Draft:Channing Hansen

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Channing Hansen
Born	Channing Maccabee Campbell (1972-06-27) June 27, 1972 Los Angeles, California, U.S.
Education	San Francisco Art Institute; Mountain School of Art
Known for	Fiber art, knitting, algorithmic art, performance
Movement	Fluxus; contemporary abstraction
Relatives	Al Hansen (grandfather); Beck Hansen (brother), Bibbe Hansen (mother); David Campbell (father)
Website	www.channinghansen.com

Channing Hansen (born Channing Maccabee Campbell June 27, 1972) is an American contemporary artist whose practice combines textile processes, computation, algorithms, abstraction, performance, mathematics, scientific data, and material research. Born and raised in Los Angeles, Hansen studied at the San Francisco Art Institute and the Mountain School of Art.

Photo of Channing Hansen by Joshua White, 2014.

Hansen is known particularly for hand-spun, hand-dyed and hand-knitted textile works whose compositions are generated or structured by computer algorithms. His process combines computational instructions with extensive manual labor: raw fleece is processed by the artist and transformed into yarn before being knitted according to algorithmically generated instructions.

His work has been exhibited at the Hammer Museum, Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, Wexner Center for the Arts, Long Beach Museum of Art, Laguna Art Museum, Mount Wilson Observatory and other institutions in the United States and internationally.

Works by Hansen are held in the collections of the Art Institute of Chicago, Hammer Museum, Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, San Francisco Museum of Modern Art, Stedelijk Museum Amsterdam, Henry Art Gallery, the Frederick R. Weisman Foundation, the Ahmanson Foundation, and other collections.

Early life and education

Hansen was born and raised in Los Angeles in 1972. He is the son of performance artist Bibbe Hansen and arranger and composer David Campbell, and the brother of musician and artist Beck Hansen. His maternal grandfather was artist Al Hansen, who was associated with Fluxus and Happenings. He studied at the San Francisco Art Institute, where he worked in performance, video and new genres, and subsequently studied at the Mountain School of Art in Los Angeles.

Hansen's early practice included performance, video, sculpture, collage and new media. His later development of textile processes grew out of an interest in science and technology and a desire to combine conceptual systems with direct physical labor.

The Hammer Museum has described Hansen's practice as encompassing videos, performances, sculptures, paintings and lectures, and has identified his involvement with the Mountain School of Art, an alternative art school and residency in Los Angeles.

Artistic practice

Knitting and textile production

Hansen's best-known works are large abstract textile constructions that are frequently presented as paintings. Rather than relying exclusively on commercially produced yarn, Hansen processes raw fleece himself. His process can include skirting, washing, dyeing, blending and spinning the fleece before knitting it into finished works.

The process is deliberately labor-intensive. The wool is prepared by Hansen and transformed into yarn before being knitted by hand according to a pattern determined by a computer-generated algorithm.

The fibers used in Hansen's work have included wool from numerous sheep breeds, as well as alpaca, camel, mohair, silk, bamboo, yak, carbon fiber, holographic polymers and synthetic fibers.

The material itself is part of Hansen's conceptual investigation. His use of conservation-bred and heritage sheep fibers connects the biological history of domesticated animals to questions of genetic diversity, selective breeding and material variation.

Hansen has described becoming increasingly interested in sheep genetics as his investigation of fiber developed. In a 2024 conversation with curator Patrick J. Reed, he discussed working with sheep geneticist Dee Heinrich and research into historically diverse sheep-fleece colors that had become less common through selective breeding for white wool.

The research led Hansen to consider the genetic history of his materials as part of the artwork rather than as a neutral source of raw material.

Algorithms

A defining feature of Hansen's practice is his use of computer algorithms as instructions for physical production. Rather than treating an algorithmically generated image as the finished artwork, Hansen translates computational information into a sequence of physical decisions involving color, fiber, stitch, direction, density and pattern.

