Andy Kehoe
Luminous Reverie
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
May 18, 2013 through June 15, 2013NEW YORK, NY (April 9, 2013) — Jonathan LeVine Gallery is pleased to present Luminous Reverie, a series of new mixed media works on panel by Pittsburgh-based artist Andy Kehoe, in what will be his third solo exhibition at the gallery. Known for human-animal hybrid figures set in forested backgrounds, Kehoe’s recent works have evolved to include a new technique of painting his distinct imagery in oil and acrylic on multiple layers of resin. Incorporating this new medium has added illusions of shadow and dimension, altering spatial relationships from background to foreground and expanding the level of depth between subjects and their surrounding environment. In this exhibition, Kehoe introduces another new aspect to his process by adding elements sculpted with polymer clay—placing antlers, trees and other details within layers of poured resin and paint. This marks the first time the artist’s work will contain three-dimensional objects submerged within the flat surface of his two-dimensional tableaus. In one piece, painted shards of broken glass resemble an erupting volcano. Other scenes portray a moon-like island suspended in the sky and a giant gnarled tree possessing a gateway to an alternate dimension. In Kehoe’s words, “I’ve always loved creating little worlds within my work. One of my favorite aspects of these resin boxes is that they contain an almost tangible version of these enclosed little worlds of mine.” The show title Luminous Reverie, alludes to the idea of experiencing clarity of vision when lost in a daydream. It is also a reference to the radiant use of light throughout the imagery. There is a heightened ethereal quality to this body of work. Many of the figures are silhouetted, glowing and ghost-like or darkened, cast in shadow. Marbleized textures in the night skies are punctuated with stars and celestial bodies. Clouds, fogs and mists lend a sense of mystery to the atmosphere. Overall, the narratives have become more abstract, capturing moments in time as poetic fragments rather than full stories. Loaded with a greater sense of drama and emotion, the fantastical scenarios are pushed beyond the bounds of fantasy into a looser realm of the unimagined rather than the imagined.
Featured Artist
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Andy Kehoe |
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See the Andy Kehoe
Luminous Reverie Exhibit
Souther Salazar
Souvenirs
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
May 18, 2013 through June 15, 2013NEW YORK, NY (April 9, 2013) — Jonathan LeVine Gallery is pleased to present Souvenirs, a series of new paintings, drawings, sculptures and installations by Portland-based artist Souther Salazar, in what will be his fourth solo exhibition at the gallery. Works in Souvenirs were inspired by the Trading Tortoise, Salazar’s recent collaboration with his wife, Monica Choy. In 2012, the pair created an interactive art installation in the form of a tortoise-shaped trading post, which they took on tour, bartering unique objects and stories at locations in over 30 different cities across the country. During their travels, the artists explored America, exchanging tiny treasures and sharing adventures along the way. This unique community-oriented experience which connected a diverse group of people through a network of trades, is documented on www.tradingtortoise.com. During Trading Tortoise, Salazar explored the connection between personal memories and collected objects, items that serve as tangible reminders of places, people and events. Organizing his memories of the project into imaginary collections, Salazar created artworks to represent his own visual souvenirs, referencing some of the experiences. Drawings of trucks, gas pumps and power lines take on anthropomorphic qualities while a series of small sculptures constructed from found objects are presented in curio-like shadow boxes—one contains a series of miniature water towers in varying shapes and sizes, and the other features a group of figures representing some of the people Salazar met, the things they traded and their relationships to those objects. Themes in Souvenirs include travel, being on the road and the American landscape, re-interpreted through the artist’s signature whimsical style. The paintings contain winding roads and narratives of far off destinations with many interest points dotting the path along the way, serving as a metaphor for storytelling as well as the journey of life, itself.
Featured Artist
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Souther Salazar |
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See the Souther Salazar
Souvenirs Exhibit
Marco Mazzoni
Animanera
Project Room
Solo Exhibition
Jonathan LeVine Gallery
May 18, 2013 through June 15, 2013NEW YORK, NY (April 9, 2013) — Jonathan LeVine Gallery is pleased to present Animanera, a series of new works on paper by Milan-based artist Marco Mazzoni, in what will be his debut solo exhibition in New York. Combining organic shapes and textures with chiaroscuro contrasts in light and shadow, Mazzoni’s colored pencil drawings portray isolated female faces with features framed by flora and fauna. Striking a delicate balance between portrait and still life, the artist often obscures the eyes of his subjects with the wings of birds and butterflies or the leaves and petals of floral studies. Mazzoni’s imagery references herbalist traditions and Sardinian folklore of mystical seductresses who enchant, curse and cure. His body of work is a tribute to the legacy of female healers throughout history. These women held an important role in medieval communities yet their ancient knowledge of the natural healing properties of medicinal plants was widely feared by the Church, viewed as witchcraft and cause for persecution. For this exhibition, Mazzoni explores dark themes of social ailments currently plaguing his home country. The show title Animanera translates from Italian to mean: black soul. The imagery reflects the financial crisis and post-election political climate in Italy, with themes of poverty, injustice and power struggles. In a series of ten works on sketchbook pages, Mazzoni portrays a variety of animal species re-imagined with biological mutations, and loaded with symbolism. A six-eyed owl, a cluster of frogs, a turtle sprouting mushrooms and a swarm of bees attacking a bird all carry significance to the artist as representing various human behavioral traits. Mazzoni’s sketchbook drawings are featured as a special 16-page section in the current issue of Hi-Fructose Magazine (Volume 27).
Featured Artist
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Marco Mazzoni |
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See the Marco Mazzoni
Animanera Exhibit
Josh Agle (SHAG)
Thursday's Girl
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
April 6, 2013 through May 4, 2013NEW YORK, NY (March 5, 2013) — Jonathan LeVine Gallery is pleased to present Thursday’s Girl, a series of new works on panel and canvas by Southern California-based artist Josh Agle (Shag), in what will be his fourth solo exhibition at the gallery. With an aesthetic strongly influenced by mid-century modern design, Agle renders his subjects and their surroundings with keen attention to figure and form. In his distinctive style, he creates clean shapes with crisp details and fluid line work painted in vividly saturated colors and sharply defined textural patterns. Affluence and luxury are attributes often associated with the imagery based on design elements portrayed in the architecture, furniture and fashion. As in most of Agle’s exhibitions, a central narrative theme connects the body of work in Thursday’s Girl. This series of paintings were inspired by All Tomorrow’s Parties, the classic Velvet Underground song in which lyrics written by Lou Reed spoke to New York’s downtown art scene found in places such as Warhol’s Factory. Themes of youth, fame, celebrity, revelry, excess and exclusion are represented, throughout. Thursday’s Girl is a recurring character that appears in several paintings in the exhibition, representing countless naïve, Midwestern girls who move to big cities in search of glamorous new lives. Drawn to the exciting worlds of art, music, fashion and film, Thursday’s Girl works a day job during the week and parties on the weekends, hoping to be discovered and accepted amidst drugs and drunken debauchery. The girl in the song, desperate to stay relevant, jumps on a fresh new trend every Thursday only to see it end by Sunday—a vicious cycle that repeats every weekend. The paintings highlight her fun and thrills yet foreshadow a bitter end where she ultimately falls victim to the superficial values of her idols—used up and spit out in favor of the next fresh, disposable muse.
Featured Artist
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Josh Agle (Shag) |
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See the Josh Agle (SHAG)
Thursday's Girl Exhibit
Jim Houser
Search Party
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
April 6, 2013 through May 4, 2013NEW YORK, NY (March 5, 2013) — Jonathan LeVine Gallery is pleased to present Search Party, a series of eight new works and a site-specific installation by Philadelphia-based artist Jim Houser, in what will be his fourth solo exhibition at the gallery. Through Houser’s signature style of visual poetry and personal iconography, the artist extends his practice of self-examination to include the topic of art making itself. Works in this exhibition serve to consider Houser’s relationship to the artwork he creates, the compulsion to create it and how his lifestyle has been formed, consequently. Houser’s collages become visual poems through which he cathartically communicates his most private thoughts and emotions with surprising candor. By cataloging his experiences and feelings through a unique pictorial language, the artist creates his own brand of curative iconography. Houser’s aesthetic often mixes stylized figures, hand-drawn typography and geometric shapes, creating quilt-like collages in a cohesive color palette. Houser layers acrylic on wood, fabric and found objects, blurring the lines between collage and sculpture. Once combined, it becomes clear that all of his works are associative and directly related. This deceptively dimensional quality is further highlighted when the pieces are assembled into one of the artist’s elaborate installations, adding to the complexity of each individual piece by emphasizing a greater inter-connectivity to the body of work as a whole.
Featured Artist
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Jim Houser |
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See the Jim Houser
Search Party Exhibit
WK
360
A 25 Year Survey
Pop-up exhibition
557 W 23rd Street
New York, NY 10011
Jonathan LeVine Gallery
March 8, 2013 through March 30, 2013NEW YORK, NY (February 6, 2012) — Jonathan LeVine Gallery is pleased to announce 360, a series of works by French-born, New York-based artist WK, in what will be his second solo exhibition with the gallery, presented in a temporary space located at: 557 West 23rd Street. 360 is a mid-career survey of WK’s work, celebrating the last 25 years of the artist’s career. The exhibition includes series of works on cardboard, paper and panels, as well as large multi-paneled collages, all rendered in WK’s signature stark palette. Additional installations, memorabilia and photographs serve to document his early years and evolution as a street artist. 360 will run from March 8-30, 2013, with an opening reception on Friday, March 8, from 7-9pm. To commemorate this 25 year survey, the first 100 guests will receive a special giveaway, one of three different vintage WK print editions produced by Jonathan LeVine Gallery, each of which has been signed and numbered by the artist. An exhibition catalog will also be available for purchase. “In a fine art universe where the sum of pictures all comes down to a kind of nature morte, WK is about the life still unfolding rather than the still life. Considered in relation to his studio work, where violence, sexuality, fetish, terror and the devolutionary descent of dehumanization lurk in passages of brutal irony that edge towards sarcasm, the benevolence so evident in WK’s public art must be viewed as coming from a position where creativity constitutes a kind of critique. WK’s romance with the city is not the abiding comfort of an old lover but the frisson of new flirtation constructed of a constantly rejuvenating sense of discovery.” — Carlo McCormick “It was in the late ‘90’s that we first moved onto Wooster Street in Soho. At that time, walking the streets of a pre-gentrified Lower East Side, East Village and Soho meant that you were certain to encounter one of WK’s striking black-and-white billboard size portraits stretched across the facades of buildings both tall and wide. WK’s work is one of seduction. Whether it’s a sexy and sleek model dressed in leather, or a boxer taking a blow to the head, WK’s work is always iconic and most often erotic. His beautiful portraits of the South Sudanese model Alek Wek integrated into the side of an old gas-station on Prince and Lafayette were for many years the unofficial ‘gateway’ to Soho. Experiencing the visual power and beauty of the work made it clear that WK, and the city itself, were a perfect match.” — Sara & Marc Schiller of Wooster Collective “Moving to New York in 1997, I was captured by the energy of the streets and what I saw there. WK was one of the artists that caught my attention from the beginning. His life-size portraits were fresh and visceral, they captivated me unlike anything I’d ever seen and opened my eyes to a new way of engaging the public. He was very gracious in taking the time to tell me about his work. It was shortly after that I realized its scope—in the late 90’s, WK ruled New York. His work was up in the biggest spots, more than any other artist working on the street at that time. His energy was something to aspire to. WK pointed us in the right direction, gave tips on how to make the glue, what type of brush and paper to use. He encouraged us every step of the way. WK is one of the true original French/New York artists to push the urban art form and inspire a generation to take it to the next level and for that I am forever grateful.” — Patrick McNeil, FAILE
Featured Artist
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WK |
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See the WK
360
A 25 Year Survey Exhibit
Olek
The End Is Far
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
February 23, 2013 through March 23, 2013NEW YORK, NY (January 23, 2013) — Jonathan LeVine Gallery is pleased to present The End is Far, a series of new works, a site-specific installation and live performance by Polish-born, New York-based artist Olek, in what will be her second solo exhibition at the gallery. Known for her bold work and vivacious persona, Olek’s ever-expanding interventions involve covering a multitude of people and objects in camouflage-patterned crochet including: bicycles, cars, shopping carts, construction vehicles and prominent public art sculptures such as Wall Street’s Charging Bull; Alamo (Astor Place cube) and Gato de Botero in Barcelona. This exhibition follows what proved to be a very eventful year for Olek. In 2011, she was placed on house arrest after a dispute with an aggressive male patron escalated at a London bar. Subsequently, despite creatively and financially stifling circumstances, Olek found herself motivated by the experience, determined to cover legal expenses and fight for her freedom. Granted permission to leave the UK between court appearances, 2012 became the most prolific year of the artist’s career to date, as she took on numerous international projects, public installations and commissions. She was part of the 40 Under 40: Craft Futures exhibition at the Smithsonian, for which her entire crocheted studio apartment was exhibited. During the rest of her travels, Olek collaborated with women around the world, in Brazil, Hong Kong and Poland, learning new techniques and experimenting with different materials. The End is Far features new multi-layered crocheted sculptures and panels inspired by the events that transpired last year. With the addition of finely crocheted lace doilies, metallic gold ribbon and a new approach to typography, themes of freedom, justice, feminine power and strength are conveyed through subject matter such as boxing gloves, skulls, skeletons, sickles and horseshoes. An installation room containing a dining table set with china, overflowing fruit bowls, wine bottles and goblets will serve as an isolated environment for Olek’s crochet-covered female performers during the opening reception. *** RECURRING PERFORMANCE SCHEDULE : THURSDAYS & SATURDAYS, 2PM—5PM for the duration of the exhibition.
Featured Artist
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Olek |
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See the Olek
The End Is Far Exhibit
Parra
Tracy Had a Hard Sunday
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
February 23, 2013 through March 23, 2013NEW YORK, NY (January 23, 2013) — Jonathan LeVine Gallery is pleased to present Tracy Had a Hard Sunday, a series of new works by Amsterdam-based, Dutch artist Parra, in what will be his first solo exhibition at the gallery. Parra creates witty and often provocative post-Pop imagery in a vibrant palette of highly saturated colors. His distinctive hybrid figures have bird-like features such as elongated, beak-shaped noses. The curvaceous nudes are portrayed in a variety of suggestive circumstances, at times salacious and at times comical; occasionally accented by the artist’s stylized, hand-drawn typography. Parra’s multi-disciplinary work spans cohesively across drawing, painting, animation and sculpture. Tracy Had a Hard Sunday includes works on canvas, paper and ceramic. The canvases, painted in shades of reds and blues feature a recurring motif of stars and stripes. The sculptures in the exhibition represent the artist’s skill in translating his subjects into three-dimensional form, while studies for the paintings—created in ink on paper—reinforce the graphic quality of his compositions in black and white simplicity. Parra's sensibility is largely rooted in Pop art and the experimental graphics of the 1960s. His bold and playful imagery references the work of such artists as Keith Haring and Victor Moscoso, celebrated designer of psychedelic rock posters for San Francisco's Fillmore Auditorium. In 2012, Parra was commissioned by the San Francisco Museum of Modern Art (SFMoMA) to create Weirded Out, a 60-foot indoor mural, currently part of their permanent collection.
Featured Artist
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Parra |
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See the Parra
Tracy Had a Hard Sunday Exhibit
How & Nosm
Late Confessions
Pop-up exhibition
557 W 23rd Street
New York, NY 10011
Jonathan LeVine Gallery
February 1, 2013 through February 23, 2013NEW YORK, NY (January 2, 2012) — Jonathan LeVine Gallery is pleased to announce Late Confessions, a series of works and installation by New York-based identical twin artists How & Nosm, in what will be their debut solo exhibition in New York. This will be the first of two consecutive pop-up shows presented by LeVine in a temporary space located at: 557 West 23rd Street in Chelsea. How & Nosm’s aesthetic is characterized by meticulously detailed line work rendered in their signature black, white and red color pallet. The artists mix highly stylized figures in contrasting scale with intricate, graphic, geometric patterns. Their complex narratives are complemented by site-specific installations that draw the viewer into surreal environments reflecting those portrayed on their canvases. The imagery in Late Confessions relates to the German twins’ unique personal history and evolution. Raised in San Sebastian, Spain in the years following the Franco dictatorship—a time of political turmoil in which military tanks, tear gas and rubber bullets were common—their formative years were marked by chaos and emotional instability. Adding to this onerous background, the burdens of growing up in a household of alcoholism and poverty led the pair to develop a drive and determination that continues to fuel their work. Reflecting on their shared past, How & Nosm paint dramatic, autobiographical works, rich in symbolism and an unusual combination of cultural references. Their densely layered compositions are reminiscent of Picasso’s Guernica, highlighting themes of war, desperation, pain and survival: blades and broken bottles pierce figures, dripping stark red streams of blood. Birds are recurring subjects, flying high to prevail triumphant and transcend labyrinths of dizzying disorder. Another common characteristic in the work of How & Nosm is their use of duality, an ongoing metaphor for their biological bond as twins, and the nature of their work as creative collaborators. Splitting faces in half, dividing landscapes into distinct symmetrical components, even their black and white color values are all vehicles in which the artists use sharp contrasts to create dichotomy. These separations push the tension that exists between balancing intrinsic positives and negatives.
