new-york

Karl Haendel

Harris Lieberman

Private thoughts and public images are rendered starkly in black and white in Karl Haendel’s first New York solo appearance. Three photographs and forty-six labor-intensive, mostly large-scale drawings, depicting everything from Kenneth Noland–esque concentric circles to headlines clipped from the New York Times to iconic photojournalistic images, were arrayed around the gallery walls in a way that verged at times on the ludic (as with one work consisting of the repeated phrase BUSH, PLEASE BUY RUBBERS) and at times on the melancholy (as with elegiac renderings of moments from Haendel’s ’70s childhood) but that, due to the artist’s pixel-perfect style, felt wryly restrained. Indeed, the works evinced a staggering fidelity to their source images, which the artist, with the help of assistants, often uses projections to produce.

The drawings’ barely inflected photorealism brings a pencil-wielding

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