Hansen has written algorithms in the programming language Python. He has described systems containing variables corresponding to stitches, colors, patterns, directions and other possible actions. The algorithm selects from those variables to generate instructions for the knitting process.

The algorithm can include deliberate errors or "mistakes" as possible variables. Hansen has described this as a way of introducing controlled randomness into the production process.

Because the algorithm establishes instructions before or during production, Hansen often does not know what a completed textile will look like until the knitting has progressed substantially or has been finished. The physical constraints of stretching knitted material can require him to interpret, compensate for or adapt to the instructions generated by the system.

The 2019 Simon Lee Gallery exhibition Pattern Recognition, documented by Artforum ArtGuide, described Hansen's algorithm as determining the pattern while leaving the appearance of the completed work unknown until the process was complete. The exhibition text characterized the resulting tension as one between computational order and human variability introduced by the artist's hand.

MOCA has similarly described the algorithms as determining variables including starting points, color, direction and density, producing irregular compositions that can be read in relation to gestural abstraction.

Algorithms as scores

Hansen has characterized his algorithms as analogous to Fluxus scores: sets of instructions that establish conditions for an action while leaving the eventual physical result partly open.

In Hansen's process, the computer-generated score does not itself constitute the complete artwork. Instead, the score is enacted through manual labor. The artist follows the instructions while simultaneously responding to the physical properties of the yarn, the scale of the work and the structural requirements of the knitted surface.

The resulting work combines programmed instruction, chance, interpretation, material resistance and manual decision-making.

The relationship to Fluxus is primarily a conceptual and familial lineage rather than a claim that Hansen was a member of the original 1960s Fluxus movement. His maternal grandfather, Al Hansen, was associated with Fluxus and experimental performance, and Hansen has performed works originally created by him.

DNA and genetic algorithms

Hansen's Self Portraits series and subsequent works use information derived from his own genetic sequence as a source for algorithmic composition.

Hansen has described using single-nucleotide polymorphisms (SNPs) from his genetic sequence as a seed for an algorithm. He identified a set of variables corresponding conceptually to the twenty-three pairs of human chromosomes, then used those variables in a randomizing function to produce instructions for individual knitted works.

The resulting textiles have been described as a form of algorithmic self-portraiture: the works originate in biological information specific to the artist but are transformed through computation, chance and physical interpretation into abstract forms.

The Wexner Center for the Arts described Hansen's contribution to its 2018 exhibition Inherent Structure as a form of autobiographical abstraction in which vibrant knitted paintings were determined by an algorithm built from his DNA sequencing.

Color, spectroscopy and scientific collaboration

Hansen has collaborated with scientists in developing materials and procedures for his work.

For a series of works shown at Stephen Friedman Gallery in 2017, Hansen collaborated with Betsy Pugal, a NASA planetary-protection scientist, using spectrometry in the development of custom dyes.

Hansen has described the collaboration in relation to his interest in treating color as measurable physical information. Spectrometric measurement allowed wavelengths to become part of the material research underlying his dyes.

The resulting fibers incorporated photoluminescent pigment, producing fluorescent effects within the knitted works.

The collaboration exemplifies Hansen's practice of treating scientific instrumentation not merely as a source of subject matter but as a component of the artwork's material process.

Turing and morphogenesis

Hansen's 2018 exhibition Morphogenesis at Stephen Friedman Gallery drew upon the work of mathematician and computer scientist Alan Turing, particularly his theory of morphogenesis and the spontaneous emergence of patterns in biological systems.

Turing's work suggested mathematical mechanisms through which patterns such as stripes and spots could emerge from interactions within biological systems. Hansen translated this conceptual framework into algorithmically generated textile compositions capable of producing combinations of color, fiber and stitch.

The exhibition included M: Index (2018), a composite work comprising 23 individually stretched knitted works. The number 23 referred symbolically to the 23 pairs of chromosomes in the human genome, linking the exhibition's computational structure to Hansen's earlier use of genetic information.

The exhibition incorporated natural and synthetic fibers including heritage sheep wool, bamboo, rose fiber and holographic polymers.

