dayoutlast: team (bungalow)

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 team (bungalow). Show all posts

Friday, July 13, 2018

Ann Pibal "LUXTC" @ team gallery

RBWCX6, 2018

acrylic on aluminum panel

47 x 74 inches

RBWCMX, 2018

acrylic on aluminum panel

41 x 63 inches

SXRX, 2018

acrylic on aluminum panel

28 x 35 inches

OSQR, 2018

acrylic on aluminum panel

26 x 38 inches

Friday, April 13, 2018

James Crosby "Forms Between" @ team (bungalow)

Abstraction, 2018

Acrylic, vulcanized rubber, cotton hoodies, rapid expanding foam

28 x 40 x 46 inches

the Garrett Morgan safety hood allowing the wearer to breathe in a hostile environment, 2018

Fabricated coat/hat rack, heavy canvas, plexiglass (sic)

36 x 72 x 6 inches

It's not always clear, in the moment or later, why something resonates. Lights and darks commingle as light itself in and around the space as well as in and around each object. They are inseparable with respect the thing itself and its metaphor. At the time, I thought nothing (itself yet another kind of absence/non/darkness). In hindsight, I thought of David Hammon's "In the Hood (Gray)." See below or here for more details.

David Hammons

In the Hood (Gray), 2016

Athletic sweatshirt hood, wire, monofilament

Saturday, August 19, 2017

Jacob Kassay "Alarmer 2" @ team (bungalow)

Facade from the street.

Nearly impenetrable. Metal covers.

New windows, of the most generic kind, held in tension across the house (a domestic space turned out gallery), the glazing partially revealed given an unfinished yet slightly transparent interior view dependent on position and light via time of day.

Peeping Tom. Heightened sense, as a viewer, of doing something wrong.

Cf. Reserve Ames. Control entire space and limit interior access. But this time, the interior is revealed as what it's expected to be.

The way the glass covering is peeled allows easy viewer access, which is to say eye level.

A commercial space held at bay, which is to suggest inability to function, abandonment but it really...

Rather, displaced in a gallery as home, a sense of playful, like a fort.

Issues of accessibility and tension were in play here just as with the recent Kassay installation at Reserve Ames (see here). What was unexpected about my viewing tour around the perimeter was my heightened sense of being in terms of daytime window-peeping and notions of trespassing. I like how transitory spaces (contrived or not) can produce such issues surrounding boundaries and thresholds. These were not spaces to be occupied.