Marc Haefele Commentator, Off-Ramp
Marc Haefele is an arts, politics, and literature commentator for KPCC's Off Ramp.
Haefele was a staff writer for LA Weekly, City News of Los Angeles, and the Morristown (NJ) Record. He has written for the New York Times, Los Angeles Times, Philadelphia Daily News, the Boston Review, Nomada de Buenos Aires and many other publications.
He cohosted the KPFK weekday morning drive time show in 1999-2000, and for the subsequent decade was city hall commentator for KPCC.
In the later 60s and early 70s, Haefele worked for Random House, then Doubleday publishers in New York, where his writers included Philip K. Dick, Steven King, Tom Disch, Marge Piercy, Kate Millett and Josephine Saxton. While at LA Weekly, he won the LA Press Club's Best Column award. He has shared Golden Mikes with his KPCC colleagues.
He has an M.A. in history from NYU and Cal State Los Angeles.
Haefele lives in Santa Monica.
Stories by Marc Haefele
A moving, transcendent exhibit at an obscure gallery by an L.A. art power couple: the art of Maxine Kim and Jan Stussy sits on a mysterious median. Its figures cry in the language of humanity, but its embodiments are far from human.
"Breaking News" at the Getty shows, relentlessly, how easily and often newspeople fail in the simple, but immense task of conveying what is actually going on in the world.
The art the Reformation inspired is glorious, and LACMA's show is a mighty production, but Luther was the most prominent anti-Semite of the 1500's, and inspired the centuries of bigotry against Jewish people that culminated in Hitler.
Roy Lichtenstein very well might have seen himself as a great artist who was also commercial. Just like his key inspiration, the humble, stirring comics of his youth.
California’s coast stretches 840 miles, encompassing breathtaking vistas, beautiful people ... and factories, cement mills, oil wells, and canneries. It’s never been captured in one art exhibit, until now at the Pasadena Museum of California Art.
Frankenthaler often used the word “beautiful” to describe her works. And, often, they are, but in a hard-won way that belies critics who saw the attractiveness of her paintings as a kind of softness.
Here's a rare and sweeping picture-window view of fast-evolving France of the 1850s in intimate detail, accomplished by some of the greatest photographers of that time.
The Greeks of the classical period probes deep into the human predicament. Roman comedy probes deep into fart jokes; the funny side of prostitution; gross sexual allusions, and pure slapstick.
It’s 28 miles from the Getty to the Huntington, but you should make the trip to see “London Calling” and “Blast.” Together, they provide a rich, continuous century’s span of English figurative art we’ve seldom seen here.
Petersen's vault gets all the visitors, but the genuine knowledge of the entire automotive era resides in the museum's huge archives.
84 years ago, as small cameras were revolutionizing photography, American photographers like Ansel Adams and Imogen Cunningham took a backward step.
Twenty years after her death, there are, amazingly enough, two generous shows of Falkenstein’s work going on in LA County. And there's always St Basil's on Wilshire Boulevard.
As soon as mankind invented walled and roofed dwellings, men and women wanted to cover the walls and floors of their homes and palaces with beautiful pictures of their favorite stories.
Marc Haefele reviews Patti Smith's performance at The Getty -- her late former lover Robert Mapplethorpe as background -- and remembers the favor she asked years ago.
“Duchamp to Pop,” at the Norton Simon Museum, pays tribute to two landmark shows held in Pasadena in the 1960s. Artist Joe Goode was there — and he's still painting.