Scientific and astronomical data

Solar Algorithm

For Solar Algorithm (2017), created for the exhibition Knowledges at Mount Wilson Observatory, Hansen generated a score by combining geographic and astronomical information.

The algorithm incorporated GPS data gathered while Hansen hiked trails around Mount Wilson and measurements of magnetic fields recorded by the observatory's solar tower. The resulting instructions were translated into hand-dyed, hand-spun and hand-knitted wool.

The completed work was installed in the observatory's 150-foot solar tower, making the location that generated the data part of the work's physical and conceptual context.

The project exemplifies Hansen's method of translating scientific or environmental information into material form rather than representing that information pictorially.

Cosmic Fourier Fabric

Hansen's later work has incorporated data concerning the cosmic microwave background (CMB), the radiation left over from the early universe.

Cosmic Fourier Fabric (2023) used three-dimensional modeling data of the CMB from NASA's Wilkinson Microwave Anisotropy Probe (WMAP) and the Planck mission. Hansen used the Fourier transform to seed an algorithm that generated the knitted structure of the work.

Hansen has described the resulting work in relation to topology and space-time. The Fourier transformation introduces variations in stitch size, producing areas of dense knitting alongside large open spaces.

The work was presented in Energy Fields: Vibrations of the Pacific, co-presented by Fulcrum Arts and Chapman University in 2024.

Quantum Paintings

Hansen's Quantum Paintings series developed from his interest in quantum physics and the question of how measurement affects the description of a physical system.

The works use fine-gauge knitted structures stretched across wooden supports. Their open, net-like surfaces reveal portions of the underlying structure and can occupy an ambiguous position between painting, drawing and sculpture.

Hansen has discussed the works in relation to quantum superposition, using the conceptual analogy of an artwork existing between possible classifications until it is encountered and interpreted by a viewer.

The Hammer Museum has described the Quantum Paintings as net-like fields whose fine-gauge knitting reveals the supports beneath them.

Family and Fluxus lineage

Hansen is the son of performance artist Bibbe Hansen and arranger and composer David Campbell. He is the brother of musician and artist Beck Hansen.

His maternal grandfather was artist Al Hansen, who was associated with Fluxus and Happenings.

Hansen's family relationship to Fluxus has had a direct effect on his performance history. Beginning in the 1990s, he participated in exhibitions and performances devoted to Al Hansen's work, including Beck & Al Hansen: Playing With Matches.

At the Santa Monica Museum of Art opening of Beck & Al Hansen: Playing With Matches in 1998, Hansen performed Al Hansen's Elegy for the Fluxus Dead and Yoko Ono Piano Drop. The exhibition subsequently traveled to venues including Thread Waxing Space in New York, Plug In in Winnipeg, Art Beatus in Vancouver, LaForet in Japan, Walter Phillips Gallery in Banff and The Power Plant in Toronto.

In 2000 Hansen performed Elegy for the Fluxus Dead at the Agnes Etherington Art Centre at Queen's University and Cheekwood Botanical Garden and Museum of Art. At Schloss Moyland Museum he participated in a panel discussion with Bibbe Hansen, Beck Hansen and curator Wayne Baerwaldt.

The family connection therefore predates Hansen's later textile practice and includes direct participation in the preservation and re-performance of Al Hansen's performance works.

Collaboration with Alexandra Grant

In 2011–2012 Hansen collaborated with artist Alexandra Grant on Womb-Womb Room at Night Gallery in Los Angeles. The project was based on Faith Wilding's Crocheted Environment, also known as Womb Room, originally developed in connection with the 1972 Womanhouse project.

The collaboration placed Hansen's emerging textile practice in dialogue with feminist fiber art and the history of craft-based installation.

Major works

Linguistic Momentum (2011)

Linguistic Momentum is a large textile work from 2011 held by the Hammer Museum. It is made from hand-spun and dyed alpaca, camel, Merino and Bluefaced Leicester fibers, together with silk and stained white pine.