Featured Artist
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How & Nosm |
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See the How & Nosm
Late Confessions Exhibit
Haroshi
Virtual Reality
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
January 12, 2013 through February 9, 2013NEW YORK, NY (December 6, 2012) — Jonathan LeVine Gallery is pleased to present Virtual Reality, a series of new works by Tokyo-based Japanese artist Haroshi, in what will be his second solo exhibition at the gallery. Haroshi creates three-dimensional wooden sculptures with used skateboard decks as his primary medium. He often uses the wheels and other hardware parts as accents, even the grip tape for a sanding tool. He achieves a vibrant striped pattern by stacking the boards with keen attention to the exposed rails (outer edges). After a careful selection process, he stacks decks into layers, cutting them into cubes to form mosaics patterns, assembles them into a desired shape and meticulously carves each form by hand with an uncanny level of skill and precision. Themes in this exhibition include concepts familiar to any skater or artist such as: injury, recovery, obsession, perseverance, healing and growth. Haroshi does not apply any paint or pigment to his materials, allowing the bright colors of the decks to serve as his palette, since skateboards are made of processed plywood—pressed into molded shapes and printed with graphics. He occasionally incorporates the splintered edges of broken boards into his otherwise extremely polished work, creating textural contrast between the smooth silhouettes and sharp raw edges. The artist has also been known to hide small objects inside of his works, following the traditional practice of ancient Japanese Buddha sculptors, documenting the effect using X-ray technology. This year marks Haroshi’s 10th Anniversary in using skateboards as a medium in his fine artwork. His exhibition title, Virtual Reality, is a reference to the classic 1993 skate video from Plan B, in which pro-skater Rodney Mullen displayed tricks that made a lasting impression. At the time (twenty years ago), Haroshi recalls his perception of the United States as an exciting, distant place that he had not yet explored, and how the content in that video pushed his understanding of the sport that had become his passion. In the artist’s words: “It made me realize that the potential of skateboarding knows no limits.”
Featured Artist
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Haroshi |
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See the Haroshi
Virtual Reality Exhibit
Aakash Nihalani
Portal
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
January 12, 2013 through February 9, 2013NEW YORK, NY (December 6, 2012) — Jonathan LeVine Gallery is pleased to present Portal, a series of new works by New York-based artist Aakash Nihalani, in what will be his first solo exhibition at the gallery. Known in the street art community for his fluorescent tape interventions, Nihalani combines a bright color palette with geometric abstract shapes, resulting in striking contrasts within the context of the urban landscape. Expanding on his exploration of form and space, the artist continues to build upon this body of work in his studio practice, through works on canvas and wooden panels. Nihalani’s bold, flat shapes continue to evolve into complex multi-dimensional patterns, often producing intricate optical illusions that challenge the viewer’s relationship with their surrounding environment. The imagery appears to extend or recede from the surface of the picture plane through the artist’s carefully developed variations on color theory and architectural elements with influences of Op art and Mathematical perspectives. The artist enjoys the interactive effect of his work in the gallery setting as well as on the street. His exhibitions often include site-specific installations created with tape, similar to his public interventions, which complement his paintings and freestanding sculptures. The accessible quality of Nihalani’s imagery connects with a wide audience, much like the adhesive nature of his original medium. In Nihalani’s words, “I try to create a new visual space within the physical confines of any piece I work on, through the illusion of three-dimensional imagery contained on a two-dimensional plane. When looking at the work—orientation shifts, shapes merge, direction inverts, foreground becomes background and vice versa. In observing the differences in how we process this information, one becomes aware of how subjective perception can be and how we choose to view reality, individually.”
Featured Artist
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Aakash Nihalani |
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See the Aakash Nihalani
Portal Exhibit
INVADER
Miami Invasion / Art4Space
PULSE-Miami at The Ice Palace
1400 North Miami Ave, Miami, FL
Jonathan LeVine Gallery
December 4, 2012 through December 9, 2012NEW YORK, NY (November 6, 2012) — Jonathan LeVine Gallery is pleased to announce its program for PULSE-Miami 2012 with a solo presentation of new mosaic works by Invader inspired by his invasion of Miami and operation Art 4 Space. In 2012, Invader visited Miami for the second time, expanding his invasion of the city. He added 44 new mosaics to the 28 previously placed in 2010, bringing the total number of Miami invaders to 72. As with all of his invasions, Invader methodically maps out and documents each individual placement on the street. His meticulous reference system allows him to capture and immortalize the project on a global scale. This archival process is materialized by the publication of Invasion of Miami a map showing his placement locations throughout the city and the invasion guide/book Mission Miami, both released in conjunction with this exhibition. Concurrent to the invasion of the city, the artist reached new territory with the project Art 4 Space. After fifteen years of spreading mosaics around the globe, his work made its first suborbital sojourn on August 20th, 2012, when he launched the mosaic Space-One from the Space Coast of Florida in a device he created using his own resources. Equipped with a camera, the balloon traveled across the atmosphere into the stratosphere, reaching its peak at 21 miles (35 km) before descending, returning the world’s first astronautic artwork back to Earth along with video and photographic documentation of its journey. The exhibition at PULSE highlights a selection of Miami aliases (single clones of pieces placed throughout the city) and features a projection of Art 4 Space, a film documenting the surprising and epic journey of Space-One. The installation includes the original Space-One mosaic and the low-tech device that enabled its ascension, as well as a series of 20 special copies of Mission Miami with mosaic covers. The standard edition of the book will be released as well as Invasion of Miami, the artist’s 23rd invasion map, which will be distributed at the fair to guide the public in navigating the invaded territory and discovering the locations of his mosaics throughout the city.
Featured Artist
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Invader |
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See the INVADER
Miami Invasion / Art4Space Exhibit
VINZ
Batalla
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
December 1, 2012 through December 29, 2012NEW YORK, NY (November 6, 2012) — Jonathan LeVine Gallery in association with Sara & Marc Schiller of Wooster Collective are pleased to present Batalla, a series of new works by Valencia-based artist Vinz, in what will be his debut solo exhibition in the United States. In conjunction with the exhibition, Vinz Feel Free, a new book published by Wooster Collective will be released at the gallery on Friday, November 30 from 7—9pm, followed by an opening reception on Saturday, December 1 from 7—9pm. Batalla features a series of mixed media collage works, paintings and sculptures. The central theme is a rebellion against governmental, corporate or religious impositions placed upon society to establish social order at the expense of personal freedom. Vinz uses a multi-step process to create his unique imagery. He first photographs nude models, either isolated or orchestrated in small groups. He then paints animal heads onto large-scale prints of the human figures, creating hybrid subjects with a system of symbols attached to various species—birds signify freedom and fish represent consumerism while frogs and lizards convey authority. In 2011, the artist began applying this series of work—the I project—to the walls of his native Valencia and other European cities using wheatpaste. Taking a more delicate approach to his studio work, Vinz collages paper ephemera into a background texture, as a base to print the figures onto, before painting details in enamel or gouache. “Tapping into the question ‘What is Freedom?’ with arresting images in mixed media, Vinz is one of the most important emerging artists from Europe today.” — Sara & Marc Schiller of Wooster Collective
Featured Artist
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Vinz |
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DALeast
Powder of Light
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
December 1, 2012 through December 29, 2012NEW YORK, NY (November 6, 2012) — Jonathan LeVine Gallery in association with Sara & Marc Schiller of Wooster Collective are pleased to present Powder of Light, a series of new works on canvas by Chinese-born, South Africa-based artist DALeast, in what will be his first solo exhibition in the United States. Works in Powder of Light combine acrylic, ink and spray paint on a background texture of tea-stained canvas. DALeast paints animal figures in his signature style using a swirling vortex of organic black lines with white highlights. He creates a ribbon-like effect to form sinuous creatures that vibrate with kinetic energy. Horses, eagles, camels and rams leap off the picture plane, their shadows trailing behind them. Some appear to unravel while others merge together or attack one other. The artist draws inspiration from dichotomies such as the material and spiritual world, human emotion and animal nature. The existential concept behind the show title Powder of Light relates to both science and spirituality. Powder refers to the way every particle of physical matter in the universe is connected and related on a sub-atomic, molecular level. Light refers to the energy from which everything is created and the life force of all living beings. The constant movement and development of matter into infinite forms of life ensures unique perception and identity as individuals within the greater shared collective experience. “Combining the sensibilities of two diverse cultures, DALeast represents the future of contemporary art: a mixture of brutality and grace: harsh lines of spray paint creating beautiful beasts in motion.” — Sara & Marc Schiller of Wooster Collective
Featured Artist
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DALeast |
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See the DALeast
Powder of Light Exhibit
Joe Sorren
Everything's Alright Sweetie,
Please Get Some Sleep
Project Room
Solo Exhibition
Jonathan LeVine Gallery
December 1, 2012 through December 29, 2012NEW YORK, NY (November 6, 2012) — Jonathan LeVine Gallery is pleased to announce Everything’s Alright Sweetie, Please Get Some Sleep, a series of new paintings by Joe Sorren, in what will be his first solo exhibition in New York. Sorren creates odd, dreamlike portraits and atmospheres through thick Impressionist-inspired brushstrokes, soft textures and a superb use of light. His surreal subjects are quietly expressive, conveying contrasting qualities of vulnerability and strength. This exhibition focuses on themes of mayhem, fragility of life and the blind audaciousness we sometimes develop subconsciously in order to make better sense of our own realities. One painting called Speedboats Make Me Nervous portrays a large monster-like creature sitting on the edge of a cliff, looking at a distant boat on the water, while a meteor/comet appears to be quickly approaching in the sky above. The narrative found in this body of work became further amplified toward the end of October, as the artist finished painting the series during Hurricane Sandy—the largest Atlantic storm on record, which caused widespread destruction to large areas of the eastern seaboard. In the artist’s words, “I was painting a painting of a storm during our devastating storm, it was a very visceral time.” Of his work, he continues, “Since painting is a physical record of movement in time, brushstrokes are not unlike the grooves on a vinyl record—capturing not just the color and shape of a stroke, but the timbre; the energy and emotion experienced at the time it was painted. Thinking of this frees me up from the thought of being ‘accurate,’ and allows me to focus more on the essence of the piece.”
Featured Artist
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Joe Sorren |
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See the Joe Sorren
Everything's Alright Sweetie,
Please Get Some Sleep Exhibit
Jeremy Geddes
exhale
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
October 20, 2012 through November 17, 2012NEW YORK, NY (September 19, 2012) — Jonathan LeVine Gallery is pleased to present exhale, a series of new paintings by Melbourne-based artist Jeremy Geddes, in what will be his debut solo exhibition in the United States. There will be a print release in conjunction with the exhibition, details HERE. exhale is a series of 17 paintings rendered in meticulous detail, an arduous process that combines scrupulous observation, fine brushwork and delicate layers of glaze. Geddes’ work generates a tension between man-made environments in flux and the fragility of living bodies. Many of the works in the exhibition depict figures suspended in desolate urban landscapes or fractured environments that are in the process of falling apart. These complex works are contrasted by a series of five paintings titled Misèrere (Italian for have mercy), each features a single subject isolated in a solid black plane—alternating birds and a failing Apollo Command Service Module. This series is accompanied by four paintings with solitary human figures, titled Misère (French for poverty or destitution). Although there are recurring motifs in the paintings, Geddes prefers to leave his subject matter open to interpretation rather than attach a specific narrative to his work, thus allowing individual viewers to connect disparate elements into a structure that resonates with them personally.
Featured Artist
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Jeremy Geddes |
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See the Jeremy Geddes
exhale Exhibit
Ashley Wood
Machine Sabbath
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
October 20, 2012 through November 17, 2012NEW YORK, NY (September 19, 2012) — Jonathan LeVine Gallery is pleased to announce Machine Sabbath, a series of new paintings by Australian artist Ashley Wood, in what will be his debut solo exhibition in the United States. There will be a print release in conjunction with the exhibition, details HERE. Ashley Wood applies an expressionist approach to erotic imagery. His female subjects and their surrounding environments are partially obscured and fragmented by extreme contrasts in light and shadow. Wood’s vigorous painting technique combines multiple layers of oil, acrylic and glazes, resulting in a painterly quality and high-gloss, drippy aesthetic. In addition to works on panel and canvas, the exhibition also features two mixed media collages consisting of photographic Polaroid images as well as two sculptures of shapely right legs wearing strappy high-heeled sandals, each adorned with paintings of nudes on the outer calf. In the artist’s words, “Machine Sabbath is an inquiry into the ambiguity of silent suburban backyards, the conversations that take place between the denizens of those private spaces and the machines that think for us.”
Featured Artist
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Ashley Wood |
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See the Ashley Wood
Machine Sabbath Exhibit
Judith Supine
Too Much For One Man
Project Room
Solo Exhibition
Jonathan LeVine Gallery
September 8, 2012 through October 6, 2012NEW YORK, NY (August 9, 2012) — Jonathan LeVine Gallery is pleased to present Too Much For One Man, a series of new works by acclaimed Brooklyn-based artist Judith Supine, in what will be his first solo exhibition at the gallery. Using his mother’s maiden name as an alias to keep his identity anonymous, Judith Supine has become renowned in the street art scene for his distinct style, unique wheatpastes on building façades and impressive placement of public interventions in daring locations throughout New York City. In 2007, he hung a 50-foot figure off the side of the Manhattan Bridge, in 2008 he left a piece floating in the East River and then in 2009 he left one in a Central Park pond, one in a Queens sewer and another on the highest point of the Williamsburg Bridge. In recent years, Supine has focused more on studio work and elaborate gallery installations. His process involves a pastiche of printed ephemera. Supine describes the collage technique as “combining seemingly disparate images to reveal something that wasn’t previously apparent.” Procuring visuals from found materials such as salvaged books and magazines to form his inventive assemblage, the artist uses a photocopier to create figures with odd proportions and dramatic scale in high-contrast black and white. He then applies vibrant washes of his signature color palette in psychedelic fluorescents (mainly neon greens, pinks and purples) before finishing with a seal of high-gloss resin. There is a poignant quality to Supine’s surreal subject matter, likely the result of his effective skill in manipulating and combining image fragments—altering them so far beyond their original intention that they transform completely. These visual contrasts highlight class issues, twisted ideals and culture clashes. Supine turns airbrushed fashion and cosmetic beauties into monstrous creatures. Subverting sexy into scary, innocent into depraved and privileged into pornographic, children’s faces are superimposed onto adult nude bodies as luxury brand supermodels merge with the world’s impoverished. Supine’s work exposes the grotesque vulgarity of its advertising sources yet also manages to touch upon core truths of humanity, posing profound questions that resonate.
Featured Artist
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Judith Supine |
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See the Judith Supine
Too Much For One Man Exhibit
Audrey Kawasaki
Midnight Reverie
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
September 8, 2012 through October 6, 2012NEW YORK, NY (August 9, 2012) — Jonathan LeVine Gallery is pleased to announce Midnight Reverie, a series of new works by highly celebrated Los Angeles-based artist Audrey Kawasaki, in what will be her second solo exhibition at the gallery. Kawasaki’s work conveys the subtle intrigue and mystique of feminine sensuality through contrasting themes of innocence and eroticism. She paints sultry, seductive female subjects posed provocatively and often gazing suggestively at the viewer. Their graceful gestures, delicate features and direct eye contact exudes a combination of melancholy and desire. Kawasaki creates finely detailed imagery by applying thin washes of oil paint onto wooden panels, accentuated by sharp organic lines drawn with control and precision, in graphite. The natural wood grain adds a warm glow to her enigmatic subject matter, complementing the curves and contours of the female form, flowing hair and floral adornments. Midnight Reverie marks a new direction in Kawasaki’s imagery, in that—for the first time—the works in this exhibition feature flat, graphic shapes, painted in layers of solid black acrylic. Incorporating these dark, crisp, bold elements adds a stark contrast with the soft, delicate quality of the artist’s signature female portraiture. Additionally, Kawasaki rendered her figures and their environments in this series with much more vibrant hues as compared to previous works in which she employed a subdued, muted color palette. The subject matter in this exhibition has a surreal, whimsical, dream-like tone. In the artist’s words: “Some of the pieces have windows, like passage-ways into another world, yet it can also feel like limbo or static—wanting to walk through to the other side, but not being able to. Others are deep in the make believe, magical, mystical realm. In these, the black parts represent a void, emptiness or the unknown, yet they can also be something real and solid, like holes or shadows.”
