‘60s performance art gets a radical update in LA-based artist Channing Hansen’s algorithm-derived hand-knit constructions at Susan Inglett Gallery. Conceived of as instructions or ‘scores,’ each artwork in his latest solo show is a kind of event; the 2-D pieces are shaped by an algorithm trained to produce ‘Channing Hansen artworks,’ based on the characteristics of his previous work. (On view in Chelsea through Oct 16th. Masks required).
Draped curtains, sparkling suits and partial viewers of singers’ faces summon the magic of the stage in British artist Louise Giovanelli’s paintings at GRIMM Gallery’s new Tribeca space. Here, a carefully coifed wave of blond hair creates a bold, organic geometry that suggests a force of nature while testifying to the artifice of show-biz. (On view through Oct 23rd).
Divisions both stark and subtle dominate Nathaniel Mary Quinn’s drawing ‘Double-Barreled Shotgun,’ a standout in his current show at Gagosian Gallery’s uptown location. Prompted by a bad experience with a family member, this piece unites two figures only to show their differences. Created with a technique that appears to be collage, yet is entirely hand drawn in charcoal, gouache and soft pastel on Coventry vellum paper, the work manifests invisible hurt in disfigured faces. (On view through Oct 30th).
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).
Two towering heads are positioned back-to-back in Raven Halfmoon’s powerful monumental stoneware sculpture ‘Bah’hatteno Nut’tehtsei (Red River Girl in Caddo).’ A standout in ‘Claypop,’ Jeffrey Deitch Gallery’s new group show of contemporary ceramic artwork curated by director Alia Williams, the work’s textured surface suggests rock carved from the landscape while Halfmoon’s spray-painted face-markings and signature on the side connects the piece to contemporary urban artistic expression. (On view in SoHo through Oct 30th.)