The work belongs to Hansen's early period of developing knitted and fiber-based abstraction before his later DNA- and science-derived algorithmic series.

Dangling Modifier (2011)

Dangling Modifier was exhibited in Made in L.A. 2014. The work uses hand-spun and dyed Merino, yak down, silk noils, Corriedale and Romney wool, stretched over pine.

Its title and materially complex construction reflect Hansen's early interest in the relationship between language, structure and physical systems.

Collider (2012)

Collider (2012) uses Merino wool, cotton, silk, nylon, alpaca, kid mohair and acrylic stretched over cedar.

The title evokes particle physics and reflects Hansen's developing interest in translating scientific concepts into material and spatial forms.

Polytope Soap (2013)

Polytope Soap (2013) is a hand-spun and dyed textile incorporating Cheviot, Corriedale, Merino and Romney wool, Teeswater locks, yak down, cotton, commercial thread, holographic polymers, polyamide, silk noils and viscose, stretched over cedar.

The work was included in Made in L.A. 2014 and demonstrates the combination of traditional fiber processes with synthetic and technologically associated materials that became characteristic of Hansen's practice.

Algorithm #36 (2013)

Algorithm #36 is a 2013 work held by the Hammer Museum. The museum presented a dedicated lunchtime discussion of the work in August 2014.

The title identifies the work explicitly through its relationship to Hansen's algorithmic process.

42 (2014)

42 (2014) is in the Hammer Museum's Contemporary Collection. The work measures 120 by 180 inches and incorporates hand-spun and dyed fibers from numerous sheep breeds, together with Teeswater locks, yak down, holographic polymers, silk noils and Tencel, mounted on cedar.

The work was acquired by the Hammer Museum in 2018 as a gift of William and Ruth True.

Algo 54 4.2 (2015)

Algo 54 4.2 is a large textile work acquired by LACMA in 2015. The work consists of twenty mesh panels incorporating baby camel down, multiple sheep breeds, mohair, Pygora, silk, bamboo, redwood and holographic polymers.

The work is part of LACMA's permanent collection and was acquired through AHAN: Studio Forum as an Art Here and Now purchase commemorating the museum's 50th anniversary.

K²:KM:02 (2015)

K²:KM:02 is held by the Museum of Contemporary Art, Los Angeles. Its materials include fibers from Romeldale, California Variegated Mutant, Border Leicester, Rambouillet, Finnsheep and Romney sheep, as well as bamboo, carbon fiber and holographic materials.

MOCA identifies the computer algorithm as determining aspects of the work's starting points, colors, directions and density. The museum interprets the resulting irregular compositions in relation to gestural abstraction while emphasizing their computational construction.

8-Manifold (2017)

8-Manifold (2017) is held by MOCA Los Angeles. It incorporates alpaca, Bluefaced Leicester, California Variegated Mutant, Romedale, Romney and Shetland fibers.

The work entered MOCA's collection as a gift of Councilman Joel Wachs and was assigned accession number 2023.89.

Software (2017)

Software was presented in the 2018 Wexner Center exhibition Inherent Structure. The work is a large hand-spun, hand-dyed wool textile stretched over tulip wood.

Its title foregrounds the relationship between Hansen's textile process and the computational systems that generate his patterns.

Solar Algorithm (2017)

Solar Algorithm was created for Knowledges at Mount Wilson Observatory. Its knitted pattern was generated from GPS information gathered during Hansen's hikes around Mount Wilson and magnetic-field measurements recorded by the observatory's solar tower.

The work was installed in the solar tower itself, creating a direct relationship among location, scientific measurement, algorithm and textile production.

M: Index (2018)

M: Index is a composite work consisting of 23 individually stretched knitted paintings. The number of components refers to the 23 pairs of chromosomes in human DNA.

The work was included in Hansen's 2018 Morphogenesis exhibition at Stephen Friedman Gallery. The exhibition drew upon Alan Turing's theory of morphogenesis and used algorithms capable of producing combinations of color, fiber and stitch.

