Tag: digital

Avery Singer at Hauser & Wirth Gallery

Beneath an overlay of doodles depicting the Wojak meme in various iterations including Martin Luther, an executioner and a victim of the guillotine, the hulking face of Maximilien Robespierre exudes menace in Avery Singer’s painting at Hauser & Wirth Gallery.  Reintroduced to the bloodthirsty leader of the French revolution’s ‘Reign of Terror’ via the game Assassin’s Creed, Singer blends adopts this oversized historical personage to consider modern-day digital expressions of violence. Titled ‘Edgelord,’ the piece draws parallels between the destruction wrought on-line today and by extreme characters of the past.  (On view through Oct 30th).

Avery Singer, Edgelord, acrylic on canvas stretched over wood panel, 100 ¼ x 120 ¼ x 2 1/8 inches, 2021.

David Kennedy Cutler in ‘Masks’ at Klaus Gallery

Why stop at masking your mouth and nose these days?  David Kennedy Cutler’s standout contribution to Klaus Gallery’s group exhibition, ‘Mask,’ shows the artist’s rack of cloned selves in the form of complete suits constructed by printing scanned images on cotton and plastic.  Designed to be worn in performances by multiple individuals, including the artist, each character manifests the digital self with ‘real’ self hidden beneath.  (On view on the Lower East Side through Nov 28th.  Masks and social distancing required.)

David Kennedy Cultler, Second Skins, inkjet on cotton and PETG, zipper, Velcro, deconstructed sneakers, performance detritus, wood rack, outfits: 79 x 22 x 12 inches, 2017-2020.

Felipe Pantone at albertz benda

Audience interaction is key to activating Spanish/Argentinian artist Felipe Pantone’s optically sizzling sculpture, so how will viewers engage his latest work?  Though Pantone’s current exhibition at Chelsea’s albertz benda gallery won’t involve touching the work (and is even titled ‘Contactless’), Pantone has created an online exhibition that allows manipulation of this patterned, pixelated grid and other sculptures in the show.  If not quite as satisfying as interacting with the art in person, the digital component is still a huge boost and worth checking out.  Visitors who are hooked can download Pantone’s interactive app @configurableart for more optical play.  (On view through August 28th.  Appointments are not necessary, masks are required and guests must sign a Covid release and submit contact info.)

Felipe Pantone, Chromadynamica Manipulable #7, UV paint on aluminum composite panel, 39 3/8 x 31 1/2 inches, 2020.

Simen Johan at Yossi Milo Gallery

Simen Johan’s dramatic photographs of animals are convincing at first glance, then give viewers pause to consider.  Johan’s skillful digital manipulations allow a panda to appear ready to nurse furry little black and white creatures which turn out to be skunks, while in another image, a longhorn bull poses comfortably in an Alpine scene, though the animal may be more at home in Texas.   In its original setting, this wolf was having its belly rubbed; in the gallery, its blank look and menacing teeth capitalize on preconceived ideas about the animal’s ferocity.  (On view in Chelsea at Yossi Milo Gallery through Dec 7th).

Simen Johan, Untitled #195, digital c-print, image: 49 ½ x 40 inches, 2018.

Matthew Hansel in Post Analogue Studio at The Hole NYC

17th century Dutch still life painters delighted in the effect of light hitting rich fabric or shiny glass; contemporary Brooklyn artist Matthew Hansel is into optical delights of a different sort as he mimics digital distortion in oil and flashe paint.  Included in The Hole’s continuing investigation of how digital techniques have impacted non-digitally created art, this shaped painting throws a little fun-house mirror effect into a traditional momento mori.  (On view on the Lower East Side through May 19th).

Matthew Hansel, The Tide That Left and Never Came Back, oil and flashe paint on linen mounted on panel, 30 x 44 inches, 2019.