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40s, including the artist and filmmaker. “Each man makes repeat appearances, looking directly into the camera and asking a short, pithy question that, it doesn’t take long to realize, are intended for the speaker’s absent male parent. The questions imply a full-spectrum of emotions, from tenderness to curiosity to anger, and speak volumes about one of the most primal of relationships.” The film was shown in 2012 The Box
Theater at the
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required to produce drawings that often exceed 10 feet. Removing images from the original context, Haendel presents a new visual language and criticism on contemporary sociocultural relationships. "Though his work may cause us to debate the value of the original versus the copy, Haendel prefers not to situate his work on that familiar ground. Instead, he focuses on how a chain of iteration..." He “
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Haendel's practice focuses on the appropriation and recontextualization of visual signifiers through photorealistic drawing. His drawings, while often direct copies of photographs, are also composed at a markedly larger scale; transforming the quickness of composing a photograph with the manual labor
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In 2011 Haendel exhibited his first film, “Questions for my father,” made in collaboration with filmmaker Petter
Ringbom. The film “evolved from a series of large graphite word-drawings of the same title that Mr. Haendel...directed at his own father.” The film features 16 men in their 30s and early
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Haendel describes his role as an artist to “honestly present a vision of the world that he…believes to be true.” For
Haendel, this conviction is the ethical underpinning of his practice. He defines himself in opposition to “the social artist, who cannot see how his identity is produced.”
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in 2005. David Pagel described
Haendel's work in this exhibition as that of a “detached observer, an armchair sociologist more interested in pointing out the irrationality of society's crass values than in risking failure to shake things up.” In a later review of the show,
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review of “Questions for My Father,” highlights the artist's interest in the emotional ramifications of social and political structures, noting that “politics, sexuality, household habits, finances--nothing is off the table here… the master’s voice is absent.”
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generation in particular. However, recent criticism has focused more on questions of labor and value, the play of language, the complexity of ethics, and the intersection of the personal with the political. In particular, David
Frankel's 2011
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described
Haendel as a “smart artist.” “He has the skills as well as the know how to make intelligent, beautiful, and well-designed works of art...He appropriates the strategies of appropriation and installation, while also acknowledging
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Haendel was included in the 2015 Biennial of the
Americas, Museum of Contemporary Art, Denver; the 2014 Whitney Biennial, Whitney Museum of American Art, New York; the 12th Biennale de Lyon in 2013; and Prospect II, New Orleans in 2011.
142:. The installation featured his “signature, stunning graphite drawings on paper--one series depicting cracked light bulbs, mirrors, and eggs; another, the fortunes from fortune cookies; another, abstractions that riff on
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to create a large-scale mural at 441 Broadway in SoHo, New York City. This large public project was the first iteration of his “Scribble” murals, which later appeared on the facade of LAXART in Los
Angeles, California.
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in 1998. He attended the
Whitney Museum Independent Study Program and the Skowhegan School of Painting and Sculpture in 1999 and 2000 respectively. He received a Master of Fine Arts degree from the
165:, curated by Gunnar B. Kvaran. The installation is made up of approximately 60 drawings which focus on themes of gun violence, sexual difference, technological fetishism, and power structures.
103:, NY. His works are included in the public collections of the Museum of Contemporary Art, Los Angeles, LA; The Museum of Modern Art, New York, NY; and the Guggenheim Museum, New York, NY.
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has published several articles in 2016 investigating
Haendel's different modes and models of appropriation in the legacy of the postmodernist strategy and its reception.
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Early in his career, most critics focused on Haendel's ties to the lineage of the 1980s; appropriation art and the conceptual underpinnings of the
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Haendel also produced several billboard projects featuring reproductions of his drawings, as well as text and language-based murals.
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In 2013, Haendel produced a new installation, “People Who Don’t Know They’re Dead,” for the 12th Biennale de Lyon,
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146:“Boogie-Woogie” series—all of which covered two 20-foot-long walls that cross the building's famed glass lobby.”
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Haendel has been included in numerous exhibitions on contemporary drawing at the Drawing Room, London, UK and
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In 2023, Haendel will inaugurate a work at the entry of the Wilshire/Fairfax station for
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In 2010, Haendel was commissioned to design an installation for the lobby of the
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Haendel was also included in the 2004 and 2008 California Biennials at the
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Two years after graduating from UCLA, Haendel had a solo exhibition at the
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Zellen, Jody (May–June 2006). "Karl Haendel: Museum of Contemporary Art".
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744:. Los Angeles, CA: Museum of Contemporary Art, Los Angeles. p. 11.