Featured Artist
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Audrey Kawasaki |
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See the Audrey Kawasaki
Midnight Reverie Exhibit
Jeff Soto
Decay and Overgrowth
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
September 8, 2012 through October 6, 2012NEW YORK, NY (August 9, 2012) — Jonathan LeVine Gallery is pleased to announce Decay and Overgrowth, a series of new works by Southern California based artist Jeff Soto, in what will be his fourth solo exhibition at the gallery. Expanding upon the themes explored previously in Lifecycle, Soto’s solo 2010 exhibition, works in Decay and Overgrowth deal with the passage of time, early man and life after death, as well as primitive myths and legends attempting to explain the unknown. Two of Soto’s grandparents passed away within the last year, prompting the artist to research how different cultures explain life and death. Attempting to celebrate their lives rather than mourn their deaths, he has been working these ideas into his paintings. A connective thread of mortality runs throughout the work, conveying themes such as the transient nature of life, brevity of the average lifetime and inevitability of death. Soto selected symbols of hope and growth to symbolize the cycle of life, death and rebirth. Organic shapes and elements such as mountains, plants, flowers, rocks and crystals are juxtaposed with manmade objects such as cell phone towers, weapons, polished gems and modern architecture. The resulting imagery combines a bit of magic, unanswered questions and a glimpse into the unknown. In the words of the artist: “I’ve been thinking more than ever about how our lives are short, fleeting and unexpected. I've been researching man's migration across the planet, our domestication of plants and animals and the slow evolution of different cultures. I find it interesting that each generation adds their own small part to our collective human experience. I'm continually fascinated by mankind’s relationship to nature and how humans have been bending the environment in good and bad ways for tens of thousands of years.”
Featured Artist
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Jeff Soto |
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See the Jeff Soto
Decay and Overgrowth Exhibit
Détournement:
Signs of the Times
Group exhibition
curated by Carlo McCormick
Jonathan LeVine Gallery
August 8, 2012 through August 25, 2012NEW YORK, NY (July 30, 2012) — Jonathan LeVine Gallery is pleased to present Détournement: Signs of the Times, a group exhibition curated by Carlo McCormick, featuring work by a number of artists, including:
Featured Artists
See the Détournement:
Signs of the Times Exhibit
Jason deCaires Taylor
Human Nature
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
June 30, 2012 through July 28, 2012NEW YORK, NY (May 30, 2012) — Jonathan LeVine Gallery is pleased to present Human Nature, a series of works by Jason deCaires Taylor in what will be his debut solo gallery exhibition. Human Nature will feature photography, sculpture and a video documenting the artist’s process and the evolution of his works. Taylor was born in Great Britain in 1974 to a British father and Guyanese mother. Much of his childhood was spent on the coral reefs of Malaysia, cultivating a profound love of the sea and fascination with nature. Working as a scuba diving instructor in various parts of the world, he developed a strong interest in conservation, underwater naturalism and photography. In his teens, experimenting with graffiti fired the artist’s interest in the relationship between art and the environment, fostering an ambition to produce art in public spaces. Over the past several years, Taylor has created a large body of installations in aquatic environments. These ambitious public projects combine his unique range of logistical experience, artistic talent, scuba diving skill and marine life interest. Casting cement into full-scale figures and objects, the artist infuses his eco-sculptures with specialized pH neutral materials to encourage the formation of artificial reefs. The installations have a conservational aspect, drawing tourists away from natural reef formations thereby helping to replenish this endangered natural resource. For this exhibition, the artist selected photographs of some of his major public projects. While some works were photographed as soon as they were submerged, others feature various stages of coral and algae growth that has occurred over a period of time. The resulting photography (much like the experience of viewing in person) evokes a sense of discovering forgotten civilizations, and surreal narratives of lost, sunken worlds.
Featured Artist
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Jason deCaires Taylor |
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See the Jason deCaires Taylor
Human Nature Exhibit
Fulvio di Piazza
Ashes to Ashes
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
June 30, 2012 through July 28, 2012NEW YORK, NY (May 30, 2012) — Jonathan LeVine Gallery is pleased to announce Ashes to Ashes, a series of new oil paintings on canvas by Sicilian artist Fulvio di Piazza, in what will be his first solo exhibition in the United States. In a 2007 review for ARTFORUM, Marco Meneguzzo wrote, “Di Piazza’s paintings are a perfect example of horror vacui, finding an ideal setting for expression in the forest and its undergrowth; the ancient concept of the natural meets the contemporary idea of the artificial. In our contemporary culture, the proliferation of super-imposed images exemplifies current models of communication, what used to be considered background noise now becomes the message. The challenge today is to discern the individual sounds that make up the buzz, just as we must distinguish the components that compose Di Piazza’s luxuriant representations.” Highly imaginative Fulvio Di Piazza creates whimsical paintings of anthropomorphized landscapes with an extraordinary level of detail and depth. Previous works have depicted lush woodland fantasies, revealing saturated forests filled with faces as distinct features emerge from hills, rocks and tree trunks, sprouting limbs in place of roots and branches. In Ashes to Ashes, the artist’s work follows a dramatic new direction of fiery volcanic imagery. Twisted figures rise through mushrooming clouds of soot and smoke with faces comprised of burnt debris, their bodies as vulnerable and combustible as pyres. Smoldering peaks loom in the distance specked with glowing cinders and embers, as lava flows from black soot-covered craters like the life’s blood of the earth. For this series, the artist was inspired by the 1980 book Entropy, written by an American economist named Jeremy Rifkin, in which he associates thermodynamic activity with sociological patterns of economic and environmental decline. Although the author was widely criticized for misunderstanding the laws of physics, Di Piazza was interested in the conceptual parallels, regardless of the lack of scientific merit. There is an underlying pessimism to the imagery in this exhibition, yet Di Piazza finds hope in the dismal—theorizing that matter is eternally indestructible due to its ever-changing nature, constantly shifting states and transforming into different types of energy. He also points out the interesting dichotomy of ash, being the remains of matter consumed by fire as well as the beginning for a new cycle of matter. This interpretation signifies the potential for renewal beyond the end of days. Once this world has burned, perhaps the proverbial phoenix will rise.
Featured Artist
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Fulvio Di Piazza |
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See the Fulvio di Piazza
Ashes to Ashes Exhibit
SCOPE-Basel 2012
International Contemporary Art Fair
KASERNE, Klybeckstrasse 1b
CH-4057 Basel, Switzerland
BOOTH G08
Jonathan LeVine Gallery
June 12, 2012 through June 17, 2012NEW YORK, NY (May 15, 2012) — Jonathan LeVine Gallery is pleased to announce its program for SCOPE-Basel 2012, a group presentation in BOOTH G08, featuring selected works by a number of artists including:
Featured Artists
See the SCOPE-Basel 2012
International Contemporary Art Fair Exhibit
Doze Green
Luminosity in the Dark Rift
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
May 19, 2012 through June 16, 2012NEW YORK, NY (March 27, 2012) — Jonathan LeVine Gallery is pleased to present Luminosity in the Dark Rift, a series of new mixed media works on canvas, panel and paper by New York-born, Northern California-based artist Doze Green, in what will be his fourth solo exhibition at the gallery. Green’s signature aesthetic combines figurative abstraction, organic cubism, fluid line work and stylized letterforms. Using an array of mediums with an intuitive, stream-of-consciousness creative process, the artist’s skillful approach involves rich layers of overlapping elements, intricately woven into tapestry-like compositions. Green describes his work as “a fusion of universal law and ethereal dreams.” His kinetic imagery conveys ever-changing narratives with infinite interpretations. Influenced by ancient civilizations, indigenous cultures and his own Afro-Caribbean roots, the artist’s totem-like human and animal figures represent polytheistic deities as well as the general populace of humanity, past and present. Through his paintings, Green explores a number of esoteric themes and metaphysical concepts including cosmology, mysticism, language, code systems, matter, anti-matter, the unseen and the void. Doze Green’s artistic journey is an ongoing endeavor to act as a channel and conduit of energies. In his words, “to develop a better understanding of the natural and supernatural. Giving voice to those that usually went unheard. I always retain a sense of my origins, but am not wholly reliant on the past. This sparked my interest in metaphysics and the subconscious. I felt compelled to seek the inner root of expression and that’s where I began to discover the harmony within sacred geometry. I am trying to visualize vibration, sound and light.”
Featured Artist
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Doze Green |
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See the Doze Green
Luminosity in the Dark Rift Exhibit
Eric White
Transmission
Project room
Solo Exhibition
Jonathan LeVine Gallery
May 19, 2012 through June 16, 2012NEW YORK, NY (April 3, 2012) — Jonathan LeVine Gallery is pleased to present Transmission, a series of new oil paintings on canvas by New York-based artist Eric White, in what will be his first solo exhibition at the gallery. [EXT/INT. DOYLE'S CAR – DAY] Close shot of Doyle from back seat, twisting and turning the car in wild pursuit—driving around other cars, braking, roaring ahead. We move out through the windshield for a lurching, spinning, twisting view of tracks overhead, street signs and lights flash by in a reeling montage of movement, the train roaring above it all. This passage from the screenplay of William Friedkin’s film The French Connection, describes the legendary chase scene that inspired the largest canvas in the exhibition. In 1971 Pontiac LeMans Hardtop Sedan (The French Connection), which measures ten feet across, White uses a washed-out palette to depict 1970s-era Brooklyn from the vantage point of Popeye Doyle (Gene Hackman) as he hurtles through the chaos of the city streets in pursuit of a hijacked elevated subway train. In the artist’s words, “As with other paintings in this series, a camera pan or a series of shots is compressed into a single image, depicting multiple aspects and actions simultaneously, idealizing the sequence while manipulating and expanding the narrative. The translation of the dynamic and temporal nature of film to the static form of painting depicts the passage of time in two dimensions, and for me represents the idea of non-linear and/or simultaneous time.” The paintings in Transmission reference films set in New York City and are part of a body of work that White continues to develop, which reinterprets cinematic car sequences as a means of exploring film and dream narrative, metaphysics, psychological dysfunction and the limits of perception. Both of White’s grandfathers worked in the auto industry in Detroit during its heyday. As such, works in this series reflect a unique combination of influences and inspiration, including nostalgia for his family history, appreciation for the artistry of cinema and the beauty and craftsmanship of classic American automobiles.
Featured Artist
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Eric White |
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See the Eric White
Transmission Exhibit
Kevin Cyr
In Praise of Rust
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
May 19, 2012 through June 16, 2012NEW YORK, NY (April 3, 2012) — Jonathan LeVine Gallery is pleased to announce In Praise of Rust, a series of new oil paintings on panel by New York-based artist Kevin Cyr, in what will be his first solo exhibition at the gallery. In Praise of Rust features paintings of old vehicles seen on the streets of New York—primarily vans and commercial delivery trucks—covered in graffiti, rust, scratches, scuffs, dents and other marks of distinction. Cyr includes a meticulous level of detail in his portrait-like representations with devoted attention to every imperfection and sign of age. Removing the context of the urban landscape, he places a strong focus on his subjects by isolating them in fields of flat, solid color. The neglected appearance and utilitarian function of these vans carry a bit of nostalgia. Once ubiquitous in large urban cities, they have now become far more rare, replaced by heavily branded box trucks. In the artist’s words, “painting them is my way of documenting a grit that is slowly disappearing from New York. In a culture where people are lured by the appeal of status-enhancing symbols, I find so much character in derelict vans. I have always been interested in painting vehicles that have defined the evolution of the American landscape.” On the subject of his exhibition title, Cyr says “Rust serves as a good metaphor for this series, a symbol for deterioration and decay. The meaning also changes slightly when used as an adjective, as in: to become ‘rusty’ or impaired through inaction or disuse.” Common themes in Cyr’s larger body of work have included mobility, sustainability and self-reliance. Referencing consumer culture and the fuel/energy crisis, these paintings offer a subtle commentary on how rapidly the technology of our generation becomes perceived as obsolete, amid an increasingly unstable and uncertain climate of economic and environmental issues.
Featured Artist
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Kevin Cyr |
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See the Kevin Cyr
In Praise of Rust Exhibit
Adam Wallacavage
Shiny Monsters
Solo Exhibition
Philadelphia Art Alliance
251 South 18th Street
Philadlephia, PA 19103
Jonathan LeVine Gallery
May 17, 2012 through August 19, 2012Philadelphia Art Alliance presents SHINY MONSTERS: An Installation by Adam Wallacavage, the artist's first solo exhibition in his home town of Philadelphia. Wallacavage will take inspiration from his lavishly decorated home by presenting several new chandeliers within each gallery of the space. Inspired by the Gothic interiors of now-closed Catholic churches he visited throughout Philadelphia, Adam Wallacavage channeled his fascination with chandeliers by creating Jules Verne-inspired lighting for the dining room in his Victorian brownstone. To construct these octopus sculptures, Wallacavage taught himself the traditional techniques of ornamental plastering, which includes large-cast plaster work and hand-sculpted pieces from epoxy-clay. Those initial sculptures inspired Wallacavage to continue to experiment in form, color, and technique, developing his own unique glazes and application technique to give his pieces a unique vibrant shimmer. Recently, Wallacavage has added his love of kitsch to his sculptures. Casts of cartoon bunnies and elephants, Hello Kitty heads, and vintage toys are incorporated into his pieces, which are then covered in bright shades such as bubble-gum pink and mint green. The resulting sculptures reflect his varied aesthetic interests, ranging from 16th Century Baroque opulence to 1940s Americana.
Featured Artist
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Adam Wallacavage |
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See the Adam Wallacavage
Shiny Monsters Exhibit
Nicola Verlato
How the West Was Won
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
April 7, 2012 through May 5, 2012NEW YORK, NY (February 14, 2012) — Jonathan LeVine Gallery is pleased to present How the West Was Won, a series of new oil paintings on canvas and works on paper by Italian-born, Los Angeles-based artist Nicola Verlato, in what will be his first solo exhibition at the gallery. Verlato’s dramatic allegorical compositions are rendered with remarkable use of perspective, reminiscent of the Renaissance-era. The show title, How the West Was Won, refers to the culture clash between monotheism and polytheism throughout human history, a battle that the artist believes to be at the very roots of the development of western civilization. In Verlato’s words: “Figurative art is intrinsically related to a polytheistic attitude (cult of idols) while the monotheistic one prohibits graven images, as written in the bible. Monotheism clearly won in most aspects of western culture but polytheism still survives in pop culture.” One of the paintings is inspired by a medieval legend in which a Christian knight kills a Pagan knight but is castrated by his victim in the process. This symbolizes the loss of “wisdom of the body,” when polytheistic cultures succumb to religious conversion and assimilation into monotheistic ideals. Verlato transposes this narrative into the American Wild West of the 19th Century in his painting Conquest of the West, where a cowboy representing the monotheist attacks a Native American woman, representing the polytheist, who exacts revenge just before she dies. This epic battle scene is the most literal interpretation of the exhibition’s overarching theme, although the connection is looser in many of the other works. Burzum is a painting inspired by a Norwegian black metal band of the same name, led by Varge Vikernes, a musician who was imprisoned in 1993 for the arson of several churches and murder of Euronymous—a guitarist friend-turned-rival and leading figure in the scene—who he stabbed to death in a dispute over record label business. A Whiter Shade of Pale is a portrait of the late pop-music-icon Michael Jackson, the subject of worldwide idolatry during his life and prolific career, lasting well after his controversial death. Take the Road to Nowhere portrays four young women jumping out of a car as it falls off of a cliff, relating to death as the last frontier; beyond which there is nothing else.
