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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.
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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
176:, 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.
114:, 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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157:“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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755:. Los Angeles, CA: Museum of Contemporary Art, Los Angeles. p. 11.
301:. Los Angeles, CA: Museum of Contemporary Art, Los Angeles. p. 90.
45:, Mitchell-Innes & Nash, New York and Wentrup Gallery, Berlin.
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Frankel, David (January 2012). "Karl Haendel: Harris Lieberman".
410:. Oslo, Norway: Astrup Fearnly Museum of Modern Art. p. 54.
395:. 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
647:"2014 Biennial: Karl Haendel | Whitney Museum of American Art"
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public art program. In 2009 Haendel was commission by the
796:"Karl Haendel and Geoff Tuck: Thinking About Fatherhood"
686:"Karl Haendel's Jottings, Writ Large, on a SoHo Wall"
102:Haendel has been included in exhibitions at the
37:) is an American artist who lives and works in
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53:Haendel received a bachelor's degree in Art
363:Image Transfer: Pictures in a Remix Culture
782:"Karl Haendel's Informal Family Blackmail"
770:. New York, NY: Phaidon. pp. 116–117.
380:. New York, NY: Phaidon. pp. 116–117.
724:"Karl Haendel: A Year From Now Billboard"
422:"Susanne Vielmetter Los Angeles Projects"
365:. Henry Gallery Association. p. 33.
41:, California. Haendel is represented by
768:Vitamin D2: New Perspectives in Drawing
378:Vitamin D2: New Perspectives in Drawing
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270:Museum of Contemporary Art, Los Angeles
119:Museum of Contemporary Art, Los Angeles
576:"Karl Haendel Questions for My Father"
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837:Karl Haendel Kapsul Image Collection
63:University of California Los Angeles
462:"A late '80s date gets penciled in"
437:"A late '80s date gets penciled in"
135:, and the power of political art.”
574:Smith, Roberta (27 October 2011).
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608:"Utah Museum of Contemporary Art"
266:Los Angeles County Museum of Art
336:Solomon, Deborah (1999-06-27).
167:Utah Museum of Contemporary Art
278:Whitney Museum of American Art
65:in 2003 where he studied with
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873:American installation artists
671:"Exhibitions at Drawing Room"
519:"Orange County Museum of Art"
505:"Orange County Museum of Art"
594:"Wexner Center for the Arts"
254:Solomon R. Guggenheim Museum
252:; Deutsche Bank Collection;
187:, Oxford, UK, both in 2018.
684:Vogel, Carol (2009-05-07).
460:Pagel, David (2006-02-22).
435:Pagel, David (2006-02-22).
140:Orange County Museum of Art
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858:Artists from New York City
766:Grabner, Michelle (2013).
533:"Prospect II, New Orleans"
376:Grabner, Michelle (2013).
163:Wexner Center for the Arts
547:"Lever House Exhibitions"
753:MOCA Focus: Karl Haendel
738:"Nothing Beside Remains"
361:Krajewski, Sara (2010).
299:MOCA Focus: Karl Haendel
843:Sommer Contemporary Art
751:Sutton, Gloria (2006).
338:"How to Succeed in Art"
297:Sutton, Gloria (2006).
406:Haendel, Karl (2005).
391:Haendel, Karl (2005).
246:Art Gallery of Ontario
201:Los Angeles Metro Rail
43:Vielmetter Los Angeles
832:Kadist Art Foundation
57:and Art History from
18:Karl Haendel (artist)
274:Museum of Modern Art
262:Kunsthalle Bielefeld
104:Museum of Modern Art
205:Art Production Fund
622:"Biennale de Lyon"
580:The New York Times
317:www.guggenheim.org
841:Karl Haendel at
215:Critical response
185:Modern Art Oxford
142:and Prospect II,
112:Guggenheim Museum
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863:1976 births
651:whitney.org
240:Collections
234:Art Journal
151:Lever House
144:New Orleans
124:Jody Zellen
98:Exhibitions
39:Los Angeles
852:Categories
695:2013-08-22
656:2017-11-11
632:2013-08-22
471:2013-08-22
446:2013-08-22
347:2013-08-22
322:2017-11-11
284:References
155:Mondrian’s
133:minimalism
108:New Museum
106:, NY; the
71:Mary Kelly
811:Art Forum
487:Art Press
146:in 2011.
55:Semiotics
49:Education
710:"LAXART"
493:: 74–75.
466:LA Times
441:LA Times
226:Artforum
221:Pictures
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