dayoutlast: Hammer Museum

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

Showing posts with label Hammer Museum. Show all posts

Thursday, August 30, 2018

Selections from "Made in LA 2018 @ Hammer Museum

EJ Hill

Excellentia, Mollitia, Victoria, 2018

Gelare Khoshgozaran

Medina Wasl: Connecting Town, 2018

Neha Choksi

Everything sunbright (i) in the womb (ii) lives (iii) ever rehearsing the end *indirectly, 2018

Multichannel video installation

John Houck

Sibling Rivalry, 2018

Archival pigment print

The Adjacent End, 2018

Archival Pigment Print

Country General, 2018

Archival Pigment Print

Rosha Yaghmai

Slide Samples (Lures, Myths), 2018

Found and personal artifacts, resin, glass, steel, rust

Dad's Slides, 1969-72

35mm color slides, projector, pedestal

Silicone (Book of Kings, p. 69), 2018

Silicone, eyeshadow, earth pigments, digital, print on silk, tulle, organza, nylon

James Benning

Found Fragments (scorched earth, Ash 01, RED CLOUD), 2016

Three-channel video installation, color, sound

Three looped videos, 75 min each

Left:

Found Fragments II, 2016

Found flag, September 10, 2016

Right:

Che Guevara (dead), 2017

Woven Tapestry

Criminal Complain, 2017

Framed photograph, document, rusted alternator

Eamon Ore-Giron

Breaking A, 2018

Flashe on linen

Angelitos Negros, 2018

Acrylic paint

Sunday, August 21, 2016

Made in L.A. 2016 @ Hammer Museum

Laida Lertxundi

We Had the Experience but Missed the Meaning, 2014

16mm transferred to DVD, color, sound

8 min.

Vivir para Vivir, 2015

16mm transferred to HD, color, sound

11 min.

025 Sunset Red, 2016

16mm transferred to HD, color, sound

13:41 min.

Landscape Plus, 2016

Photo engraving, transfer, chine colle, hand drawn ink line

Orgrasmo, 2016

C-print

Shahryar Neshat

Hard Up for Support, 2016

Marble, HD, video, color, sound

9:20 min.

Accident (After David Antin), 2016

HD Video, color, silent

2:43 min.

Huguette Caland

"Rossinante under Cover VII" dragon fly, 2011

Mixed media on canvas

Untitled, 2000

Oil on canvas

Rafa Esparza

Rebecca Morris

Sterling Ruby

Table 1-6, 8-9, 2016

Steel

Margaret Honda

Spectrum Reverse Spectrum, 2014

Cases and reels; 70mm film (aspect ratio 2.2:1), color, silent

21 min.

Color Correction, 2015

Cases and reels; 35 mm film (aspect ratio 1.85:1), color, silent

101 min.

Dena Yago

Something Difference, 2016

Waterjet-cut silicon, semitransparent paper

Even Babies Sing the Blues, 2016

Waterjet-cut silicon, semitransparent paper

Pay Up, 2016

Waterjet-cut silicon, semitransparent paper

Lauren Davis Fisher

For the following five images, I was unable to capture what I would qualify as adequate both in sound, image, and space. So, I am sharing ones that I have found online with the corresponding source beneath. Perhaps, because of, or in spite of this challenge of reproducibility, this work embodies what I considered most essential about the works for Made in L.A. 2016: the experiential, phenomenological as aspect of a moment. This is also what I think a biennial such as this one is attempting to frame, however possible or loosely, and what notions of "contemporary" are trying to access/apprehend in such a context (a biennial of artist who may or may not be from around here). Certainly, pulse/rhythm and pattern are close to the point for all the works I include in my survey of Made in L.A. 2016.

Waddada Leo Smith

blogs.artinfo.com

republicofjazz.blogspot.com

hammer.ucla.edu