Featured Artist
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Nicola Verlato |
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See the Nicola Verlato
How the West Was Won Exhibit
EVOL
Repeat Offender
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
April 7, 2012 through May 5, 2012NEW YORK, NY (February 21, 2012) — Jonathan LeVine Gallery is pleased to announce Repeat Offender, recent works by Berlin-based artist Evol, in what will be his first solo exhibition in the United States. Repeat Offender features stenciled works on cardboard and metal as well as a series of photographic print editions documenting Caspar David Friedrich Stadt, a 2009 installation project in a former slaughter house in Dresden, Germany. Evol’s multi-layered stencil paintings on used cardboard and scrap metal portray unpopulated cityscapes. The artist carefully selects materials with a weathered appearance to use as his canvases, representing the neglected quality of low-income housing in Berlin. Evol achieves extremely convincing architectural illusions through clever incorporation of torn edges, dents, tape fragments, box markings and exposed corrugated textures. Believing the character and history of any space is worn on its façade, like scars on skin, Evol’s works convey elements of urban decay and remnants of a turbulent history in a post-wall, pre-gentrified East Berlin. In the artist’s words: “clean surfaces don’t speak to me, so recording these marks is a process of visually remembering the charm of a place that will soon be painted over.” In addition to his studio work, Evol also creates interventions in public spaces within urban environments. Through modular rows of windows detailed with balcony railings, cables and satellite discs, Evol creates the illusion of scale-model buildings on electrical boxes and concrete slabs on the streets of cities around the world. “Despite their photographic precision, Evol’s paintings aren’t merely exercises in geometric representation. Nor are they cynical critiques of the isolation and confinement that can accompany metropolitan life. Instead, they reveal a profound fascination with the narratives embedded in the city’s surfaces and an overwhelming belief in the humanity inherent to the collective urban condition”— Emilie Trice
Featured Artist
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EVOL |
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See the EVOL
Repeat Offender Exhibit
Alex Gross
Product Placement
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
February 25, 2012 through March 24, 2012NEW YORK, NY (January 19, 2012) — Jonathan LeVine Gallery is pleased to present Product Placement, a series of new paintings and mixed media works by Los Angeles-based artist Alex Gross, in what will be his third solo exhibition at the gallery. In Product Placement, Gross expands upon themes that have appeared in his prior work. Branding, Consumption, Celebrity, Globalism, Love, and Mortality are just a few of the points being addressed in this group of 19 new oil paintings on canvas, panel and paper. Dramatic cloudscapes and erupting volcanoes coexist with pixelated faces, floating bubbles and smartphones, in a postmodern hybrid of advertising, propaganda and surrealism. Gross layers his finely rendered paintings with a wide array of imagery—from the exotic, like moths, lizards and cyclops’—to the mundane, like laundry detergent, cigarettes, hot dogs and Coca-cola. Brand names such as Fendi, Dior, RVCA and Volcom are featured prominently in more than half of the works, hence the title of the exhibition. Typographic elements in a variety of languages appear throughout the work, including Arabic, Chinese, Japanese, Hebrew and English, accentuating the universality of the artist’s subject matter. In conjunction with Product Placement, the artist will release a new book published by Gingko Press, entitled Now And Then, The Cabinet Card Paintings of Alex Gross, which features 98 mixed media paintings done over the last four years. Gross’ Cabinet Cards are a series of works painted on antique Victorian photographs dating from the 1880s—early 1900s. Using oils, acrylics and a bit of collage, Gross re-imagines each of these portrait subjects in a new form, referencing comic book characters, classic television and film characters and various other pop culture icons.
Featured Artist
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Alex Gross |
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See the Alex Gross
Product Placement Exhibit
Victor Castillo
The Jungle
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
February 25, 2012 through March 24, 2012NEW YORK, NY (January 23, 2012) — Jonathan LeVine Gallery is pleased to announce The Jungle, a series of new works by Chilean-born, Los Angeles-based artist Victor Castillo, in what will be his debut solo exhibition in New York. The title of the show, The Jungle, came to the artist’s mind while working on the exhibition and seeing innumerable images in the media of global protests and violence. The artist feels the future is uncertain in these times; when all the power structures have lost credibility, and we are left with chaotic effects of self-interest. Consequently, this new body of work explores the "law of the jungle" and the age-old story that "man eats man." In this exhibition, Castillo’s allegorical visions of the current socio-economic world crisis come in the form of spooky children’s tales. Through acrylic works on canvas and drawings on paper, his cast of masked, hollow-eyed children serve as a vehicle to convey ominous narratives of survival, greed and indoctrination. Inspired by vintage animation, his paintings are like theatrical sketches of tragicomic situations. With cartoon-like figures in the foreground and lush, classical landscapes in the background, Castillo’s dramatic baroque lighting completes the effect of exposing corrupted innocence. One of Castillo’s paintings, The Big Boss, features a boy burying money in a bucolic setting, symbolic of greed and what lies behind established appearances. Another piece, titled Futuro Esplendor, makes reference to a John Heartfield photomontage of a hyena, showing the brutality of ambition for power when taken to the extreme. Vanity is the theme in She's Unreal, a painting of a girl trapped by the fascination of her own reflection. Valzerino del Nonno, one of a series of larger works created for the exhibition, deals with conspiracy, bringing the viewer to a secret meeting of masked characters enjoying a mysterious moonlit party in the forest.
Featured Artist
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Victor Castillo |
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See the Victor Castillo
The Jungle Exhibit
Natalia Fabia
Punk Rock Rainbow Sparkle
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
January 14, 2012 through February 11, 2012NEW YORK, NY (December 19, 2011) — Jonathan LeVine Gallery is pleased to present Punk Rock Rainbow Sparkle, a new series of works by Los Angeles-based artist Natalia Fabia, in what will be her highly anticipated debut solo exhibition in New York. For her first solo show on the East Coast, Fabia chose to use the location as creative direction for her paintings and spent three months exploring the region, doing research, gathering visual materials and staging photo shoots to serve as reference imagery for her new body of work. Particularly inspired by people and places with a raw, punk sensibility, she spent time in New York City (Manhattan and Brooklyn), Philadelphia, and Asbury Park in New Jersey. In the artist’s words: “Punk rock is one of my true loves. Punk to me is an attitude, a lifestyle. Punk is a middle finger, punk is do-it-yourself, do what you want. It’s a kind of freedom. I’m attracted to my subjects for having that quality. This attitude is what I wanted to convey in this series. My models (many of which are friends) are all tough, independent, strong, fun, hard working, talented, tattooed and stylishly dressed. I look at punk rock as being dirty and rough, yet sparkly and enticing at the same time, and that’s the theme of my paintings.” A skilled young oil painter, Fabia selects luminous subjects with an intriguing dichotomy—adult yet innocent, strong yet vulnerable. To view her work is a voyeuristic endeavor. Lingerie-wearing vixens lounge in intimate rooms with all the comforts of home, or gather in groups for after-hour parties at dimly-lit bars. Fabia’s playfully erotic female figures are adorned with alluring details—glimmering jewelry and intricate tattoos. These confident, empowered beauties evoke burlesque and pin-up traditions. A seductive mixture of glitter and grit, they pose provocatively in the artist’s carefully arranged compositions. Lush settings include environmental textures, elements of graffiti, iconic landmarks and other geographically specific architecture. Infused with Fabia’s signature style, vividly saturated candy color palette and dazzling spectrum of light, scenes in these paintings—like most of her work—are a combination of fantasy narratives and actual moments captured from the artist’s vibrant life, her passion for ornate fashion, nightlife and glamour with a punk rock edge.
Featured Artist
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Natalia Fabia |
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See the Natalia Fabia
Punk Rock Rainbow Sparkle Exhibit
Hybrid Thinking
curated by Wooster Collective
Gallery II
Group Exhibition
Jonathan LeVine Gallery
January 14, 2012 through February 11, 2012NEW YORK, NY (December 19, 2011) — Jonathan LeVine Gallery is pleased to present Hybrid Thinking, a group exhibition curated by Marc + Sara Schiller of Wooster Collective, in their first curatorial since the groundbreaking 11 Spring exhibition, in December 2006. Hybrid Thinking brings together six preeminent emerging artists from around the world and for some it will mark their first exhibition in New York. The show features work by: Dal, from Beijing, China (now based in Cape Town, South Africa); Herakut, a duo based in Frankfurt, Germany; Hyuro, from Buenos Aires, Argentina, currently based in Valencia, Spain; Roa, based in Belgium; Sit, from the Netherlands; and Vinz, born and based in Valencia, Spain. With a wide array of discipline, medium, style and cultural influence, work by the six artists in this exhibition is thematically cohesive in its related subject matter—through figurative pairings of human and animal elements, the artists explore concepts of instinct, identity and metamorphoses. In the curators’ words: “Hybrid Thinking refers to the current zeitgeist of our time: disparate cultures coming together to create something completely new. Though from distinctly different cultural backgrounds, these artists share an understanding of our cities, of the human condition and our complex relationship with nature.”
Featured Artists
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Hyuro DALeast Herakut |
Sit Vinz Roa |
See the Hybrid Thinking
curated by Wooster Collective Exhibit
Sam Gibbons
Directed by Kilroy
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
December 10, 2011 through January 7, 2012NEW YORK, NY (November 1, 2011) — Jonathan LeVine Gallery is pleased to announce Directed by Kilroy, new works by Baltimore-based artist Sam Gibbons, in what will be his first solo exhibition at the gallery. “While Gibbons’ work can be construed as over-stimulating, the difference is that it dares us to confront the frenzy, peer into the mess and emerge with something meaningful—something that requires contemplation. By negating narrative and letting the images speak for themselves, Gibbons challenges the viewer to surmise their own interpretation. He wants those who see his work to stop, think and process that which overwhelms.” — Jennifer Papas, Hi-Fructose Magazine Gibbons paints on panels with custom-cut outer edges that silhouette and exaggerate the shapes contained within. He explores themes of mortality and carnal desire using cartoon characters as a vehicle. Gibbons’ works are bursting with colorful imagery, abstracted forms and elasticized figures—physically contorted and engaged in assorted acts of sex and violence. Subverting notions of moral value attributed to children’s entertainment with scenarios of depravity and debauchery, the artist exposes cartoons as a fitting device for portraying the collective corruption of innocence. Some of Gibbons’ paintings resemble the Rorschach (or inkblot) test, when his imagery is symmetrical, mirrored on either side of the vertical center. This adds a psychedelic layer as well as an optical illusion of movement—shapes appear to merge, stretch, swell, grow in depth and fold back in on themselves. With an interest in the darker side of humanity as well as pioneers of cartoon making, Gibbons draws inspiration from disparate sources. Some of the paintings in this exhibition reference the work of early cartoonists Bob Clampett and Tex Avery, as well as the murders of serial killer Charles Manson.
Featured Artist
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Sam Gibbons |
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See the Sam Gibbons
Directed by Kilroy Exhibit
Stephan Doitschinoff (aka Calma)
Novo Asceticismo (New Asceticism)
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
December 10, 2011 through January 7, 2012NEW YORK, NY (November 1, 2011) — Jonathan LeVine Gallery is pleased to present Novo Asceticismo, new works by Sao Paulo-based Brazilian artist Stephan Doitschinoff (Calma), in what will be his second solo exhibition at the gallery. The show will feature canvases, drawings and multiples incorporated into a mixed-media installation and the debut of two new short films entitled Brilho do Sol (Sunshine) and Tudo é Vaidade (All is Vanity). Doitschinoff creates a unique visual language and style by embracing his eclectic influences. Themes in his work are inspired by an informed spiritual history and heritage, rich in symbolism and often accompanied by Latin text. In Novo Asceticismo (New Asceticsm), he reflects on the sacrifice and deprivation necessary for modern man to live purely, without feeling alienated or falling into vices, mental traps and social conditioning of contemporary society. He explores concepts constituting new forms of practicing austerity in regards to self-discipline in manners of sexuality and the body as well as contemporary Shamanism. The work is permeated by themes of Asceticsm, redefined to reflect political issues of our times. To research for this exhibition, Doitschinoff traveled to Portugal, studying cultural festivals of the northern region and the traditions of caretos who wear Ibera masks. These ceremonies and masks were the artist’s main inspiration in Lisbon where he created an installation in the form of a temple to serve as the site for his performance piece, Briho do Sol (Sunshine), documented in a short film which will be shown for the first time during Novo Ascenticismo. As written by Carlo McCormick: “Subject to the effects of Christian fundamentalism and strict education in the wake of a two-decade-long military dictatorship in his native Brazil, Doitschinoff is responsive to (it’s) violence, institutional corruption and poverty. With his personal study of religious art and affinity for spiritualist practices—a synthesis of European Catholicism with African vernacular (Macumba in particular)—he can migrate with fluidity from street to chapel, producing fine art conjoined with both Western painting and indigenous folkloric craft traditions. Iconoclastic and outside institutional teachings of the church or esoteric theological systems, Doitschinoff is not concerned with conveying precepts of faith so much as investigating the psychic and historical topography of what it means to believe… He understands ‘god’ as a socio-cultural condition.”
Featured Artist
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Stephan Doitschinoff |
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See the Stephan Doitschinoff (aka Calma)
Novo Asceticismo (New Asceticism) Exhibit
Aakash Nihalani, Jason deCaires Taylor, Olek, WK
SCOPE-Miami 2011, Booth E09
International Contemporary Art Fair
NE 1st Avenue @ NE 30th Street
Wynwood District, Miami, FL 33127
Jonathan LeVine Gallery
November 29, 2011 through December 4, 2011NEW YORK, NY (November 1, 2011) — Jonathan LeVine Gallery is pleased to present new works by artists Aakash Nihalani, Jason deCaires Taylor, Olek and WK at SCOPE-Miami Contemporary Art Fair, from November 29—December 4, 2011, during Art Basel Miami Beach. Placing a focus on public art for this program, the gallery will present a series of works that highlight a diverse range of distinct styles, cultural perspectives and unconventional mediums. Each of the four artists selected represent fresh directions in creating work in public space through their innovative vision and inventive use of materials. Photography documenting their interventional imagery, sculpture, and performances convey the transformative effect their work has on its surrounding environment. Aakash Nihalani’s playful geometric shapes and patterns, formed out of tape when applied on the street, are complemented by his aluminum sculptures and video work. Olek’s work mainly consists of wrapping public sculptures, personal objects and performers in a crocheted camouflage pattern. The vibrant fluorescent color palette of Nihalani’s tape and Olek’s acrylic yarn both create striking contrasts against the urban landscape. The graphic black and white imagery of WK’s mixed-media works are layered in textures and elements that re-create the ephemeral experience of encountering his work on the street. Jason deCaires Taylor infuses his eco-sculptures with biological materials that form artificial reefs, once submerged under the sea. Casting full-scale figures and objects in cement, Taylor’s ambitious public projects have a practical, functional and environmental aspect, rejuvenating habitats for marine life and replenishing natural reefs, an endangered natural resource.
Featured Artists
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Olek WK |
Aakash Nihalani Jason deCaires Taylor |
Josh Keyes
Migration
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
October 22, 2011 through November 19, 2011NEW YORK, NY (September 20, 2011) — Jonathan LeVine Gallery is pleased to present Migration, new works by Portland-based artist Josh Keyes, in what will be his second solo exhibition at the gallery. Migration features a series of paintings on panel, drawings on paper, and a ten-foot canvas entitled Stampede, the artist’s largest painting to date. On the subject of his show title, in the artist’s words, “Migration and displacement were ideas that continued to surface in my mind while I was painting these images. I was thinking about the effects of climate change and the way some ecosystems that thrive in a specific range of temperatures—like polar or tropical climates—are experiencing a shrinking of their boundaries. Ecosystems that were separate are now slowly merging and overlapping one another, causing disruptions in the food web and increased competition for food and space among species. Some become displaced and are forced to migrate, in order to survive.” Keyes’ imagery in this exhibition pushes the potential consequences of ecosystem clashing to a climax that wavers on the surreal. A bright orange tiger rests contently on top of a graffiti covered dumpster, staring intensely at a pack of wolves, scavenging whitetail deer scraps from the tiger’s morning hunt. Below the smooth floodwater surface, glides a great white shark. A pair of giant pandas, marooned on a submerged jeep, watch with curiosity as the shark’s fin circles by. Deer, elk, wolves and other animals form a stampeding herd, charging through a city street, leaving upturned cars and ruptured pavement in their frenzied wake. Keyes’ work often depicts various species of wildlife isolated within settings that foreshadow a theoretically threatening dystopian fate. His signature fragmented landscape, surrounded by a sea of empty white space, represents the universal unknown as well as the disconnect between contemporary society and the natural world. Through his work, Keyes explores timely ecological themes that convey his deep concern for the environmental crisis our planet faces. His imaginative interpretations of the long-term effects of global warming include aspects of climate change, extinction, the decline of natural resources and threat of rising sea levels. All of these issues are integrated, and woven throughout the allegorical fabric of the work in a resounding visual study on causality.
