REVIEWS

/ TRAVIS DIEHL
Rebecca Moss, International Waters, 2017.
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Travis Diehl

Spaces is a feature of art-agenda that proposes a thematic examination of exhibition spaces based on the analysis of their physical and spatial configurations. Every two months, art-agenda publishes a new reflection on galleries’ architecture, identity, and relation with their historical and geographical context. The latest instalment of Spaces considers... continue reading
“At this stage”

CHATEAU SHATTO, Los Angeles

View of “At this stage,” Chateau Shatto, Los Angeles, 2017.
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Travis Diehl

Where to begin? Where else but at this stage? A cotton boll embalmed in a bell jar like the Disney rose in Beauty and the Beast (1991): Aria Dean’s Dead Zone (1) (2017) gives the rose’s place to a white commodity once harvested by black people made commodities. The cotton... continue reading
“Concrete Island”

VENUS, Los Angeles

View of “Concrete Island,” Venus, Los Angeles, 2017.
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Travis Diehl

Word on the street is they got the Crenshaw Cowboy. Into a gallery, that is. Anyone who has turned onto the westbound I-10 at Crenshaw Boulevard has likely noticed him, an itinerant junk-assemblage artist who shows his sculptures at the top of the onramp. He also gives advice on fame... continue reading
Isa Genzken’s “I Love Michael Asher”

HAUSER WIRTH & SCHIMMEL, Los Angeles

View of Isa Genzken’s “I Love Michael Asher,” Hauser Wirth & Schimmel, Los Angeles, 2016.
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Travis Diehl

In a shallow bay window facing 2nd St., a ledge overflows with studio clutter: a couple dozen euros in coins between a few dying plants; a bowl filled with loose earrings and studs; a keycard from the Waldorf Astoria; a castle of used tea candles, Red Bull cans, and tiny... continue reading
Jon Rafman, L’Avalée des avalés (The Swallower Swallowed)  Rhino/Bear, 2016.
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Travis Diehl

“Advertisting … is the only art form we [in the United States] ever invented.” Gore Vidal (1) The fourth floor of Berlin’s Akademie der Künste overlooks Pariser Platz: the Brandenburg Gate, the French embassy fringed with barricades, a teeming Starbucks. Tourists mill around the square, while up on the mezzanine, between... continue reading
David Snyder’s “2THNDNL”

MICHAEL BENEVENTO, Los Angeles

View of David Snyder's "2THNDNL," Michael Benevento, Los Angeles, 2016.
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Travis Diehl

Happy? Ronaldreagan. Hungry? Ronaldreagan. Afraid? Ronaldreagan. Invoke him often enough and The Gipper’s name passes from rote signification into a malleable abstraction. All too easy—as David Snyder demonstrates in “2THNDNL” with the video Ronald Reagan, Fathers & Sons (all works 2016). Dozens of jaws, clipped from TV’s talking heads, from... continue reading

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Anton Kern Gallery
Peres Projects
Art Newspaper
Vitamin creative space
Aperture
ArtAsiaPacific
Blum&Poe
Tulips & Roses
galeria nara roesler
e-flux iPad
Air the paris
Cardi Black Box
Luisa Strina