Taxonomies (2019)

Taxonomies is a large textile work made from hand-spun and hand-dyed wool, synthetic fibers and redwood. A detail of the work was reproduced in the 2024 Fulcrum Arts interview with Hansen.

The title reflects Hansen's continuing interest in classification, biological systems and the relationship between natural variation and algorithmic organization.

I, Algorithm series (2021)

For the 2021 exhibition I, Algorithm, Hansen collaborated with an AI programmer to train an artificial-intelligence system on his previous body of work. The system generated approximately 10,000 patterns, from which Hansen selected a smaller number to knit.

The project extended Hansen's earlier algorithmic practice by making the artist's existing body of work itself part of the dataset from which new patterns were generated.

The exhibition's titles were generated algorithmically from words and phrases drawn from Hansen's previous artist statements and recombined into new titles.

Cosmic Fourier Fabric (2023)

Cosmic Fourier Fabric used cosmic microwave background data from NASA's WMAP and Planck missions and a Fourier-transform-based algorithm to generate the work's structure.

The work translates astronomical measurement into a knitted textile and continues Hansen's interest in treating physical processes and scientific datasets as sources of visual structure.

Major exhibitions

Made in L.A. 2014

Hansen participated in Made in L.A. 2014 at the Hammer Museum from June 15 through September 7, 2014. The biennial exhibition presented work by 35 Los Angeles artists and included painting, installation, video, sculpture, photography and performance.

Hansen's presentation included Polytope Soap, Collider and Dangling Modifier.

Knowledges

Knowledges was presented at Mount Wilson Observatory in 2017. Hansen's contribution, Solar Algorithm, translated GPS and solar magnetic-field data into an algorithmic knitting score and was installed in the observatory's solar tower.

The project exemplified the exhibition's integration of art with scientific research and the physical infrastructure of an astronomical observatory.

Self Portraits

Hansen's 2017 exhibition Self Portraits at CRG Gallery in New York presented knitted works generated from information derived from his own genetic sequence.

The exhibition framed DNA not simply as subject matter but as a computational source: genetic information became variables within the algorithmic system that determined the knitting instructions.

Morphogenesis

Morphogenesis, presented at Stephen Friedman Gallery in London in 2018, was based on Alan Turing's work on pattern formation and biological morphogenesis.

The exhibition combined Hansen's interest in genetics with mathematical pattern formation, conservation-bred sheep and computational generation. The use of heritage sheep fibers linked genetic diversity in agriculture to the exhibition's larger interest in biological variation.

Inherent Structure

Hansen participated in Inherent Structure at the Wexner Center for the Arts in Columbus, Ohio, in 2018. The exhibition examined underlying structures and sources of contemporary abstraction.

The Wexner Center described Hansen's abstraction as autobiographical because the algorithm determining his knitted paintings was based on his DNA sequencing.

Pattern Recognition

Pattern Recognition, presented at Simon Lee Gallery in Hong Kong from January 11 to February 11, 2019, was Hansen's first solo exhibition in Asia.

The exhibition presented a new series of Hansen's hand-knitted textile works and brought craft and computation together through algorithms drawing on scientific concepts and mathematical formulae.

The exhibition text published through Artforum described Hansen's process as involving the skirting, washing, dyeing, blending and spinning of wool before it was knitted according to computer-generated patterns. The algorithm could encompass combinations of colors, fibers and patterns while leaving the final appearance unknown until completion.

Artforum also described the resulting works as occupying a position between painting and sculpture. Their web-like structures could reveal the stretcher behind them, while the handmade production introduced variability into an otherwise programmatic composition.

The exhibition's title referred to pattern recognition as a computational process of identifying patterns and relationships within data. Hansen connected this with the human tendency to perceive patterns, making perception itself part of the conceptual framework of the series.

I, Algorithm

I, Algorithm was presented at Susan Inglett Gallery in New York in September–October 2021.