Featured Artist
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Josh Keyes |
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See the Josh Keyes
Migration Exhibit
AJ Fosik
Time Kills All Gods
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
October 22, 2011 through November 19, 2011NEW YORK, NY (September 20, 2011) — Jonathan LeVine Gallery is proud to present Time Kills All Gods, new works by celebrated Portland-based artist AJ Fosik, in what will be his highly anticipated second solo exhibition at the gallery. “Fosik’s feral creations take the shape of fantastic beings that communicate a subversive, anti-religious commentary through the depiction of hyperbolized fictional gods. Nameless, assigned no specific meanings or powers, beholden to no formal faith—real or contrived—Fosik’s idols are not meant to contribute to some grand theological narrative of the artist’s design. They are masterfully made beautiful objects that examine the nature of spiritual iconography through an absence of religious discourse. In this way, Fosik points to the power and scope of man’s innate creativity devoid of divine inspiration.” – Lainya Magana, Hi-Fructose Magazine, 2010 As the exhibition title suggests, the artist’s sculptural work explores primal themes. In his words, “I’m fascinated by the need and devotion to the idea of a creator and the many manifestations of that concept. My pieces are totems that are meant to turn the supernatural on its head. They are as man made as every god and just as seductive, but their power lies only in that existential admittance. By subverting the power of spiritual iconography, my work fetishizes the embrace of the unknown and celebrates existence as its own virtue. In reality, we only have each other.” Fosik explores the powerful medium of language and metaphor to emphasize narrative and interpretation. Using wood and found materials, he creates figural, eclectic and intricately designed three-dimensional works that intrigue and provoke. Fosik’s animal subjects and anthropomorphized beings are built using a complex process in which each form is carefully handcrafted by arranging hundreds of pieces of individually cut and varnished wood, which the artist paints in vibrant colors and patterns. Sharp teeth, claws, and eyes emerge once the creatures are completed—some are constructed as freestanding forms while others are wall-mounted, referencing modern taxidermy practices. All works in this exhibition are made from 100% locally sourced, sustainably grown Oregon lumber and parts manufactured in the USA. On the subject of his creative process, Fosik says, “every piece undergoes full woodshop gestation. I build an entire wooden skeleton from 2x4’s and framing nails, on top of that goes plywood and gold screws forming muscle and sinew, another layer of wooden flesh over that and finally I skin the beast with luan chips.”
Featured Artist
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AJ Fosik |
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See the AJ Fosik
Time Kills All Gods Exhibit
REVOLUTIONS: The Album Cover
Art of SHEPARD FAIREY
presented in association with
All Tomorrow's Parties (ATP) festival
1200 Ocean Avenue, Asbury Park, NJ
Opening Reception: Thursday 9/29, 6-9pm
Jonathan LeVine Gallery
September 30, 2011 through October 3, 2011***PLEASE NOTE: Featured images are not of exact works being sold/exhibited. Only one piece in each edition has been photographed for preview purposes. All pieces in the edition have unique embellishments and as such, no two are completely alike.*** Jonathan LeVine Gallery is proud to present REVOLUTIONS: THE ALBUM COVER ART OF SHEPARD FAIREY in association with All Tomorrow's Parties (ATP) music festival 2011. The opening reception of REVOLUTIONS will be held on Thursday, September 29th, 2011 from 6—9pm and will remain on view through Monday October 3rd at a pop-up location on the boardwalk in Asbury Park, NJ. The exhibition will feature over 80 pieces of Punk, Rock, New Wave, Jazz, and Hip-Hop inspired artwork based on the 12″ record cover format. In conjunction with the exhibition, Fairey will create a number of site-specific murals in locations surrounding the exhibition space and festival venue. REVOLUTIONS: The Album Cover Art of Shepard Fairey Opening Reception: Thursday, September 29th, 2011 from 6—9pm Dates/Times: Friday, September 30—Monday, October 3, 2011 (Noon—8pm, daily). Location: 1200 Ocean Avenue. Asbury Park, NJ 07712 “Long before I knew about art galleries or even street art, I was excited about album cover art, if only because it was the visual counterpart to the music on the records I loved. Album covers conjured a euphoric association with the listening experience. Most of my earliest home-made tee shirts were stencils based on punk album covers. I’ve had some very moving encounters with art in my life, especially in the street, but almost nothing can compare with the first time I heard the boots marching and first chord of the Sex Pistols’ Holidays in the Sun, or the air raid sirens leading into “too black, too strong” on the intro to Public Enemy’s It Takes A Nation of Millions to Hold Us Back, or the opening guitar scream of Black Flag’s Rise Above. Those songs did, and still do, make my arm hairs stand up. Music is visceral and accessible, but also has the additional powerful layers of the lyrics, with their content and politics, and the style,politics, and personalities of the musicians themselves. No matter how much I love art, or try to convince myself of its relevance in society, the fact remains that music is a lot cooler and way more able to reach people’s hearts and minds… but I’m a populist and I look at this way: I may not play an instrument, but I’m gonna rock it hard as nails anyway. With my art I try to capture the same energy and spirit that makes music so powerful and democratic. REVOLUTIONS is a celebration of all the great music and accompanying art that has inspired me over the years.” — Shepard Fairey
Featured Artist
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Shepard Fairey |
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Dylan Egon
Home of the Brave
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
September 10, 2011 through October 8, 2011NEW YORK, NY (August 16, 2011) – Jonathan LeVine Gallery is pleased to present Home Of The Brave, new works by Dylan Egon, in what will be his first solo exhibition at the gallery. and largest to date. “Sites of cultural compression, fetishization and wonder.” — Benjamin Genocchio, The New York Times. Egon has a background in Anthropology, Archeology and Film production. Presently, he works in the field of tabletop design and product styling of commercial photography for luxury fashion editorial and advertising clients. For the past several years, Egon has created personal artwork for himself incorporating his collections of objects. Much like the late Joseph Cornell, Egon’s work was not originally intended for exhibition. Egon possesses a tremendous knowledge of design history, a deep nostalgia for Americana as well as a profound respect and appreciation for fine craftsmanship as a form of artistry. He draws upon his expertise in the history of fashion and functional object design when creating fine art. Home Of The Brave features several works comprised of assemblage, in which each object carries significance on its own, as well as in relation to other objects in the piece. One such work, titled Modern American Tomb, includes a classic Coca-cola bottle, Jack Daniels whiskey, Marlboro cigarettes, Adidas sneakers, Leica camera, Fender guitar, Colt 45 pistol, Rolex watch, a copy of the Bible, and several other objects, all surrounding the silhouette of a full-scale male skeleton formed out of pressed brass. In addition to large assemblage works, the exhibition includes a number of mixed media sculptures and screen-printed works on panel. Themes include American values, military, fuel, corporate branding, production and consumption. Repetition, numerology, currency and measuring instruments like rulers convey concepts of value and the passage of time. Pop-culture references range from fashion, film, musical and historical figures such as Native American Comanche Chief Quanah Parker and the iconic American Astronaut. Continuing his exploration of art and commerce, the artist has also designed multiples such as custom printed t-shirts and hats, which will be available in limited editions, and released in conjunction with the exhibition.
Featured Artist
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Dylan Egon |
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See the Dylan Egon
Home of the Brave Exhibit
Michael Leavitt
The Art Army Royalty
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
September 10, 2011 through October 8, 2011NEW YORK, NY (August 16, 2011) — Jonathan LeVine Gallery is pleased to announce The Art Army Royalty, new works by Seattle-based artist Michael Leavitt, in what will be his first solo exhibition at the gallery. The Art Army is a project in which Leavitt creates one of a kind, fully articulated sculptures by hand in an “action figure” scale, each in the likeness of a well-known artist, incorporating the style of the subject’s artwork. Since 2002, this ongoing series of unique sculptures represent artists from every great movement of Modern and Contemporary Art, from Warhol to Banksy. This exhibition marks the first time Leavitt will satirize and pay homage to the world’s most famous, established, living artists. Over twenty contemporary art stars are included such as: Takashi Murakami, Cindy Sherman, and Matthew Barney. Each figure is sculpted from scratch in polymer clay, surface-finished and texturized with acrylic paint and mixed media. Leavitt engineers the miniature sculptures with articulating joints, assembling moving body parts with elastic cord so that the figures can be posed. Leavitt’s Art Army is a satire on consumer culture, reducing the collector compulsion of two markets—art and product—into a miniature scale. Using the vinyl toy industry as a vehicle to convey the phenomenon of idolization and celebrity status in contemporary art and culture, Leavitt transforms the subjects into caricatures, along with the work they are best known for. Examples include portrayals of Damien Hirst as a shark dissected in half, Jeff Koons as a balloon animal, and Kara Walker with a paper-thin silhouette.
Featured Artist
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Michael Leavitt |
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See the Michael Leavitt
The Art Army Royalty Exhibit
2011 Annual Summer Invitational
Gallery I
Group Exhibition
Jonathan LeVine Gallery
August 10, 2011 through August 27, 2011NEW YORK, NY (July 20, 2011) — Jonathan LeVine Gallery is pleased to announce its 2011 Annual Summer Invitational, a group exhibition featuring works by eleven emerging artists including:
Featured Artists
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Edwin Ushiro Melissa Haslam Yuko Shimizu Eric Fortune |
Dickchicken Hello Monsters Jennifer Delilah Meryl Smith |
ABOVE Daniel Diaz Nicoletta Ceccoli |
See the 2011 Annual Summer Invitational Exhibit
Olek
The Bad Artists Imitate
The Great Artists Steal
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
August 10, 2011 through August 27, 2011NEW YORK, NY (July 12, 2011) — Jonathan LeVine Gallery is proud to present The Bad Artists Imitate, The Great Artists Steal, new works by Polish-born, New York-based artist Olek, in what will be her first solo exhibition at the gallery. The Bad Artists Imitate, The Great Artists Steal features a site-specific installation with a new series of crochet sculptures and canvases. The title of the exhibition refers to a work created by world-renowned British street artist Banksy for his 2009 Bristol Museum show, in which he carved a quote by Pablo Picasso into stone, crossed out the late artist’s name and replaced it with his own. A prolific practitioner of performance and public art (both authorized and unauthorized), Olek has covered people and various objects with crochet—from bicycles and cars to Wall Street’s iconic Charging Bull sculpture. One series is an homage to Banksy’s stenciled silhouette of a girl suspended in air, holding balloons which he placed on the West Bank barrier of the Israeli-Palestine border in 2005 (seen in context, the figure appears to be floating up in order to cross over to the other side). Covering the balloon girl with her signature camouflage-patterned crochet work in brightly-colored yarn, Olek placed her Banksy tribute series in locations around New York. The artist has created a new black & white version of the piece for her gallery exhibition. Following the inspiration/appropriation theme, additional works in the show play off images and words made famous by various celebrity icons, featuring a camouflage crochet pattern in grayscale, rather than the fluorescent palette typical of Olek’s previous work. A 1986 Keith Haring portrait by photographer Annie Leibovitz—in which the artist’s body and entire room surrounding him was painted white with black line work—is re-created in a three-dimensional installation. Other works include objects relating to the subjects as well as canvases on which Olek has crocheted the text of provocative quotes such as “Well behaved women rarely make history” by Marilyn Monroe, and “If I go down on my knees, it is not to pray,” by Madonna.
Featured Artist
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Olek |
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See the Olek
The Bad Artists Imitate
The Great Artists Steal Exhibit
Brett Amory
Dark Light
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
June 30, 2011 through July 30, 2011NEW YORK, NY (June 1, 2011) — Jonathan LeVine Gallery is pleased to announce Dark Light, new works by California-based artist Brett Amory, in what will be his debut solo exhibition in New York. Dark Light features a new series of oil paintings on panel, expanding upon Amory’s ongoing series of works entitled Waiting, which portray studies of urban life through fragmented cityscapes and anonymous, isolated figures. Amory began the Waiting series in 2001 with paintings depicting commuter subjects seemingly detached from their fellow passengers and surrounding environments, inspired by the introverted culture of public transit and inhabitants of the Tenderloin neighborhood of San Francisco, where the artist lived for thirteen years. Amory’s work is based on photographs the artist has taken of ordinary city architecture and people who he sees on a daily basis but never speaks to. He feels especially drawn to individuals who look lost, lonely or awkward—those who don’t appear to fit in socially. Amory’s imagery has evolved over time as the artist has reduced compositional elements of the urban environment with increasingly more negative space, placing a stronger focus on the human subjects—who have shifted from daily travelers in the mundane sense to what has become an implied spiritual passage toward transcendence. In recent works, including those in this exhibition, the negative space has become black rather than white, adding to the emotional impact of the light source as having symbolic significance within the context of the obscured landscape imagery. As the title suggests, the Waiting series is about how we rarely experience living in the now, always awaiting what will come next or obsessed with what has already transpired. In our age of distraction, being in the present is difficult to achieve outside of meditation practice, it requires heightened cognitive awareness and clear mental space, often prevented by constant internal dialogue, preoccupation with memories of the past and/or concern for the future. Amory’s work attempts to visually represent this concept of disconnection and anticipation, conveying the idea of transient temporality that exists in most moments of our daily lives.
Featured Artist
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Brett Amory |
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See the Brett Amory
Dark Light Exhibit
Dan Witz
Mosh Pits, Human and Otherwise
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
June 30, 2011 through July 30, 2011NEW YORK, NY (June 1, 2011) — Jonathan LeVine Gallery is pleased to present Mosh Pits, Human and Otherwise, a series of works by Brooklyn-based artist Dan Witz, in what will be his first solo exhibition at the gallery. Mosh Pits, Human and Otherwise features large-scale oil paintings on canvas from Witz’s celebrated Mosh Pit series—produced over the past ten years—marking the first time works in this series have been exhibited together. Dan Witz is known for hyper-realistic figurative painting, with a career spanning over three decades in both studio work and street art interventions. Applying old master techniques, he achieves impressively convincing trompe l’oeil illusions of light, shadow and depth in his finely rendered portraits, landscapes and still lifes. Witz recently added digital media tools to his process (having previously used traditional projection methods). Combining old master techniques and digital technology, he photographs his subjects, composes in photoshop, prints an a-chromatic underpainting on canvas then glazes and scumbles over this foundation using traditional representational painting. Although equally time consuming and labor intensive compared to his pre-digital practice, Witz finds that new technology provides a unique opportunity for realist painters to evolve. Through his work, Witz continues to skillfully simulate the three-dimensional quality of reality as seen through the eye (rather than the flatness of photography as seen through a camera lens) with remarkable accuracy. Influenced by his background as a musician in post-punk noise bands during the downtown scene of New York in the early 1980s, the Mosh Pit motif marries Witz’s two passions—performing and painting, both heavily fueled by the rebellious spirit of art and music of his generation. In contrast to paintings that portray throngs of punk youth, titled after music venues such as ABC No Rio, Witz expands upon the crowd theme to include a rush-hour herd of suit-wearing businessmen in Grand Central Station in addition to non-human subjects in other works with animals such as a pack of fighting dogs and a writhing mass of rats. Offsetting the aggressive tone and group energy of the Mosh Pits, additional works represent Witz’s captivating portraiture with isolated female subjects whose faces are illuminated by the screens of their mobile devices and a group of paintings which depict figures inspired by erotic fetish subcultures. All of Witz’s works express a provocative point of view, informed by an artist who constantly strives to challenge his audience as well as himself.
Featured Artist
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Dan Witz |
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See the Dan Witz
Mosh Pits, Human and Otherwise Exhibit
INVADER
SCOPE-Basel 2011
International Contemporary Art Fair
Kaserne-Klybeckstrasse 1b
Basel, Switzerland
Jonathan LeVine Gallery
June 15, 2011 through June 19, 2011NEW YORK, NY (May 25, 2011) — In booth #D07 of SCOPE-Basel 2011, Jonathan LeVine Gallery is proud to present new works by Paris-based artist Invader. For what will be it’s fifth year in Basel, SCOPE will run from June 15—19, 2011 with daily hours from 10am—7pm. Coinciding with ART BASEL 42, the SCOPE-Basel Pavilion will be held in a nearby venue called Kaserne, located at: Klybeckstrasse 1b in Basel, Switzerland. For SCOPE-Basel, Invader has created new series of works featuring his signature pixel-based aesthetic, created in mediums such as mosaic tile and rubik’s cubes, which clearly translate the concept of pixilation (the division of visual information in digital format). The artist will incorporate a series of alias works (single replicas of original street placements) into a site-specific installation, representing a selection of mosaics he has placed in various locations, worldwide. Known for using mosaic tiles to re-create popular characters from vintage 8-bit video games (such as Space Invaders and Pac-Man) on the streets of cities around the world, the internationally celebrated artist’s invasions are carefully cataloged after placement in context to their surrounding environment. Since the project has grown on a global-scale, each piece also carries considerable significance from a larger perspective—populating what is now a worldwide installation that stretches across the planet. Invader’s mosaics can be found on the streets of over 40 cities, on all five (habitable) continents. Like the game, his mission is literally an invasion of (public) space.
