Organic Bedfellow, Feral Othello
Mitchell-Innes & Nash is pleased to announce a solo exhibition of new work by Karl Haendel, on view in our Chelsea gallery from October 22 through December 5, 2015. This will be Haendel’s first solo exhibition at the gallery.
Organic Bedfellow, Feral Othello is anchored in large, labor-intensive pencil drawings situated in an immersive installation; diagonal walls and floor elements guide the viewer through the gallery space. A visual thread of geometric shapes ties together three groups of black-and-white drawings: primates balance atop modernist, geometric stacks; couples bend and stretch in yoga poses contained in shaped frames; still life drawings of objects and symbols displayed on irregular polygonal bases.
In the still life drawings, Haendel creates his own syntactical visual system. Neither a Subset of Nor Equal to, Booster Straps, Flat to Boobs uses rhyme and alliteration to build a narrative about interaction with the physical body. Each still life features a hand-drawn QR code which guides the viewer to a YouTube video chronicling physical transformation, bringing the still life to the digital realm.
Taken together, the works form a disjointed narrative about transformation; the evolutionary transformation of primate to human; the transformation of one’s body through physical objects or activity; and the oppositional forces of nature and culture, evolution and devolution.
About Karl Haendel
Karl Haendel is an artist who makes drawings, installations, films, and public projects. He received a BA from Brown University in 1998 and a MFA from the University of California, Los Angeles in 2003. He also studied at the Whitney Museum Independent Study Program and the Skowhegan School of Painting and Sculpture. Articles and reviews on his work have been featured in The New York Times, The Los Angeles Times, and The Guardian, as well as in magazines including The New Yorker, Artforum, Frieze, Art and America and Modern Painters. He has been included in the Biennial of the Americas (2015), the Whitney Biennial (2014), Biennale de Lyon (2013), Prospect (2011), the California Biennial (2004, 2008). His work is in the collection of The Museum of Modern Art, NY; The Whitney Museum of American Art, NY; and The Guggenheim Museum, NY; The Museum of Contemporary Art, Los Angeles; the Hammer Museum, Los Angeles; and the Fogg Art Museum, Harvard University, MA. He has been the recipient of grants from the Pollock Krasner Foundation and the California Community Foundation. He is represented by Susanne Vielmetter Los Angeles Projects and Mitchell-Innes & Nash, New York. He lives and works in Los Angeles.
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