dayoutlast: Richard Telles Fine Art

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 Richard Telles Fine Art. Show all posts

Saturday, October 12, 2019

John McCallister @ Richard Telles Fine Art

Honeyed Amber Rust, 2019

Oil on canvas

47 x 35 inches

Queries Lofty Longed For, 2019

Oil on canvas

47 x 35 inches

(Missing Data)

Friday, April 6, 2018

David Schafer "Pink and Blue" @ Richard Telles

Pink and Blue, 2018

Baker-Miller Pink paint, photo-printed on foam core

120 x 90 inches

Friday, February 23, 2018

Judy Fiskin @ Richard Telles

There is this kind of charm in viewing Fiskin's work that is not easily explained with words but rather some kind of knowing kinship either in terms of attentions/intentions or else similar cultural overtones, the similar way in which my my grandmother might arrange the buffet or the china hutch for herself, or the party or the bazaar booth.

I had taken this photo in passing just days before viewing this show (see how it relates to the photo directly above). Again, it is a curious kinship of attentions, especially when viewing a stream of fascinating images in such a context, a flatscreen inside an art gallery and also along the way in the world at large.

Saturday, August 19, 2017

Cindy Bernard "Things Change, Things Stay the Same" @ Richard Telles Fine Art

Something about a security envelope of space as much as the works themselves, representations of patterns that obfuscate what's inside. Speaking of what's inside, I wasn't able to access the space. So, I was able to see what I could see from the glass door. Who knew there would be that many variations of security envelope patterns? And how have they changed over time? Since this work was first made many years ago?

"Martel Window Project: Amy Garofano" @ Richard Telles Fine Art

As the Surrealists once did so many years ago (adorning store front displays with art and interventions to address (and shock a pedestrian public), it seems worth considering how this art installation interacts with a similar commercial built space. Not sure what to expect from a press release (how could one (ever) entirely?), upon arrival I was disappointed to find a very difficult and inaccessible installation due mostly to lighting conditions with the obvious challenges associated with glass (glare, reflection, filtration et al). From the content of the work, the context, and the installation shots on the website, the work seems less about anything that I just said regarding glass and art history; it's just where my head took me first.

The immediate lighting concern aside, it was interesting to think about positioning, point of view, such challenges and how a two-dimensional work would foster and reflect such notions by its lines and angles. In fact, a bullet hole in the glass that mirrored the radiating symmetry of the painting detail below could have been a nice touch... Or perhaps too transgressive or obvious...?

Once I was able to reconcile the virtual and the real image in this installation, I was somehow able to make peace with the initial difficulties with the glass as certain perspectives aligned.

PS: Apparently, the way to see the work is at night, though no invitation nor indication is made save the gallery website's documentation offerings. See below.