290:. Los Angeles, CA: Museum of Contemporary Art, Los Angeles. p. 90.
34:, Mitchell-Innes & Nash, New York and Wentrup Gallery, Berlin.
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Frankel, David (January 2012). "Karl Haendel: Harris Lieberman".
399:. Oslo, Norway: Astrup Fearnly Museum of Modern Art. p. 54.
384:. Oslo, Norway: Astrup Fearnly Museum of Modern Art. p. 54.
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Haendel’s work can be found in the permanent collections of the
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Uncertain States of America: American Art in the 3rd Millennium
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Uncertain States of America: American Art in the 3rd Millennium
636:"2014 Biennial: Karl Haendel | Whitney Museum of American Art"
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public art program. In 2009 Haendel was commission by the
785:"Karl Haendel and Geoff Tuck: Thinking About Fatherhood"
675:"Karl Haendel's Jottings, Writ Large, on a SoHo Wall"
91:Haendel has been included in exhibitions at the
26:) is an American artist who lives and works in
8:
42:Haendel received a bachelor's degree in Art
352:Image Transfer: Pictures in a Remix Culture
771:"Karl Haendel's Informal Family Blackmail"
759:. New York, NY: Phaidon. pp. 116–117.
369:. New York, NY: Phaidon. pp. 116–117.
713:"Karl Haendel: A Year From Now Billboard"
411:"Susanne Vielmetter Los Angeles Projects"
354:. Henry Gallery Association. p. 33.
30:, California. Haendel is represented by
757:Vitamin D2: New Perspectives in Drawing
367:Vitamin D2: New Perspectives in Drawing
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259:Museum of Contemporary Art, Los Angeles
108:Museum of Contemporary Art, Los Angeles
565:"Karl Haendel Questions for My Father"
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826:Karl Haendel Kapsul Image Collection
52:University of California Los Angeles
451:"A late '80s date gets penciled in"
426:"A late '80s date gets penciled in"
124:, and the power of political art.”
563:Smith, Roberta (27 October 2011).
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597:"Utah Museum of Contemporary Art"
255:Los Angeles County Museum of Art
325:Solomon, Deborah (1999-06-27).
156:Utah Museum of Contemporary Art
267:Whitney Museum of American Art
54:in 2003 where he studied with
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862:American installation artists
660:"Exhibitions at Drawing Room"
508:"Orange County Museum of Art"
494:"Orange County Museum of Art"
583:"Wexner Center for the Arts"
243:Solomon R. Guggenheim Museum
241:; Deutsche Bank Collection;
176:, Oxford, UK, both in 2018.
673:Vogel, Carol (2009-05-07).
449:Pagel, David (2006-02-22).
424:Pagel, David (2006-02-22).
129:Orange County Museum of Art
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847:Artists from New York City
755:Grabner, Michelle (2013).
522:"Prospect II, New Orleans"
365:Grabner, Michelle (2013).
152:Wexner Center for the Arts
536:"Lever House Exhibitions"
742:MOCA Focus: Karl Haendel
727:"Nothing Beside Remains"
350:Krajewski, Sara (2010).
288:MOCA Focus: Karl Haendel
832:Sommer Contemporary Art
740:Sutton, Gloria (2006).
327:"How to Succeed in Art"
286:Sutton, Gloria (2006).
395:Haendel, Karl (2005).
380:Haendel, Karl (2005).
235:Art Gallery of Ontario
190:Los Angeles Metro Rail
32:Vielmetter Los Angeles
821:Kadist Art Foundation
46:and Art History from
263:Museum of Modern Art
251:Kunsthalle Bielefeld
93:Museum of Modern Art
194:Art Production Fund
611:"Biennale de Lyon"
569:The New York Times
306:www.guggenheim.org
830:Karl Haendel at
204:Critical response
174:Modern Art Oxford
131:and Prospect II,
101:Guggenheim Museum
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852:1976 births
640:whitney.org
229:Collections
223:Art Journal
140:Lever House
133:New Orleans
113:Jody Zellen
87:Exhibitions
28:Los Angeles
841:Categories
684:2013-08-22
645:2017-11-11
621:2013-08-22
460:2013-08-22
435:2013-08-22
336:2013-08-22
311:2017-11-11
273:References
144:Mondrian’s
122:minimalism
97:New Museum
95:, NY; the
60:Mary Kelly
800:Art Forum
476:Art Press
135:in 2011.
44:Semiotics
38:Education
699:"LAXART"
482:: 74–75.
455:LA Times
430:LA Times
215:Artforum
210:Pictures
154:and the
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