Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor. The series riffs on previous investigations by the artist such as his meticulous depictions of masculine political figures, which included a headless J. Edgar Hoover and a Hitler head floating vulnerably in the center of a white expanse (Hitler’s iconic mustache was crafted from the artist’s pubic hair). Rendered in soft graphite, the imposing Knights embody the ostensibly conflicting ideals of chivalrous deference and invulnerable masculinity.
An expert draftsman well versed in semiotics, Karl Haendel strategically manipulates tangled visual, material, and textual themes, often to humorous and evocative effect. His juxtapositions are as resonant as they are unexpected, whether they take the form of layered graphite drawings, video, or installation. Haendel’s distinct brand of honest humor, honed in his current hometown of Los Angeles, is rooted in the rigorous studies he undertook at Brown University (BA), UCLA (MFA), and the Whitney Independent Study Program.
Victory at Sea is a simple mechanism made from cardboard and found materials that mimics the Phenakistoscope, an early cinematic apparatus...
The title Untitled Passport II was first used by Felix Gonzalez-Torres in an unlimited edition of small booklets, each containing sequenced photographs of a soaring bird against an open sky...
The work La Loge Harlem focuses on the history of Harlem and its development over the last 200 years...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Created during Zhao Renhui’s residency at Kadist SF in 2014, Zhao Renhui began observing and cataloguing insects inspired by the scientific impulse towards exhaustive taxonomy of Sacramento-based Dr...
Dale Harding’s installation Body of Objects consists of eleven sculptural works that the artist based on imagery found at sandstone sites across Carnarvon Gorge in Central Queensland...
Wheat’s work is built on a strong conceptual framework that weaves together commentary on social and political issues and the radical potential for change...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
While his works can function as abstract, they are very much rooted in physicality and the possibilities that are inherent in the materials themselves...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
The stained glass windows of Chloé Quenum’s Les Allégories evoke the sacred and describe the movement of a rooster in the form of patterns extracted from a wax fabric found in Benin...