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, February 2, 2024

Word As Image @ Norton Simon Museum







Arthur Secunda
Cathedral Voices, 1969-71
Color lithograph trial proof





John Cage
Not Wanting to Say Anything About Marcel, 1969
Silkscreen on plexiglass (sic) in wooden bases

















Mike Mandel
Baseball Photographer Trading Cards, 1975
36 offset Lithographs





Andy Warhol
Campbell’s Soup I: Vegetable, 1968
Silkscreen on paper
35-1/2 x 23-1/8 in. (90.2 x 58.7 cm)



Ed Ruscha
Ooo, 1969
Lithograph on calendered Rives BFK paper; torn and deckle edges

Zoo, 1969
Lithograph on calendered Rives BFK paper; torn and deckle edges



Claes Oldenburg
Notes XI: City a Alphabet, 1968
Color lithograph



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