The project extended Hansen's earlier use of algorithms by introducing machine learning trained on his previous work. The resulting system generated patterns based upon an analysis of Hansen's accumulated artistic output.

New Abstracts: Recent Acquisitions

LACMA included Hansen in New Abstracts: Recent Acquisitions, presented in the Resnick Pavilion from November 12, 2022, through September 17, 2023.

The exhibition presented recently acquired works by artists working across contemporary abstraction. Hansen's inclusion followed LACMA's acquisition of Algo 54 4.2 in 2015.

Energy Fields: Vibrations of the Pacific

Energy Fields: Vibrations of the Pacific was co-presented by Fulcrum Arts and Chapman University in 2024. Hansen's Cosmic Fourier Fabric was included in the exhibition.

The work used cosmic microwave background data and Fourier analysis to generate a textile structure, extending Hansen's ongoing translation of scientific datasets into physical fiber-based forms.

Cosmic Fabric

Hansen's 2024 exhibition Cosmic Fabric at Marc Selwyn Fine Art formed part of the Getty's PST ART: Art & Science Collide gallery program.

The project developed Hansen's interest in cosmology, including the cosmic microwave background and the origins of space-time. Hansen used NASA three-dimensional modeling data of the CMB to generate textile works through algorithmic procedures.

Collections

Hammer Museum

The Hammer Museum holds documented works by Hansen including Linguistic Momentum (2011), 42 (2014), and Algorithm #36 (2013).

Linguistic Momentum is an early large-scale textile work using hand-spun alpaca, camel, Merino and Bluefaced Leicester fibers.

42 is a large 2014 work incorporating numerous sheep breeds and synthetic materials and was acquired by the Hammer in 2018 as a gift of William and Ruth True.

Los Angeles County Museum of Art

LACMA holds Algo 54 4.2 (2015), a 20-panel textile measuring approximately 86 by 116 inches.

The work incorporates multiple types of sheep wool as well as baby camel down, mohair, Pygora, silk, bamboo, redwood and holographic polymers.

LACMA acquired the work in 2015 through AHAN: Studio Forum as an Art Here and Now purchase commemorating the museum's 50th anniversary.

Museum of Contemporary Art, Los Angeles

MOCA holds documented works by Hansen including K²:KM:02 (2015) and 8-Manifold (2017).

K²:KM:02 entered the collection as a gift of Dana and Stephen Sigoloff. Its materials include numerous heritage sheep fibers as well as bamboo, carbon fiber and holographic material.

8-Manifold entered the collection as a gift of Councilman Joel Wachs. The work incorporates alpaca and multiple breeds of sheep including Bluefaced Leicester, California Variegated Mutant, Romedale, Romney and Shetland.

Other public collections

Hansen's curriculum vitae and gallery records list works in the collections of the Art Institute of Chicago, Henry Art Gallery at the University of Washington, San Francisco Museum of Modern Art, Stedelijk Museum Amsterdam, Frederick R. Weisman Foundation, Ahmanson Foundation and other collections.

The Susan Inglett Gallery biography additionally lists the Rachofsky Collection and other institutional and private collections.

Lectures, interviews and video

Hammer Museum video

The Hammer Museum produced a video profile of Hansen in conjunction with Made in L.A. 2014. The video discusses his interdisciplinary practice and his combination of craft, technology, mathematics and physics.

Hammer Museum lecture

In August 2014 the Hammer presented a lunchtime art talk devoted to Hansen's Algorithm #36.

MOCA Artists on Artists

In 2016 Hansen participated in the Museum of Contemporary Art, Los Angeles program Artists on Artists, presenting a discussion of Barbara Kasten's work.

Fulcrum Arts interview

In 2024 curator Patrick J. Reed interviewed Hansen in his Los Angeles studio for Fulcrum Arts. The conversation covers wool preparation, sheep genetics, algorithms, DNA, machine learning, Cosmic Fourier Fabric, and the relationship between scientific systems and textile production.

