REVIEWS

/ TRAVIS DIEHL
View of Dave Hullfish Bailey’s “Hardscrabble” at REDCAT, Los Angeles, 2018.
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Travis Diehl

Like a thesis hidden in a footnote, a small projection in one corner of an exhibition of junkyard complexity shows a loop from John Ford’s The Man Who Shot Liberty Valance (1962), starring John Wayne and James Stewart. In the scene, Stewart’s character, a lawyer in the frontier town of... continue reading
Gallery Weekend CDMX

VARIOUS LOCATIONS, Mexico City

View of Adela Goldbard’s “Aplausos, confeti, serpentinas y flores,” Galería Enrique Guerrero, Mexico City, 2017.
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Travis Diehl

On September 19, 2017, Mexico City was hit by one of the most destructive earthquakes in the country’s history. Gallery Weekend Mexico City was originally scheduled to open September 21, by which time everyone who could was out in the streets clearing rubble and handing out food and water. The... continue reading
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

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GALLERIA MASSIMODELUCA
Sprueth Magers
Hilger
MIA Art Fair
Cardi Black Box
Camera Austria
e-flux iPad
Anton Kern Gallery
Luisa Strina
X-TRA
ArtAsiaPacific
Spike
Marion