Featured Artist
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Invader |
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See the INVADER
SCOPE-Basel 2011
International Contemporary Art Fair Exhibit
The Emergence of the Pop Imagist
Group Exhibition
Campo de la Madonna de L’Orto
Cannaregio, Venice, Italy
Jonathan LeVine Gallery
June 2, 2011 through September 15, 2011NEW YORK, NY (May 3, 2010) — Jonathan LeVine Gallery is pleased to announce its program during the 54th Annual Venice Biennale, The Emergence of the Pop Imagist—a group exhibition presented in association with Bonelli ArteContemporanea. Curated by Jonathan LeVine and Giovanni Bonelli, the exhibition will occupy a former school building called Scuola dei Mercanti, located at: Campo de la Madonna de L’Orto in Cannaregio, Venice, Italy. With an opening reception on June 2 at 6pm, the show will run from June 2—September 15, with hours between 10:30am—1pm and 3pm—7pm, Tuesday—Sunday. The Emergence of the Pop Imagist features a strong selection of painting, sculpture and digital media, highlighting a diverse assortment of captivating imagery. The exhibition brings together twenty-two celebrated artists who have exhibited at Jonathan LeVine Gallery, including:
Featured Artists
See the The Emergence of the Pop Imagist
Group Exhibition Exhibit
Miss Van
Bailarinas
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
May 26, 2011 through June 25, 2011NEW YORK, NY (May 3, 2011) — Jonathan LeVine Gallery is pleased to announce Bailarinas, new works by French-born, Barcelona-based artist Miss Van, in what will be her second solo exhibition at the gallery and first solo show in New York in six years. Miss Van’s signature aesthetic revolves around sultry female subjects, which she refers to as poupées (or dolls, in French), alluding to elements of fantasy and narrative in her work. Their direct gaze, pouty lips, voluptuous curves and erotic gestures have a provocative appeal—some playful, others dark—emotionally charged and empowered by uninhibited sexuality. ?Miss Van began painting these alluring figures in the streets of Toulouse, France, as a teenager nearly twenty years ago. The characters have since matured along with the artist who now works mainly in the studio, allowing time to refine her imagery through delicate pencil renderings on paper and loose brush strokes on canvas and wood. Recently, Miss Van was invited to participate in Art in the Streets, a major group exhibition currently on view at the Museum of Contemporary Art (MOCA) in Los Angeles, California. Along with her ultra-feminine figures, Miss Van has been known to incorporate animal familiars such as deer, rabbits and foxes. These creatures have a pet-like relationship with the mysterious temptresses who wear doll-like princess dresses or ballerina-tulle skirts with hints of lingerie textures such as corsets, ruffles, lace and fishnet. The women frequently appear topless and often wear masquerade-style masks, as well. Recently, the masks have become less decorative and increasingly more animal-like, adding significance to the dialogue created by the character’s human-animal relationships by amplifying themes of identity, role-play, fetish, and freedom to express the wild (animalistic) side of natural human instinct. The joie de vivre pleasure principle, innate in French culture, informs much of Miss Van’s body of work. In Bailarinas, a series of pastel works on paper portray isolated figures in nostalgic poses inspired by vintage erotic portraiture. Additional acrylic and mixed media works on canvas and wood panel feature subjects inspired by dancers, driven by the sensually liberating experience of self-expression through physical control and movement of the body. The performance aspect of dance and the act of putting on a seductive show for a viewer or audience reinforces themes of fantasy and desire while also offering an interesting parallel to the artist’s craft, as both are forms of visual storytelling.
Featured Artist
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Miss Van |
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See the Miss Van
Bailarinas Exhibit
Mario Martinez (Mars-1)
Afterglow
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
May 26, 2011 through June 25, 2011NEW YORK, NY (May 3, 2011) — Jonathan LeVine Gallery is pleased to present Afterglow, new works by San Francisco-based artist Mario Martinez (Mars-1), in what will be his third solo exhibition at the gallery. Afterglow features several large-scale, acrylic works on linen—painted in Martinez’s distinctly individual and signature mind-expanding style of vast, abstracted, quasi-extraterrestrial landscapes. In contrast with Martinez’s last exhibition, this new series of atmospheric paintings are much grander in scale and presence, with dark rather than light background colors. Through broader brushstrokes and kinetic energy, there is more chance and less control to the execution, creating a sense of conflict and struggle within the work. To experience the imagery as a viewer is like ocular meditation, releasing the mind from cognitive thought and allowing oneself to be visually drawn deep into a cosmic vortex and mentally explore the unknown. Painting from a perspective of penetrating depth, Martinez’s process is subconscious-driven and constantly evolving. His compositions are densely layered in vibrant geometric and organic shapes, forming a unique matrix of patterns and textures. Skillfully combining optical color blending techniques with perspective line work, his dimensional imagery echoes the anatomy of architecture and microcosmic structures of biology. Throughout the artist’s body of work, themes range from scientific to esoteric phenomena, including theoretical physics, metamorphoses, collective consciousness, ufology, possibilities of otherworldly principles and the relative link between physical and life sciences. Transitional energies, natural multiplicity, helixes and spontaneous biological occurrences all converge, forming imagery with hypotheses beyond the scope of modern technology.
Featured Artist
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Mario Martinez (Mars-1) |
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See the Mario Martinez (Mars-1)
Afterglow Exhibit
Gaia
Succession
Project Room
Solo Exhibition
Jonathan LeVine Gallery
May 26, 2011 through June 25, 2011NEW YORK, NY (May 9, 2011) — Jonathan LeVine Gallery is pleased to present Succession, new works by Gaia, in what will be the artist’s first solo exhibition at the gallery. ?Works in Succession—comprised of drawing, painting and various relief-cut printmaking techniques—will be incorporated into a site-specific installation in the gallery’s project room. Re-creating street scenes as a background setting for his work, Gaia will transform the space, bringing the texture and energy of his urban interventions into the white box environment. The artist’s chosen pseudonym, Gaia, is a name taken from the primordial Greek goddess personifying the Earth, more universally referred to as Mother Earth or Mother Nature. While he has been known to create portraits of human faces, Gaia’s ambiguous imagery most often depicts totemic creatures with animal heads and human bodies as well as expressive hand gestures. He occasionally fuses the features of different animals together, forming imagined, amalgamated hybrids. These chimeric subjects are filled with Art History references, inspired by various sources including biblical figures, ancient mythology and mystical folklore. Additional layers of symbolism and interpretation emerge as Gaia’s works are encountered within the context of the urban landscape. Like apparitions, they confront the viewer as oracles with a powerful capacity to address contemporary social and environmental issues concerning consumer culture, consumption and sustainability. The juxtaposition of wild animal imagery pasted onto man-made architecture was a significant choice for the artist because, in his own words: “Having lived most of my life in New York City, I personally felt like I never had a connection to nature; it was so distant and idealistic.”
Featured Artist
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Gaia |
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See the Gaia
Succession Exhibit
Haroshi
Future Primitive
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
April 16, 2011 through May 14, 2011NEW YORK, NY (March 11, 2011) — Jonathan LeVine Gallery is proud to present Future Primitive, new works by Tokyo-based artist Haroshi in what will be his debut solo exhibition in the United States and first solo gallery show outside of Japan. In Future Primitive, the artist will introduce subject matter inspired by the city of New York. Haroshi’s work reflects his unique perspective as a skate enthusiast with Japanese heritage, in that his technical approach to sculpture combines the influence of time-honored traditional methods of his homeland with the spirit of innovation and technology inherent in its contemporary culture. Haroshi creates full-scale, three-dimensional, wooden sculptures with used skateboard decks. As a medium, skate decks differ from natural wood in that they are a processed material. Their size, shape and contours vary according to manufacturing brand and model. With his personal experience and vast knowledge, Haroshi is able to determine which skateboards fit together seamlessly. After a careful selection process, Haroshi stacks his chosen decks into layers, cuts mosaic pieces, assembles them into a desired shape and meticulously carves each form by hand with skilled precision. He achieves a colorful, striped pattern by stacking the boards with keen attention to the exposed rails (outer edges) rather than applying paint. Haroshi occasionally incorporates naturally broken boards in their original shattered form, creating textural contrast between smooth silhouette and splintered, raw edge. He also re-purposes discarded grip tape as a tool to sand and finish the surface before applying final seal. Haroshi’s wooden mosaic technique is similar to the ancient Japanese tradition of building wooden Buddhas, in order to conserve materials and minimize the weight of the statue. Unkei, a master sculptor in 12th Century Japan, specialized in Buddha figures and used to place a crystal called Shin-gachi-rin (meaning new moon circle) in the position of the statue’s heart, to represent its soul. Haroshi takes a similar approach in his creative process, as many of his sculptures contain a metal object concealed within the shell of layered skateboards. This is sometimes a broken skateboard part from the artist’s collection or another object with personal significance. Haroshi describes this practice as “giving a soul” to the sculpture. Additionally, he produces X-rays of these works in order to reveal the objects hidden inside.
Featured Artist
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Haroshi |
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See the Haroshi
Future Primitive Exhibit
Souther Salazar
You Come Too
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
April 16, 2011 through May 14, 2011NEW YORK, NY (March 11, 2011) — Jonathan LeVine Gallery is pleased to announce You Come Too, new works by California-based artist Souther Salazar, in what will be his third solo exhibition at the gallery. Salazar’s signature aesthetic involves rich layers of texture and harmonious color. The artist collects found objects and transforms the materials through inventive assemblage applications to build highly detailed and imaginative narratives. Weaving memories of experiences together with imagined moments, Salazar invites viewers to explore the fantastical world portrayed in his works. This exhibition includes a series of new mixed media paintings, drawings and sculptures incorporated into a site-specific installation. The installation features several clusters of tiny microcosmic worlds as well as a large, three-dimensional element—two figures riding on the back of a giant snail-like creature toward a portal painted onto the wall of the gallery space. The show title You Come Too is a reference to the Robert Frost poem The Pasture. With an implied sense of inclusion, it relates perfectly to the overarching theme of sharing adventures through storytelling. In 2010, after ten years of living in Los Angeles, Salazar returned to the central region of California, where he was raised. Living near family in a secluded, more natural environment again has rekindled a sense of childlike wonder for the artist, revisiting all the simple pleasures he enjoyed while growing up in the neighboring area such as studying nature, collecting insect specimens and wandering along the river banks. In comparison to Salazar’s previous 2009 exhibition, which evoked feelings of melancholy, lonesomeness, heartache and loss, works in You Come Too have shifted in tone, inspired by changes in his personal life over the past two years. The new imagery and subject matter are still cohesive in palette and style, yet refreshed in direction. Vibrant and saturated, they convey an invigorated perspective, reflecting Salazar’s recent relocation and whirlwind romance as he has found himself falling in love, nesting, planning a wedding, and future life of adventures together with his new companion and creative collaborator.
Featured Artist
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Souther Salazar |
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See the Souther Salazar
You Come Too Exhibit
Van Arno
The Minstrel Cycle
Project Room
Solo Exhibition
Jonathan LeVine Gallery
April 16, 2011 through May 14, 2011NEW YORK, NY (March 11, 2011) — Jonathan LeVine Gallery is pleased to announce The Minstrel Cycle, new works by Van Arno, in what will be the Los Angeles-based artist’s first solo exhibition at the gallery and most ambitious show, to date. The Minstrel Cycle features a series of seven large multi-figure oil paintings on canvas, reflecting themes of race and music, which the artist has explored and developed over the past several years. For this exhibition, Arno draws inspiration from a variety of sources, including real and imagined historical events, the surprising true lives of entertainers, blues and hip-hop lyrics, multi-cultural folklore and Afro-Caribbean mysticism. The show title references minstrelsy, a controversial form of entertainment from the 1800s, in which performers in blackface lampooned African-American culture through comic-musical variety acts loaded with racial stereotypes. Since the word minstrel is so culturally charged in discussions of race-relations in the United States and in the historical roots of contemporary musical influences, the artist thought it would be a fitting title for his new body of work. There is a broad range of subjects for the paintings in this show, including Lucifer and the blind fates (three prophetic witches who share one eye, also known as the Graeae in Greek mythology) along with historical figures such as the famous entertainer, Josephine Baker. Throughout his work, Arno consistently pushes the human figure into extremes of posture to emphasize his Baroque sensibility and approach to create tension, contrast, form and shadow. In the artist’s words: “I attempt to paint the archetypical moment of clarity and passion. Imagery must be made exciting and alive. Rules of lighting, anatomy, gravity and physics must be bent or broken to make the picture LOUD. That is the ultimate goal of my work.”
Featured Artist
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Van Arno |
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See the Van Arno
The Minstrel Cycle Exhibit
Gary Baseman
Walking through Walls
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
March 5, 2011 through April 2, 2011NEW YORK, NY (February 2, 2011) — Jonathan LeVine Gallery is pleased to present Walking through Walls, new works by Los Angeles-based artist Gary Baseman, in what will be his second solo exhibition at the gallery, and first solo show in New York in six years. As the title suggests, works in Walking through Walls convey the concept of breaking through imposed limitations and boundaries, in society as well as the art world. Visually, Baseman emphasizes “the wall” through a floral wallpaper motif, compositional divisions of space and the transcendence of his subjects between mediums. While previous exhibitions have been festive and celebratory in nature, Baseman’s work takes a more reflective, somber tone in this show. With the recent passing of his father, the artist’s deep sense of loss has resulted in darker, subdued colors, adding shades of gray to his previously bright palette. In the new series of work, Baseman introduces a figure named Lil Miss Boo, a young girl wearing a homemade ghost costume. The character is based on a child in an old black and white photograph, one of over 2000 vintage photographs of masked subjects in the artist’s personal collection, garnered over the last 20 years. The collection has often been a source of creative inspiration. This exhibition marks the first time Baseman incorporates imagery from his photo collection into his paintings, through elements of collage and silkscreen. In this exhibition, Baseman explores the maturation of objective childlike naivety into the subjective adult understanding of absolute beliefs in ideals such as truth, love, hope, faith, fate and responsibility. His ghost and skeleton children evoke nostalgia of childhood memories, and support the overarching theme of mortality in relation to growth, identity, personal development and transformation. Among several archetypes, the artist makes references to Golem—a Jewish folktale of anthropomorphic beings made of mud which can be animated by inscribing the word emet (Hebrew for truth) on their forehead, and killed by removing the first letter of the word, to become met (meaning death).
Featured Artist
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Gary Baseman |
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See the Gary Baseman
Walking through Walls Exhibit
Andy Kehoe
Strange Wanderings
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
March 5, 2011 through April 2, 2011NEW YORK, NY (February 3, 2011) — Jonathan LeVine Gallery is pleased to announce Strange Wanderings, new works by Andy Kehoe, in what will be the artist’s second solo exhibition at the gallery. Strange Wanderings features a series of oil and acrylic paintings on wood panel, expanding upon Kehoe’s allegorical compositions, painted in his signature low-key palette of rich earth tones and autumnal colors, accented by fine, black line-work. Most of the artist’s subjects are animal-human hybrids, dressed in fine suits, sometimes smoking cigarettes or pipes, often horned, hoofed, or beaked and covered with fur or feathers. In this fantastical world, frolicking foxes and cats walk on hind legs, forest spirits linger behind tree trunks, creatures peer from above the forest canopy and silhouetted shadows fade into the mist. Kehoe’s aesthetic is largely inspired by traditional folktales and mythological art. His narratives contain primordial themes of love, fear, mortality, alienation, greed, deception and betrayal. Nostalgic for a time before the age of science and reason, Kehoe’s work rekindles a childlike sense of wonder, recalling an era when fables and legends were believed as truths to explain each and every mystery of the unknown. The majestic grandeur of nature has also had a strong influence on the artist and is present throughout his work. Colorful foliage and bare branches represent the seasonal passing of time. In this exhibition, Kehoe’s figures are isolated within desolate wooded landscapes, yet they are rendered with a greater contrast in scale than his previous work and, as a result, take on new dynamics in relationship to one another. During the course of working on this show, the artist embarked on an adventurous cross-country move from Portland, Oregon, to Pittsburgh, Pennsylvania. Along his journey, he stopped to explore National Parks in Wyoming such as Grand Teton, Yellowstone, Devils Tower, and Badlands in South Dakota. In his words: “It was equally inspiring and intimidating seeing nature in that grand of scale. A lot of my work for this show has a sense of scale to it... mostly with creatures that are larger than life. Many of the new paintings have characters that are on journeys, and meet something new and unexpected, some comforting and others frightening. Some of the pieces also deal with finding home and where your heart lies.”