The interview provides an account of Hansen's working process, including the preparation of raw fleece, development of algorithmic variables, treatment of mistakes as variables, and the physical negotiation required when algorithmic instructions conflict with the structural requirements of a knitted textile.

Artistic influences and intellectual sources

Hansen's work has been influenced by several overlapping traditions.

His family connection to Al Hansen provides a direct link to Fluxus, Happenings and performance art.

His early education in New Genres and subsequent involvement with the Mountain School of Art provided a context for interdisciplinary and experimental approaches to art making.

His later work draws on mathematical and scientific subjects including quantum physics, DNA sequencing, genetics, Turing's morphogenesis, topology, Fourier transforms and cosmic microwave background radiation.

Hansen has also worked with scientists and scientific technologies directly, including collaboration with NASA scientist Betsy Pugal on spectrometric dye development and work involving sheep genetics and conservation breeding.

Relationship to contemporary abstraction

Hansen's work has been discussed by museums and exhibition organizers in relation to the history and conventions of abstract painting.

MOCA has emphasized the tension between the spontaneous appearance of his knitted compositions and their underlying computational determination.

The Wexner Center's Inherent Structure positioned Hansen's work within an exhibition concerned with underlying structures and sources of contemporary abstraction.

The Hammer Museum has described Hansen's works as combining craft with technological developments and has emphasized the coexistence of traditional manual processes with mathematics, physics and computation.

The Artforum ArtGuide material for Pattern Recognition described the works as occupying a position between painting and sculpture, with web-like knitted structures sometimes revealing the stretcher behind them.

His use of textile materials also complicates conventional distinctions between painting and craft. The knitted works are physically constructed rather than painted, yet are frequently stretched on wooden frames and discussed in relation to painting and abstraction.

Teaching

Hansen has been active as an educator through the Mountain School of Art in Los Angeles.

The school is an alternative art school and residency associated with experimental approaches to contemporary art education. Hansen's educational activity forms part of his broader engagement with Los Angeles's experimental art community.

Bibliography

Exhibition catalogues and books

• Philbin, Ann, ed. Made in L.A. 2014: A, the, LA. Los Angeles: Hammer Museum, 2014.
• Gifts on the Occasion of LACMA's 50th Anniversary. Los Angeles: Los Angeles County Museum of Art, 2015.
• Textile Abstraction. Bogotá: Casas Riegner, 2018.
• Vitamin T: Threads and Textiles in Contemporary Art. London: Phaidon, 2019.
• 25 Years. London: Stephen Friedman Gallery, 2020.
• Susan Inglett Gallery. Channing Hansen: I, Algorithm. New York: Susan Inglett Gallery, 2021.
• Weisman, Billie Milam. We are LA: Contemporary Art from the Frederick R. Weisman Art Foundation. Los Angeles: Ronald H. Silverman Fine Arts Gallery, 2022.
• Marc Selwyn Fine Art. Cosmic Fabric. Los Angeles: Marc Selwyn Fine Art, 2024.
• Hansen Maps. Mapping the Universe: Popular Atlas, 2024 Edition. Fulcrum Arts / Chapman University, 2024.
• English, Lawrence; Novak, Robert Takahashi. Energy Fields: Vibrations of the Pacific. Fulcrum Arts / Chapman University, 2024.
• Corwin, Lena. CLOTH 100 Artists: Contemporary & Heritage Techniques. New York: Abrams, 2025.
• Adams, Helen. Textile Fine Art: Conversations with Artists Creating by Hand. London: Laurence King, 2025.

Selected interviews and articles

• Holmes, Kevin. "Hand-Knit Paintings Weave DNA into Algorithms." Vice, May 30, 2017.
• Gopnik, Blake. "Could Channing Hansen's Knits Bring Painting Back from the Dead?" Artnet, 2017.
• Reed, Patrick J. "Everywhere's A Center: A Conversation With Channing Hansen." Fulcrum Arts, 2024.
• "Channing Hansen: Pattern Recognition." Artforum ArtGuide / Simon Lee Gallery, 2019.
• "Channing Hansen: Morphogenesis." Stephen Friedman Gallery, 2018.
• "Channing Hansen: Cosmic Fabric." Artforum ArtGuide / Marc Selwyn Fine Art, 2024.

