REVIEWS

/ TRAVIS DIEHL
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.
by

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.
by

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.
by

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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