Featured Artist
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Andy Kehoe |
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See the Andy Kehoe
Strange Wanderings Exhibit
VOLTA-NY 2011
Invitational Contemporary Art Fair
Solo presentation of works by Jim Houser
Jonathan LeVine Gallery
March 3, 2011 through March 6, 2011In booth #V6 of VOLTA NY 2011, Jonathan LeVine Gallery proudly presents new works by Philadelphia-based artist Jim Houser. Houser will incorporate a new series of paintings, collages and sculptures into a site-specific installation. Additionally, the artist will compose a score of original instrumental music to accompany the exhibition, complementing the tone and rhythm of the work. Houser’s collages become visual poems through which he cathartically communicates his most private thoughts and emotions with surprising candor. By cataloging his experiences and feelings through a unique pictorial language, the artist creates his own brand of curative iconography. Houser’s signature aesthetic often mixes stylized figures, hand-drawn typography and geometric shapes, creating quilt-like collages in a cohesive color palette. Houser layers acrylic on wood, fabric and found objects, blurring the lines between collage and sculpture. Once combined, it becomes clear that all of his works are associative and directly related. This deceptively dimensional quality is further highlighted when the pieces are assembled into one of the artist’s elaborate installations, adding to the complexity of each individual piece by emphasizing a greater inter-connectivity to the body of work as a whole.
Featured Artist
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Jim Houser |
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See the VOLTA-NY 2011
Invitational Contemporary Art Fair Exhibit
Arte Fiera
Bologna, Italy
International Contemporary Art Fair
Jonathan LeVine Gallery
January 28, 2011 through January 31, 2011Jonathan LeVine Gallery is pleased to participate as exhibitors this year at Arte Fiera in Bologna, Italy. With a selection of works by ten artists from our program, including :
Featured Artists
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Marco Mazzoni Eric White Tara McPherson Alex Gross |
Fulvio Di Piazza James Marshall (Dalek) Josh Agle (Shag) Ray Caesar |
Nicola Verlato Jeff Soto Shepard Fairey |
See the Arte Fiera
Bologna, Italy Exhibit
Ray Caesar
A Gentle Kind of Cruelty
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
January 22, 2011 through February 19, 2011NEW YORK, NY (November 1, 2010) — Jonathan LeVine Gallery is pleased to present A Gentle Kind of Cruelty, new works by Toronto-based artist Ray Caesar in what will be his fourth solo exhibition at the gallery. The show will feature printed multiples as well as several large-scale, original, one-of-a-kind prints. Caesar expands upon his signature aesthetic in this exhibition by taking a more painterly approach, rendering new imagery with softer edges and greater movement than in previous work. The artist’s digitally created dreamscapes, set in elaborately furnished Rococo-style interiors, feature haunting doll-like female figures with delicate features and porcelain complexions. The hybrid characters, part-child-part-woman, some sprouting tails, tentacles and other animal appendages, all wear elaborate costumes that reference fashions of the past and often incorporate futuristic elements as well. Caesar works in Maya (a 3D modeling software used for digital animation effects in film and game industries), using it to create his figures as well as the virtual realms in which they exist. Through the program, he builds digital models with invisible skeletons and anatomical joints that can be bent and manipulated to assume any pose. He wraps the models in rich textures, adding hair, skin, eyelashes and fingernails. Then places them in digitally lit, impeccably detailed 3D environments built with architectural layers, windows, wallpapers, curtains and furnishings. Caesar’s meticulous process incorporates elements of drawing, painting, collage and sculpture, working countless hours to achieve every remarkably intricate tableau. Further emphasizing his sculptural technique, Caesar compares his process of 2D printmaking with imagery created in 3D as being similar to the practice of capturing stills from video and film. With full control over dressing, posing and lighting his figures as well as every element of their surroundings, Caesar’s craft is an advanced extension of a childhood obsession—playing with dolls. Fantasy, escapism, human cruelty and disguise are reoccurring themes explored within his dramatic narratives. Betraying the seemingly child-like innocence of the figures is their piercing, knowing gaze—exposing inner strength in contrast with their fragile physical appearance. Dark details manifest from deep within the artist’s vast imagination to define simulated realities, transporting the viewer into sanctuaries created for his lost ghost-children who emerge from shadows into safe refuge, carrying macabre secrets and hidden truths.
Featured Artist
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Ray Caesar |
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See the Ray Caesar
A Gentle Kind of Cruelty Exhibit
Erik Mark Sandberg
Get Pretty Now
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
January 22, 2011 through February 19, 2011NEW YORK, NY (December 20, 2010) — Jonathan LeVine Gallery is pleased to announce Get Pretty Now, new works by Los Angeles-based artist Erik Mark Sandberg in what will be his second solo exhibition at the gallery. Get Pretty Now includes mixed media paintings, sculpture and works on paper, combining a variety of materials such as resins, enamels, oils, inks, acrylics, digital collage and photographs with various printmaking techniques. Sandberg’s portrait series depicts anomalous figures whose features are obscured by a thick coat of colorful hair, wearing fluorescent-colored clothing with loud, graphic prints. His abstract paintings are equally striking, vibrant and texturally rich, complementing hues and patterns of the hairy subjects in his figurative works. Cultural dichotomies are a source of inspiration for much of Sandberg’s imagery, and his use of hair is (in a broad sense) a visual metaphor for their effects. In the artist’s own words: “My work investigates the psychological effects of trying to achieve smoke and mirror standards of beauty, standards that run in opposition to contemporary mass-consumed food advertising.” His bold color choices, while mainly intuitive decisions, also offer conceptual reinforcement. On the subject of palette, the artist says: “Fluorescents and neons have a very manufactured, artificial quality. They’re exotic, living outside of the normal spectrum.” Thematically, the artist explores consumer culture, celebrity idolatry and social dysfunction in the digital age, with a focus on the relationship between projected idealized archetypes and their unattainable emulation. In some of the work, references are made to narratives (in the more extreme, degrading vein of) contemporary Hip-hop music, and its paradoxical airing on mainstream radio sponsored by product advertisements carrying affectations of family values. Sandberg has a keen interest in these phenomena and how everyday people become victims of what he refers to as consumer Stockholm syndrome.
Featured Artist
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Erik Mark Sandberg |
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See the Erik Mark Sandberg
Get Pretty Now Exhibit
Josh Agle (aka Shag)
Ambergris
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
December 11, 2010 through January 8, 2011NEW YORK, NY (November 11, 2010) — Jonathan LeVine Gallery is pleased to present Ambergris, new works by Southern California-based artist Josh Agle (aka Shag) in what will be his third solo exhibition at the gallery. This show will feature over a dozen original acrylic paintings on panel as well as three large-scale giclee editions on canvas and the release of three small giclee editions on paper. Agle renders his stylized subjects and their luxurious surroundings with details reminiscent of mid-century modern design—painting each figure and form with clean shapes and crisp, fluid line work in vividly saturated colors and sharply defined textural patterns. The artist’s narrative tends to shift with each new body of work. Recently, Agle resumed surfing for the first time since his early twenties, at which time, he began to have recurring dreams about whales trying to kill him. The nightmares prompted the artist to read Herman Melville classic novels Moby Dick and Billy Budd, which further sparked his interest in whales, whaling, sea farers and nautical themes. Each painting in this series contains a whale or large fish, adorned with hot-rod style pinstripes, to complement the artist’s signature aesthetic. Elements of mid-century modern furnishings and fashions coexist with incongruous imagery inspired by 19th Century sailing and whaling, in an attempt to visually merge the worlds of Shag and Melville. Additionally, works in this exhibition feature a darker, more subdued palette as compared to the complimentary range of colors in previous shows. The title Ambergris, refers to a wax-like substance secreted within the intestines of the sperm whale, mainly acting as a coating in the digestive tract when the creature is unable to process parts of an animal it has eaten, such as the beak of a giant squid. This material can be found floating in tropical seas, and is often harvested from the whale’s stomach, when caught as game. Ambergris is a foul-smelling, vile matter in its raw state yet over time organically develops a unique fragrance and texture, properties which it is prized for by companies that manufacture fragrance, cosmetics and pharmaceuticals. Agle found this natural phenomenon an appropriate metaphor to convey the concept behind his new body of work, embracing the idea that a repulsive material coming from an unpleasant source might somehow magically transform into a highly valued and coveted luxury commodity.
Featured Artist
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Josh Agle (Shag) |
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See the Josh Agle (aka Shag)
Ambergris Exhibit
Jean Labourdette (aka Turf One)
The Rising
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
December 11, 2010 through January 8, 2011NEW YORK, NY (November 12, 2010) — Jonathan LeVine Gallery is pleased to announce The Rising, a series of new works by Parisian-born, Montréal-based artist Jean Labourdette (aka Turf One) in what will be his first solo exhibition at the gallery, as well as the release of two print editions featuring images from paintings in the exhibition. On the title of his show, in the artist’s words: “The Rising is the instant when a soul frees itself from a dying body and elevates toward a new state of life, a transition period where death becomes birth.” Labourdette’s signature aesthetic evokes a unique combination of contrasting traditions such as 15th Century Flemish portraiture, Russian icons, and circus/carnival sideshows. He renders his male subjects in a meticulously fine level of detail, with highly defined wrinkles, facial hair and prison tattoos, suggesting colorful narratives of gypsy vicissitude. Abnormal bodily proportions in a range of extreme height or weight measurements are prominent, such as midgets and giants—some of which are obese or have distorted, shortened or elongated limbs. One of the works featured in this show is a portrait of the late Dennis Hopper (who the artist considers a source of creative inspiration) re-imagined in gold leaf as a patron saint of the arts. Borrowed religious iconography intensifies reoccurring symbolic imagery—pigeons and sparrows represent messengers or incarnations of the soul while memento mori is expressed through skulls and vermin. Attempting to overcome the perception of death as the negation of life, Labourdette’s work explores the mysteries of mortality, identity and life beyond death, questioning the end of the self, impermanence of man and permanence of the soul. Inspired by curiosity cabinets, Labourdette often uses found objects and antique artifacts to create an interactive quality to his three-dimensional works. Small doors reveal (or conceal) compartments with additional layers, accentuating the theme of the body as a vessel for the soul within. Architectural elements suggest the church in these dioramas, transforming box frames into theatrical stages, which become windows into Labourdette’s unconscious mind.
Featured Artist
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Jean Labourdette (Turf One) |
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See the Jean Labourdette (aka Turf One)
The Rising Exhibit
URBAN ALCHEMISTS
Group Exhibition + public mural project
WYNWOOD WALLS
2516 NW 2nd Avenue, Miami FL
Jonathan LeVine Gallery
December 1, 2010 through December 5, 2010NEW YORK, NY (October 27, 2010) — Jonathan LeVine Gallery is proud to announce its program during Art Basel-Miami 2010, Urban Alchemists—a group exhibition and public mural project presented in association with Tony Goldman, art patron and leader in the restoration and transformation of declining historic districts into thriving cultural destinations. Curated by LeVine, Urban Alchemists will occupy a 2,200 square-foot space within Goldman Properties’ Wynwood Walls—a project that began in 2009 as an open-air art park, which will expand its permanent exhibition this year with the addition of several new murals and museum-quality works of art. Located at 2516 NW 2nd Avenue, the show will run from December 1—December 5. Daily hours will be 12pm—7pm with an opening event on the evening of December 2, 2010, from 8pm—midnight. Sharing Goldman’s long-held belief that public artwork can have transformative, revitalizing powers upon communities such as the Wynwood district of Miami, LeVine is pleased to have this opportunity to contribute to the project. Urban Alchemists features a strong selection of works by ten highly celebrated and Internationally recognized artists coming out of the contemporary urban-folk and street art scenes including:
Featured Artists
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Invader Mario Martinez (Mars-1) WK Jim Houser |
Dan Witz Doze Green James Marshall (Dalek) AJ Fosik |
Jeff Soto Judith Supine |
See the URBAN ALCHEMISTS
Group Exhibition + public mural project Exhibit
Xiaoqing Ding
At the End of a Rainbow
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
October 23, 2010 through November 20, 2010NEW YORK, NY (September 23, 2010) — Jonathan LeVine Gallery is pleased to announce At the End of a Rainbow, a series of new works by Chinese-American Brooklyn-based artist Xiaoqing Ding, in what will be her debut solo exhibition in New York. At the End of a Rainbow is the first exhibition of oil paintings by Xiaoqing Ding, an artist known for exploring a variety of mediums through her work including pastels, egg tempera, and silverpoint. Ding’s years of training in traditional Chinese art forms combined with exposure to American culture in more recent years, results in a captivating fusion of old world technique and modern subject matter. Her distinctive imagery explores the nature of sexuality and eroticism through themes of yearning, fantasy, identity, moral struggles and personal politics. Through her artwork, Ding references symbolism from her Chinese heritage combined with multi-cultural influences such as Greek mythology, European fairytales and Medieval studies. Works in this exhibition, painted in oils on round wooden panels and on paper, feature colorful and highly detailed imagery inspired by Italian Renaissance masters, including reinterpretations of classic Botticelli works such as The Birth of Venus and The Three Graces as well as The Death of Procris by Piero di Cosimo. Nearly all of the pieces in this show contain figurative allegories involving women and foxes. In traditional Chinese folklore, the fox was often regarded as an animal with supernatural qualities, symbolic of cunning, mischief and seduction. Demons and departed souls were believed to appear in fox form and, in certain circumstances, foxes were believed to be able to assume human form. In context, these sly creatures stir the sensuality of their human companions. Although rendered in traditional costumes, Ding’s female figures assume strong and sexually liberated roles.
Featured Artist
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Xiaoqing Ding |
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See the Xiaoqing Ding
At the End of a Rainbow Exhibit
Tara McPherson
The Bunny in the Moon
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
October 23, 2010 through November 20, 2010NEW YORK, NY (September 23, 2010) — Jonathan LeVine Gallery is pleased to present The Bunny in the Moon, new works by Brooklyn-based artist Tara McPherson, in what will be her second solo show at the gallery. The Bunny in the Moon features oil paintings on linen, drawings on paper, and the debut of McPherson’s new series of soft sculptures. A unifying theme in this exhibition is the artist’s creative interpretation of mythology from various cultures. McPherson traveled to 30 cities around the world promoting her last solo exhibition catalogue Lost Constellations. During the book tour, she discovered an intriguing diversity of perspectives in world folklore which inspired her new body of work, influenced by myths and legends with Japanese, Brazilian, Saxon, Greek, and Pagan sources. The resulting imagery, rendered in McPherson’s signature bold and graphic style, explores subjects of love, loss, strength, vulnerability and female empowerment. The show’s title piece, The Bunny in the Moon, refers to an Asian legend with Buddhist origins of a rabbit which sacrifices its life to feed a starving man. The man is a deity in disguise and honors the animal by sending its ashes to the moon for all to see its image and remember its selfless act. McPherson believes the ultimate sacrifice of life and death can be equated to love and loss. In the painting, a moonlit nude couple hold arrows over white pieces of paper pinned above each other’s hearts—either about to pierce flesh or write a love note. The paper refers to target markers used during prison executions in Ireland, reinforcing the concept of self-surrender in the name of love. Another painting references an ancient Roman version of the biblical story of Adam & Eve, in which the first elephants eat mandrake root, become aroused, mate, and give birth to offspring in the safety of water. Other myths which influenced works in the show include Brazilian river dolphins who shape-shift into men and seduce women during festivals, a Japanese ghost bride who steals the souls of her lovers, and the classic Greek legend of Narcissus.
Featured Artist
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Tara McPherson |
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See the Tara McPherson
The Bunny in the Moon Exhibit
Alex Gross
Discrepancies
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
September 11, 2010 through October 9, 2010NEW YORK, NY (August 2, 2010) — Jonathan LeVine Gallery is pleased to present Discrepancies, a series of new paintings and mixed media works by Los Angeles-based artist Alex Gross in what will be his second solo exhibition at the gallery. In conjunction with Discrepancies, the artist will release a new book published by Gingko Press, titled after the show, cataloging the best of his work in the four years since his last monograph. The highly involved, figurative oil paintings of Alex Gross defy categorization. His unusual hybrids—for all their nostalgic quality and dreamlike mystery—powerfully convey universal themes such as love, despair, globalization, consumerism, communication, or a lack thereof. The artist’s skepticism about corporate-dictated mass culture and the impact of media on our visual environment are unifying themes throughout the series of work in this exhibition. In Discrepancies, Gross’ lush, incongruous worlds feature an assortment of mythical beasts and historical figures. Fashionable men and women are depicted while talking or texting on their cell phones, drinking Starbucks beverages, eating french fries and riding mopeds. These seemingly banal figures are juxtaposed with crucifixions, decapitated creatures, serpents and centaurs. The artist sets his subjects against skies peppered with butterflies, bees, confetti and other debris. To complement the larger canvases, several smaller pieces on panel and paper parody the visual vernacular of our generation—magazine ads, billboards, and television commercials. References to brands such as Apple, British Petroleum, Marlboro, and Coca-Cola add a timeliness to the otherwise timeless aesthetic of Gross’ work.
