylic on canvas

80 x 93 1/2 inches

Paul Mogensen

no title, 2018

Oil and gouache on canvas

60 x 60 inches

Tuesday, February 4, 2020

Anish Kapoor @ Regen Projects

Double S-Curve, 2019

Stainless steel

86 x 576 x 68 1/2 inches (218.4 x 1463 x 174 cm)

Concave Convex Mirror (Lens), 2019

Stainless steel

59 1/8 x 59 1/8 x 19 5/8 inches (150 x 150 x 50 cm)

Concave Convex Mirror (Acute Triangle), 2019

Stainless steel

59 1/8 x 59 1/8 x 19 5/8 inches (150 x 150 x 50 cm)

Concave Convex Mirror (Circle), 2019

Stainless steel

59 1/8 x 59 1/8 x 19 5/8 inches (150 x 150 x 50 cm)

Rectangle Mirror, 2019

Stainless steel

86 5/8 x 66 1/8 x 31 1/2 inches (220 x 168 x 80 cm)

Concave Convex Mirror (Rectangle), 2019

Stainless steel

59 1/8 x 59 1/8 x 19 5/8 inches (150 x 150 x 50 cm)

Anish Kapoor @ Regen Projects