Travis Diehl

The artist’s retrospective, curated by John Baldessari and Meg Cranston at ICA LA, shows how thin the line is between artist and art worker

For the 2018 edition of the biennial, it’s as if artists feel the need to resolve situations formally where they can’t be resolved for real

How blurs the lines between education, entertainment and commerce

A wild weekend at the High Desert Test Sites festival 2017

Juan Downey, Life Cycle: Electric Light + Water + Soil → Flowers → Bees → Honey, 1971/2017, installation view, Pitzer College Art Galleries, Claremont. Hives, lavender, rosemary, red apple ground cover, flowers, video camera, video monitor, retro grow lights, and bees, 122 x 122 cm. Courtesy: Pitzer College Art Galleries, Claremont and the Estate of Juan Downey; photograph: Robert Wedemeyer

Los Angeles Contemporary Exhibitions and Pitzer College Art Galleries, Claremont, USA

David Kordansky Gallery, Los Angeles, USA

Eduardo Sarabia, La Ceiba Sagrada 16 (The Holy Ceiba 16), 2016, acrylic and India ink, 84 × 64 cm. Courtesy: the artist and josé garcía, Mexico City

Western art and Mexican culture collide in the work of Eduardo Sarabia

REDCAT, Los Angeles, USA

Stanya Kahn, Stand In The Stream (still), 2011-2017, HD color video stereo sound. Courtesy: the artist and Susanne Vielmetter Los Angeles Projects, Los Angeles, USA

Susanne Vielmetter Los Angeles Projects, USA

Rafa Esparza, Building: A Simulacrum of Power, 2014, performance documentation at the Bowtie Parcel, Los Angeles. Courtesy: the artist and Clockshop, Los Angeles; photograph: Dylan Schwartz

In the work of Rafa Esparza, colonialism, family history and sex collide with the landscape of Los Angeles 

Michael Benevento, Los Angeles, USA

Sprüth Magers, Los Angeles, USA