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 Schindler House. Show all posts
Showing posts with label Schindler House. Show all posts

Thursday, August 30, 2018

"POETIC STRUCTURE: ART + ENGINEERING + ARCHITECTURE – Skidmore, Owings & Merrill LLP" @ MAK Center for Art and Architecture, Los Angeles at the Schindler House


Atelier Peter Zumthor
LACMA: Building for the Permanent Collection, design as of April 2017






















Jean Nouvel, LACMA proposal, 2001


The two images directly above are of Jean Nouvel's LACMA proposal from 2001. They were not part of this exhibition; I just found myself thinking about Nouvel's proposal (as I also do from time to time)  in the context of this exhibition here. I thought that Nouvel did a nice job of proposing the integration of past and present elements with an eye for the future; it doesn't take much to get above the skyline to appreciate the expanse that is Los Angeles, and his rooftop sculpture garden would have done well and then some.  Alas, a community too quick to strike the set quickly rather than deal with the the real challenges of organic growth continues to bury history even as LACMA's current site strives to become uncovered, at least geologically speaking. But I digress... And so much has changed in almost twenty years.



Discrete... Continuum...






Underwear, cod pieces or roof structures?








Sometimes it's also not difficult to take notice of certain elements of the Schindler House, perhaps heightened either by the exhibition or by the luminous moment in time.  Here, the patina on the brass flashing for a built-in fireplace served as an attraction/distraction/palette cleanser for an otherwise monotone and controlled, entirely didactic architectural exhibition based on the "poetic structure" of such areas.  I wasn't able to capture the poetics within the framework of the exhibition itself per se, but rather, again, by its contrast with the Schindler House itself. Sometimes, the exhibitions housed within the Schindler house integrate and amplify one another; sometimes they don't.  I suppose grimy hands and handprints is a gray area to this concern...


And here are a few exterior shots of the Schindler house, a reminder that some structures are less vulnerable to the Los Angeles, architectural fashion changes That said, the buildings on either side (likely inspired directly/indirectly by the Schindler House) loom in such a crowding way, which is to say that even those as generative as this one are not entirely beyond encroach, thankfully not obliteration in this instance.



Sunday, January 8, 2017

Stephanie Taylor "Kong Boos" @ MAK Center for Art and Architecture, Los Angeles at the Schindler House


Broom and Rum, 2009
Aluminum










Kindling, 2016
Bronze with tin plate




Ass, 2015
Bronze with partial brass plating

Hopper, 2006
Bronze with copper plate

Pheasant, 2014
Resin




Buoys, 2012
Rope, cement, stainless steel


The Goodbye Song, 2011
Sound
TRT: 2:35 minutes

Piston Toggle, 2013
Sound
TRT: 4:57 minutes



Swam Sea Span, 2012
Sound
TRT: 1:52 minutes


Camp.  A place to gather for adventure as kids in summer and an idea about culture and taste.  Certainly, word play and free association is welcome here in Taylor's world of objects and sounds.  How song, sound, image, and material feedback through such an architectural context as Schindler's early 20th century, west coast porto-modernist encampment seems apropos and simultaneously ridiculous all at once.  Such seems to be the flavor of works.  I'm either wandering through a summer cabin/bunkhouse imagining myself aboard a ship at sea or I'm reveling in one of Modernism's earliest residential sanctuaries.  Whatever the fantasy, and I'm assuming such worlds are not mutually exclusive here, there is such an oddity and peculiarity to it all that one must stop and consider carefully what is and possibly what is not.  Knot? Such is the purpose of art when so contextualized, I believe.  Whether or not you enjoy camp or Camp, you can't deny you had some fun.  It's just a matter of whether you are telling anyone about it or not. Knot. Knob Goos...

Susan Sontag's 1964 essay, "Notes on Camp," may or may not apply here, but, regardless, it's worth thinking about. Click here to read.



Friday, July 8, 2016

"Routine Pleasures" Curated by Michael Ned Holte @ MAK Center for Art and Architecture, Los Angeles at the Schindler House


Simon Leung
War After War, 2011
Video
TRT: 90 minutes




Lucky Dragons
one of four works throughout the house: Agreements (1-4), 2016
stainless steel




James Benning
Untitled Fragments, 2016
Dine spearhead, stone (circa 1860s); three B-52 pieces, aluminum; 
framed postcard of Che Guevara




Lucky Dragons
one of four works throughout the house: Agreements (1-4), 2016
stainless steel




Roy MckMakin
2 Photographs of Both Sides of a Ribbon, 2008
digital pigment print



Jennifer Bornstein
Collectors' Favorites, 1994
Video
TRT: 21 minutes




Harry Dodge
The Time-Eaters, 2014
Video
TRT: 41 minutes



Lucky Dragons
one of four works throughout the house: Agreements (1-4), 2016
stainless steel




Center for Land Use Interpretation
A selection of Model Railroads in the USA.
Touchscreen display.






James Benning
After Bess, 2014
house paint on wood, wood frame



Galeria Perdida
No matter how much you push the envelope, it'll still be stationery, 2014
16mm film transferred to video
TRT: 20 minutes





Lucky Dragons
one of four works throughout the house: Agreements (1-4), 2016
stainless steel




Steve Roden
365 x 433, 2012
book