Selected exhibition history

Solo exhibitions

• 2016 — Channing Hansen, Marc Selwyn Fine Art, Beverly Hills, California.
• 2017 — K2, Marc Selwyn Fine Art, Beverly Hills, California.
• 2017 — Self Portraits, CRG Gallery, New York.
• 2017 — Fluid Dynamics, Marc Selwyn Fine Art, Beverly Hills, California.
• 2017 — Channing Hansen, Stephen Friedman Gallery, London.
• 2018 — Morphogenesis, Stephen Friedman Gallery, London.
• 2019 — Pattern Recognition, Simon Lee Gallery, Hong Kong.
• 2019–2020 — Entanglements, Marc Selwyn Fine Art, Los Angeles.
• 2021 — I, Algorithm, Susan Inglett Gallery, New York.
• 2024 — Cosmic Fabric, Marc Selwyn Fine Art, Los Angeles.
• 2026 — Metaphotical Spectra, Susan Inglett Gallery, New York.

Selected group exhibitions

• 2012 — Organic/Synthetic, Glendale College Art Gallery, Glendale, California.
• 2013 — Forêt Intérieure/Interior Forest, 18th Street Arts Center, Santa Monica, California.
• 2014 — Made in L.A. 2014, Hammer Museum, Los Angeles.
• 2014 — The Word Today, Supportico Lopez, Berlin.
• 2015 — The Slow Burn, Ditch Projects, Springfield, Oregon.
• 2015 — When the Sun Hits, The Pit, Los Angeles.
• 2015 — Warp and Weft, Chain Stitch and Pearl: Textiles in the Ahmanson Collection, Fieldsted & Company, Los Angeles.
• 2016 — Intertwined, Institute of Fine Arts, New York University, New York.
• 2016 — 20th Anniversary Exhibition, Hosfelt Gallery, San Francisco.
• 2017 — Knowledges, Mount Wilson Observatory, Los Angeles.
• 2017 — 99 Cents or Less, Museum of Contemporary Art Detroit.
• 2018 — Inherent Structure, Wexner Center for the Arts, Columbus, Ohio.
• 2018 — Textile Abstraction, Casas Riegner, Bogotá.
• 2019 — Thread, Long Beach Museum of Art.
• 2020 — 25 Years, Stephen Friedman Gallery, London.
• 2022–2023 — New Abstracts: Recent Acquisitions, Los Angeles County Museum of Art.
• 2023 — The Place I Am, Stephen Friedman Gallery, London.
• 2024 — Energy Fields: Vibrations of the Pacific, Fulcrum Arts / Chapman University.
• 2024 — Echoes, ripples, buzz'd whisper, Stephen Friedman Gallery, New York.
• 2026 — Tangled Web: Weaving as a Conceptual Practice, Hosfelt Gallery, San Fransico.

External links

• Channing Hansen at the Museum of Contemporary Art, Los Angeles
• 42 at the Hammer Museum
• Linguistic Momentum at the Hammer Museum
• Algo 54 4.2 at the Los Angeles County Museum of Art
• K²:KM:02 at MOCA
• 8-Manifold at MOCA
• Made in L.A. 2014: Channing Hansen at Hammer Channel
• Solar Algorithm at Mount Wilson Observatory / Knowledges
• Inherent Structure at the Wexner Center for the Arts
• Everywhere's A Center: A Conversation With Channing Hansen at Fulcrum Arts
• I, Algorithm at Susan Inglett Gallery
• Channing Hansen at Artforum ArtGuide
• Pattern Recognition at Artforum ArtGuide
• Cosmic Fabric at Artforum ArtGuide
• Tangled Web at Hosfelt Gallery
• Could Channing Hansen’s Knits Bring Painting Back From the Dead? at Artnet