• Karl Haendel

    Vielmetter Los Angeles

    An artist inclined to make and exhibit lists, Karl Haendel produced a document in 2007 subtitled Things I Tend to Draw. Included were “boy stuff that flies” and “boy stuff that drives,” items referring to his large-scale renderings of SUVs, rockets, and other mega machines and evoking the dry, emasculating humor imbuing the images’ presentation. In his first solo exhibition at Susanne Vielmetter, Haendel limits his focus to “boy stuff that sails,” specifically the tall ship Endurance of Sir Ernest Shackleton’s trans-Antarctic expedition of 1914–17. In a famous tragedy of the “heroic age of

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  • “Joint Dialogue”

    Overduin & Co.

    A pervasive sense of slippage—between the personal and professional, between art and life—governed this group exhibition, curated by Sarah Lehrer-Graiwer, that tied together work by Dan Graham, Stephen Kaltenbach, and Lee Lozano. The show’s title puns on Dialogue Piece and Grass Piece by Lozano (both 1969, and represented in the show as actual-size facsimiles of notebook pages), two durational, diaristic works that overlapped in execution; but it also points to personal entanglements between Lozano and Graham, and between Kaltenbach and Lozano. Works by the former pair (mostly text based) mingled

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  • Matt Mullican

    Kunsthalle LA

    The title “Matt Mullican: Works from the 1980s and 90s” is telling; it is during that era that Mullican gained entrée into what is now known as the Pictures generation, appearing alongside artists such as Cindy Sherman and Richard Prince in such era-defining exhibitions as 1989’s “Forest of Signs” at the Museum of Contemporary Art in Los Angeles. The Pictures artists seemed to share a vaguely melancholic understanding of modernism as a historical category and of contemporary art as a subset of the larger visual culture. And all recycled the most emblematically pared-down, abstract forms

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  • Leonor Antunes and Amalia Pica

    Marc Foxx Gallery

    The conceptual impulse behind artmaking typically manifests itself in either indulgently labored or stoically restrained gestures. This two-person exhibition, featuring the work of Portuguese-born, Berlin-based Leonor Antunes and London-based, Argentinean-born Amalia Pica, presented both approaches to Conceptualism as ways to investigate ideas about the organization of and communication across space. Although mounted as two solo shows occupying the same gallery, “Alongside” revealed that Antunes’s and Pica’s respective convictions and formal assertions are not unrelated.

    On the east side of the

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