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
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.
Marc Haefele reviews “I’m Dyin' Here: A Life in the Paper,” by Tim Grobaty, "the only writer on a newspaper allowed, encouraged even, to bloviate on any topic at hand.’’
Milton Avery (1885-1965) was so good at color, he wowed Rothko. But he’s been criminally underrepresented in local museums. Until now.
In an unpretentious part of Orange’s Old Town is a brand new art museum. The Hilbert aims to represent all California art from the last 100 years. Right now, it's focusing on a genre called California Scene Painting.
For nearly a quarter century, Black Mountain College was the vortex of the Lively American Arts. And a new show at the Hammer takes you there.
Marc Haefele says the singing is great, but turning one of the greatest operas of all time into a full-length, live animated feature doesn't work.
"[My father] would lament that he was a lazy farm worker, but I say thank goodness, because he was reflecting and chronicling and 82 years later giving us this abundant harvest."
Artist Robert Cremean's new exhibit at the Pasadena Museum of California Art takes off from the myth of Procrustes, a hotelier who lopped off his guests' limbs to fit the bed. Don't even ask about turn-down service.
Tapestries are what we too often hurry past in a museum to get to the paintings. But in the past, these woven masterpieces seemed at least as important to the ruling elites as anything on canvas.