Photo appears courtesy of Hannah Hoffman
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.
Showing posts with label Hannah Hoffman. Show all posts
Showing posts with label Hannah Hoffman. Show all posts
Saturday, April 4, 2020
Saturday, February 10, 2018
Andy Robert @ Hannah Hoffman
Police and Thieves, 2017
Oil and pencil on canvas
24 x 20 inches
Not quite sure if I picked this one because of its segue from the Catherine Opie show before, but here it is anyway. It's a painting as scattered and searching as the Opie photos' subject and quite often output a la collage, somewhere between obsession and I don't know. Hard to tell which side of the line we are on sometimes, the law, the spirit of the law, or the transgressors.
Tuesday, July 25, 2017
Rey Akdogan @ Hannah Hoffman
HHG [north wall_001Brilliant- FPE], 2017
380.945 sq ft
CRA 200F, CRA 200F, CRA 800F, [RAL 9005, RAL 9005] solid #19, 2017
Powder coated aluminum
Three parts, 5.5 x 84 x 1.5 inches (14 x 213.4 x 3.8 cm), 5.5 x 36 x 1.5 inches (14 x 91.4 x 3.8 cm), 8 x 36 x 1.5 inches (20.3 x 91.4 x 3.8 cm)
CRA 200F, [RAL 9005, RAL 9005] solid #14, 2016
Powder coated aluminum,
Two parts: 5.5 x 24 x 1.5 inches (14 x 61 x 3.8 cm), 5.5 x 24 x 1.5 inches (14 x 61 x 3.8 cm)
Faction #23, 2017
Acrylic paint on wooden French cleat, Two Parts, each: 4 x 72 x 3/4 inches (10.2 x 182.9 x 1.9 cm), Overall Dimensions: 94 x 72 x 3/4 inches (238.8 x 182.9 x 1.9 cm)
Faction # 24, 2017
Acrylic paint on wooden French cleat
Four Parts, each: 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm)
Overall Dimensions: 21 1/2 x 18 3/4 x 3/4 inches (54.6 x 47.6 x 1.9 cm)
Faction #20, 2017
Acrylic paint on wooden French cleat
Two Parts: 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm), 3 x 24 x 3/4 inches (7.6 x 61 x 1.9 cm)
Overall Dimensions: 15 x 24 x 3/4 inches (38.1 x 61 x 1.9 cm)
Faction #21, 2017
Acrylic paint on wooden French cleat
Three Parts: 3 x 24 x 3/4 inches (7.6 x 61 x 1.9 cm), 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm), 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm)
Overall Dimensions: 3 x 24 x 2 1/4 inches (7.6 x 61 x 5.7 cm)
Faction #19, 2017
Acrylic paint on wooden French cleat
Two Parts, each:, 3 x 24 x 3/4 inches (7.6 x 61 x 1.9 cm)
Overall Dimensions: 24 x 42 1/4 x 3/4 inches (61 x 107.3 x 1.9 cm)
Faction #22, 2017
Acrylic paint on wooden French cleat
Two Parts, each: 3 x 12 x 3/4 inches (7.6 x 30.5 x 1.9 cm), 3 3/4 x 12 x 1 1/2 inches (9.5 x 30.5 x 3.8 cm)
Works that are involved in an exchange of absorption between architecture and intervening elements, finished in black like the opposite of white out on paper and colored edges, discrete shits and subtle reflections between object and place. Not quite knowing which is which is part of the fun as skylights, floor imperfections and other features complicate the viewing experience. Whatever the case, it's not difficult to translate this one into the real world as the below photo will attest; it's an exterior wall just doors down from the gallery space in which Akdgoan has inserted similar dynamic elements, mostly linear to frame an expanding, non-linear universe.
Saturday, October 22, 2016
Friday, August 19, 2016
Barbara Kasten "I want the eyes to open - Josef Albers" @ Hannah Hoffman
Elemental 3, 2016
C-Print
Image dimensions: 70 x 56 inches
Framed Dimensions: 70.375 x 56.375 inches
Elemental 1, 2016
C-Print
Image dimensions: 70 x 56 inches
Framed Dimensions: 70.375 x 56.375 inches
Elemental 2, 2016
C-Print
Image dimensions: 70 x 56 inches
Framed Dimensions: 70.375 x 56.375 inches
Double Corner, 2016
Video, projection, black backdrop paper, glass mirror
Dimensions variable
Saturday, February 6, 2016
Isabelle Cornaro @ Hannah Hoffman
Landscape, 2016
Baltic birch, water based acrylic paint, brass
brass screws, velvet fabric, dried fungus,
tree root, agate, glass shaped as crystals,
metal chains and jewelry, coins, scientific model
240 x 211 x 105 inches
Saturday, January 16, 2016
Daniel Buren, Joe Zorilla, Charles Ray, and Sam Lewitt @ Hannah Hoffman
Daniel Buren
Peinture acrylique blanche sur tissue raye blanc et orange, February1974
Paint on white and orange striped cotton canvas
66.5 x 52.7 5inches
Joe Zorilla
Neither/Nor, 2012-2015
Found tire, gold leaf
92 x 15x 38.5inches
Charles Ray
Untitled, 1973
Gelatinsilverprint
31.25 x 44.25 x 2.25 inches
Sam Lewitt
Shutter Aperture Flex Cable for Canon Powershot S100Lens Repair Trilobite Lineament, 2015
Etching on copper-clad plastic, Asphaltum, steel bracket
Etching: 96 x 12.38 inches
Bracket: 21.25 x 5 x 6.25inches
Overall dimensions: 96 x 12.38 x 6.25
Buren as icon. His paintings the fabric of solar occlusion in relation to architecture, design on land and water. Itself a become sign of painting. Why paint, when one can buy? Why alter pattern size just enough. Integrates found object with desire to reorient. Cf. Zorilla's foiled tread, Ray's cocoon figure in found landscape, and Lewitt's suspended photographic "sign."
Circuitry, currency, and pattern. Things hanging in the balance. Tenuous relationship to structure all.
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