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 International Art Objects. Show all posts
Showing posts with label International Art Objects. Show all posts

Saturday, February 22, 2014

Morgan Fisher "Exterior and Interior Color Beauty" @ China Art Objects







Fortunate to have seen what I would call the first part of this show at Bortolami last fall (see my other post here), it was nice to see the exterior continuation.  Morgan's methodical exploration and evolution of color, painting, and place has been an enjoyable one to learn about.  It's a story worth revisiting from the beginning.  Unfortunately, I can't find any good online sources to link, but suffice it to say that his interest in how paintings situate within a specific context of display is now historic in multiple ways (personal to his family, pertinent to his own trajectory, and, certainly, to other artists with similar concerns not exclude the likes of Lascaux).  If you find any early images of Fisher's work, do pass them along. I wouldn't mind seeing them again.

Note: The following two photos happened to catch my eye when browsing the gallery desktop for more information.  The purpose of the show(s) is sufficiently written about else where.  I felt these two pages captured a bit of the flavor.



Saturday, September 7, 2013

Mark Hagen "Paleo Diet" @ International Art Objects

To Be Titled (Gradient Painting #15),  2013
Acrylic and burlap over panel
72 x 48 inches

Bottom edge detail.

Central Detail.

Stables States, 2013
Acrylic on burlap over panel
94 x 62 inches

Central Detail.

Central Detail.

To Be Titled (Additive and Subtractive Sculpture #20), 2013
Overall Dimensions Variable

Alternate view (a patron's reflection)

Alternate view (reflecting spatial colors)

Saturday, April 13, 2013

Marlon Mullen @ International Art Objects

Morris Louis, 2011, acrylic on canvas, 30x40 in.

Untitled (8012),  2013, acrylic on canvas, 36x24 in.

Saturday, April 14, 2012

Sarah Braman "These Days" @ International Art Objects Galleries



"Calling Wendy," 2012, aluminum, plexiglass, paint, radio, 67 x 63 x 32 1/2

"Time Machine," 2012, aluminum, plexiglass, paint, 70 1/2 x 53 x 25



"Dawn Dog," 2012, aluminum, plexiglass, paint, 51 x 24 x 68





What's not to enjoy about light, surface, and color?  The better of the works in the exhibition (images shown here) refers less to form as cast-off readymade and more to an ongoing potential to transform the present through interplay of movement (light and sound), though it was not clear to me, for example, what the boom box was referencing in "Calling Wendy" outside of nostalgia, formal accretion and vertical reassertion. Of course, that might be enough.  On the the other hand, I tuned in to what was playing, and it felt far too random (though left end of the dial) for what appeared like otherwise very deliberate decisions within each work and possibly as a whole installation, especially where there was adventitious dialogue between objects ("Time Machine" and "Dawn Dog," for example).  For "Calling Wendy," (indie pop reference or love lost paean?) I would have been happier with "static"---both it and not---as a way to oppose the formal dynamics phenomenally and linguistically. Perhaps that would have been too easy...? Either way there is enough verifiable seduction embedded within these objects to override any suggested, casual indifference; titles and press releases are not enough to disclaim such lacks of desire (and they are not loose enough to be thought of as such).  Besides, art historical references abound here.  Why apologize? I dunno, I guess that's how things go, er um, these days. I keep wanting to refrain, oh well, whatever, nevermind...