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.
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...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
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...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...
This work presents the image of an immolated monk engraved on a baseball bat...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...