Featured Artist
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Alex Gross |
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See the Alex Gross
Discrepancies Exhibit
Esao Andrews
Solid Void
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
September 11, 2010 through October 9, 2010NEW YORK, NY (August 2, 2010) — Jonathan LeVine Gallery is pleased to announce Solid Void, a series of new works by Brooklyn-based artist Esao Andrews, in what will be his first solo exhibition at the gallery. In Solid Void, Andrews explores compositions with overlapping foreground and background in some of his largest pieces to date. His distinctly figurative oil paintings on wood panel feature dark, surreal characters set within haunted atmospheres, blending erotic and often frightening imagery to form a ghost-like underworld. Andrew’s signature style and aesthetic continue to permeate his new body of work, although his characteristic low-key palette has been updated by introducing full-spectrum color—bursting through prisms to divide areas of formless ambiguity and solid void (as the show title suggests). Paintings in this exhibition feature hybrid, winged, and masked creatures, in narratives indirectly inspired by Greco-Roman mythology. Andrews sets an alluringly macabre mood using a diverse range of historical and visual references including Egyptian mummy portraiture, and a portrait of Mary Shelley, the 19th Century author of Gothic classic Frankenstein: The Modern Prometheus. Andrews’ subjects are rendered under foreboding clouds, which create dramatic lighting and kinetic tension. Delicate textural patterns on lace gossamer garments worn by a number of figures suggest cobwebs, feathers, and bone tissue. Mysterious silhouettes peer out through the windows of a haunted house; a giant spider spins a child into its web; a group of masked lions appear stacked precariously to form a pyramid; and a small crowd of drunken revelers ride on a single horse’s back. Andrews captures these imagined moments to convey the curious quality of his own fantasy folklore.
Featured Artist
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Esao Andrews |
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See the Esao Andrews
Solid Void Exhibit
Annual Summer Invitational
Group Exhibition
Gallery I
Jonathan LeVine Gallery
August 4, 2010 through August 21, 2010NEW YORK, NY (July 6, 2010) — Jonathan LeVine Gallery is pleased to announce the 2010 Annual Summer Invitational, a group exhibition featuring a fresh array of new work by thirteen emerging artists, exhibiting together for the first time at the gallery. Participating artists include: Alex McLeod, Andrew Hem, Becca Midwood, Evol, Judith Supine, Lola, Morgan Slade, Marco Mazzoni, Nate Frizzell, Nicoletta Ceccoli, Oliver Warden, Oscar de las Flores, and Tran Nguyen. As with summer group shows in previous years at Jonathan LeVine Gallery, the 2010 installment offers a wide range of artistic styles, imagery, and International influences. Works featured in the exhibition include a variety of mediums ranging from traditional paintings and drawings to pieces created with elements of photography, collage, stencil, and digital media. The 2010 Annual Summer Invitational will occupy Gallery I for a two and a half week period, during what is normally the off-season in Chelsea. As temperatures soar and the sun heats up for summer in the city, this show promises to introduce a refreshing selection of new talent into the gallery's established program of highly celebrated artists.
Featured Artists
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Marco Mazzoni Lola Becca Midwood Oliver Warden Alex McLeod |
Nicoletta Ceccoli Nate Frizzell Morgan Slade Tran Nguyen Judith Supine |
Andrew Hem Oscar de las Flores EVOL |
See the Annual Summer Invitational
Group Exhibition Exhibit
Two-Way Street
Group Exhibition
Gallery II
Jonathan LeVine Gallery
August 4, 2010 through August 21, 2010NEW YORK, NY (July 6, 2010) — Jonathan LeVine Gallery in association with Choque Cultural gallery is pleased to present Two-Way Street, a group exhibition featuring work by four Brazilian street artists: Alexandre Tadeu Alves (aka Chivitz), João Paulo (aka NOVE), Márcio Penha (aka Presto) and Ramon Martins, in what will be their debut exhibition in New York. Two-Way Street is the latest installment in what has been an ongoing cross-cultural dialog between Jonathan LeVine Gallery in New York and Choque Cultural in São Paulo, Brazil. Work by the four artists in this show represent the new generation of street art coming out of São Paulo today, as these artists are younger than those who have previously exhibited here in the US. The conversation that began in 2007 with Ruas de São Paulo: A Survey of Brazilian Street Art, has continued in the years since, as Jonathan LeVine Gallery has presented solo exhibitions for Brazilian artists Stephan Doitschinoff (aka Calma), Hamilton Yokota (aka Titi Freak), and Vitche in New York, while exhibitions at Choque Cultural have included a solo exhibition of works by Tara McPherson, a two-person show of works by Gary Baseman and Josh Agle (aka Shag) as well as group shows featuring numerous artists from LeVine’s roster. In December of 2009, Choque Cultural curated an impressive program at MASP art museum (Museu de Arte de São Paulo), with a tremendous installation of work by some of the city’s street artists within the prestigious institutional setting. Baixo Ribeiro, one of Choque’s directors said, “MASP invited us to bring our work to a larger audience. The six participating artists created an environment with a lot of visual ‘volume’ with nearly 100% of the place painted in massive doses of aerosol, acrylic and other materials.” The exhibition was a record success, receiving 135,000 visitors in a period of 10 weeks.
Featured Artists
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Ramon Martins Alexandre Tadeu Alves (aka Chivitz) |
Márcio Penha (aka Presto) João Paulo (NOVE) |
See the Two-Way Street
Group Exhibition Exhibit
Jeff Soto
Lifecycle
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
June 26, 2010 through July 24, 2010NEW YORK, NY (June 1, 2010) — Jonathan LeVine Gallery is pleased to present Lifecycle, an exhibition of new works by California based artist Jeff Soto, in what will be his third solo show at the gallery. In conjunction with this exhibition, the artist will be painting a site-specific public mural in New York City, and releasing a new limited-edition print. Soto conveys narrative subject matter with dramatic lighting and textural richness in detailed and dynamic compositions. His work often communicates themes of nostalgia, fear, hope, and environmental issues. On the subject of his new series of paintings, however, the artist says: “My work has always indirectly told bits and pieces of my own story, my thoughts and past. This new body of work is still autobiographical without being self-portraiture, but whereas previous exhibitions focused on current events, environmentalism, politics, and war, this show deals with themes that are more personal, emotional and timeless.” As the show title suggests, works in Lifecycle refer to birth, death, and the voyage in between. The artist’s interest in time, mortality, fatherhood and generational relationships—within his own family and humankind in general—are explored through visual metaphors and symbolism. Soto’s work exudes tension as his signature iconographic imagery continues to evolve. With background environments full of old machinery and industrial decay, Soto’s creatures inhabit desolate, forgotten spaces. The artist creates ominous worlds where quasi-divine apparitions with organic tendrils writhe from the cavities of smoking, robotic shells, as their lumbering frames preside over sprawling urban landscapes. Figures duel, wild flowers bloom and rainbows thrive, as dark smog and storm clouds loom amidst floating skulls.
Featured Artist
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Jeff Soto |
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See the Jeff Soto
Lifecycle Exhibit
Dave Cooper
Mangle
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
June 26, 2010 through July 24, 2010NEW YORK, NY (June 1, 2010) — Jonathan LeVine Gallery is pleased to announce Mangle — new drawings and paintings of twisted ladies, an exhibition of works by Ottawa-based artist Dave Cooper, in what will be his second solo show at the gallery. In Mangle, Cooper presents a new series of graphite drawings on polypropylene paper and oil paintings on canvas, featuring his subject matter of choice—fleshy females. Cooper’s unique aesthetic is informed by his obsession with creating billowy, gelatinous landscapes and stylized women with un-idealized physical appearances. The shapes of these nude or scantily clad figures are often exaggeratedly lumpy, with large heads, bulging eyes, shiny red cheeks and toothy grins. They interact with one another in ways that appear disturbingly violent, suggestively sensual, or both, implying bizarre narratives of perverse scenarios and intense human drama. Through the challenging, disturbing quality of his imagery, Cooper continues to explore themes of libido, hedonism, body image, fantasy, and ambiguity with refined skill and technique. His process consists of building thin layers of sheer color and fine glaze to create smooth texture and translucent opulence to the round contours of his full-figured subjects and their surrounding environments. By applying details traditionally regarded as undesirable physical characteristics such as veiny skin, ruddy complexion and cellulite to every plump, dimpled fold of flab, Cooper’s paintings expose the artist’s admiration and fascination with the natural curves of the feminine form in zaftig proportions, beyond conventional health or beauty standards. In the artist’s words: “A red rose is beautiful but how ubiquitous! I’d rather look in a dark corner for interesting patches of moss, lichen or mushrooms. Fashion models are utterly boring. Instead, my heart races at the sight of an awkward-looking girl with unique flaws and imperfections.”
Featured Artist
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Dave Cooper |
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See the Dave Cooper
Mangle Exhibit
Louie Cordero
Sacred Bones
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
May 15, 2010 through June 12, 2010NEW YORK, NY (April 16, 2010) — Jonathan LeVine Gallery is pleased to announce Sacred Bones, a series of new paintings, sculptures and drawings by Louie Cordero, in what will be the Manila-based artist’s debut solo exhibition in New York. Cordero’s puzzling, imploring, and visually striking juxtapositions are often punctuated by blood and gore, as if to imply the history of violence and bloodshed that his nation and people have sustained. Cordero’s artwork makes references to his native Philippines, a nation rich with diversity—the result of multiple changes in political regime and subjugation throughout its history. With a complex mixture of eastern and western influences, the cultural fabric of The Republic of The Philippines is a unique combination of ethnic heritage and traditions, composed of indigenous folklore, Asian customs and Spanish legacy reflective in the names and religion. Figures from Filipino mythology and its strong oral tradition are referenced through the artist’s gruesome monsters and zombies, while another source of inspiration derived from his nationality involves the Jeepney (U.S. military vehicles abandoned after WWII, and converted by locals to use as public transportation). Each Jeepney, unique and elaborately decorated in vibrant colors, features an ornate mash-up of pop and religious iconography. By combining these elements, varied and obscure (to westerners), with imagery appropriated from Cordero’s assorted interests including kitsch, Indian advertising, cult American b-movies and pulp horror, the contrasting influences reflect the complex diversity of the artist’s heritage, itself. “Expect mutilation. Expect dismemberment... Navigating the twisted landscape of Louie Cordero’s visceral scenes, one momentarily enters the Filipino identity. Informed by a history of colonization, Catholic domination, and whispers of Western culture that seem to have ciphered through a game of telephone. Cordero painstakingly renders each and every intestine, membrane and capillary. His palette reflects a visual culture where advertisements, fashion, and even architecture are a patchwork of international footprints.” — Kirsten Incorvaia, 2009.
Featured Artist
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Louie Cordero |
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See the Louie Cordero
Sacred Bones Exhibit
Scott Musgrove
How Is The Empire?
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
May 15, 2010 through June 12, 2010NEW YORK, NY (April 16, 2010) — Jonathan LeVine Gallery is pleased to present How Is The Empire?, an exhibition of new paintings, sculptures and drawings by Seattle-based artist Scott Musgrove, in what will be his second solo show at the gallery. Musgrove’s style of figural surrealism carries themes of environmental issues and endangered wildlife concerns with unique humor, depicting anomalous extinct (and fictitious) animal species. The artist’s imaginative work is painted and sculpted with inventive attention to the anatomical details of his subjects. Through a combination of biological attributes both real and imagined, Musgrove’s work illustrates his creative take on evolution, presenting an alternative theory of un-natural selection that would conceivably cause Charles Darwin to turn over in his grave. While he often titled previous work using the formal “binominal nomenclature” system of latin-based scientific species classification, the artist chose to title some of the works in this show with famous last words of historical figures, instead. For example, How Is The Empire?—the title of one painting and of the show itself—happens to be the final words (inaccurately) attributed to King George V of England. Musgrove felt it fitting to use final words of illustrious characters as titles since much of his work is about extinction, believing that giving a voice to the deceased creatures themselves might dignify their passing, rather than simply naming the beasts as they silently await their inevitable demise. Measuring 5-1/2 feet tall, the largest work in the show entitled The Great Lesser Plant Sampler, made it’s debut in December of 2009 during Chimera, an exhibition curated by David Hunt as part of the Scope-Miami International contemporary art fair. This large-scale bronze with green patina appeared in the sculpture garden of the fair and was also featured in a full-page story about Jonathan LeVine Gallery published in the Sunday Arts & Leisure section of The New York Times.
Featured Artist
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Scott Musgrove |
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See the Scott Musgrove
How Is The Empire? Exhibit
Eric White, Nicola Verlato, Fulvio Di Piazza
Three-Handed
Gallery I
3-person Show
Jonathan LeVine Gallery
April 10, 2010 through May 8, 2010NEW YORK, NY (March 19, 2010) — Jonathan LeVine Gallery is pleased to announce Three-Handed, a three-person exhibition of new large-scale paintings by New York based artists Eric White and Nicola Verlato, along with Palermo-based artist Fulvio Di Piazza. Showing together for the first time at the gallery, these three skilled painters take a realist approach towards fantasy subject matter. For his largest work to date, Eric White takes inspiration from Bruegel’s Massacre of the Innocents—which documents Spanish infanticide in 16th century Flanders, and stands as a condemnation of war and it’s resulting atrocities. White’s version translates these ideas into contemporary terms, as American involvement in war has become so established and enduring that it ceases to be shocking. In the painting, idealized monochromatic female figures referencing 40s-era Hollywood starlets wander nonchalantly across a war-torn cinematic landscape. The war motif is paralleled by themes familiar to the artist’s work, including psychological dysfunction, nostalgia, the dream state, and the limits of perception. Nicola Verlato’s highly dramatic allegorical compositions are each rendered with remarkable use of perspective, reminiscent of the Renaissance-era yet also influenced by video game technology. One painting portrays a group of heavily armed male and female terrorists invading an art fair, fully nude, wearing only athletic footwear and animal masks. Another piece depicts an apocalyptic vision as seen through the window of an airplane. Finally, on a large linen canvas, a figure representing legendary blues guitarist Robert Johnson sells his soul to the devil, while a vision appears to him of Jimi Hendrix’s guitar being played by demons in the sky—as a premonition of the birth of Rock & Roll. Fulvio Di Piazza’s whimsical paintings depict rivers running through sunny nature-scapes, forests populated with wildlife and lush green woods that stretch far beyond the horizon. With extraordinary detail and depth, the fantasy realm of the artist’s saturated woodland scenes are revealed through his imaginative anthropomorphized plant life as distinct faces emerge from unsuspected hills, rocks and tree trunks, sprouting limbs rather than branches.
Featured Artists
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Eric White Fulvio Di Piazza |
Nicola Verlato |
See the Eric White, Nicola Verlato, Fulvio Di Piazza
Three-Handed Exhibit
Date Farmers
Smother Your Mother
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
April 10, 2010 through May 8, 2010NEW YORK, NY (March 19, 2010) — Jonathan LeVine Gallery is pleased to present Smother Your Mother, an exhibition of new collaborative works by Armando Lerma and Carlos Ramirez, known collaboratively as the Date Farmers. This will be the second show at the gallery for the Coachella Valley based artists, and will feature a site-specific installation. In Smother Your Mother, the tone of the work shifts focus toward themes of mental neurosis, confronting dark fears and the compelling quality of the visually or conceptually grotesque—like the irresistible need to look at a car wreck or pick at a scab. The artists say that some of the ideas conveyed are spiritual, while others are just stories, “…Christ, the devil, nightmares, candles, saying I love you, shape shifting into animals, running back home, smoking a cigarette that you found, the fear of getting your ass kicked, being mad about nothing, telling the truth in disguise.” Of the found materials used in their work, the unwanted and discarded, they say “we just make it wanted again. Ugly is beautiful.” The Date Farmers continue to develop what has become their signature aesthetic, incorporating found objects into their assemblage works which include aspects of collage, hand-painted typography, and cross-hatch drawing techniques. The work contains elements influenced by graffiti, Mexican street murals, traditional revolutionary posters, prison art, tattoos, and sign painting, while often combining familiar pop iconography and corporate logos with figures from comics, folklore and Catholicism. The artists use this language to create shadow-box dioramas and three-dimensional sculptures as well as two-dimensional pieces. Working on recycled metal signage and other alternative canvases, the pair create a dynamic dialogue between the subject matter and the materials themselves, resulting in vividly colorful imagery layered in rich texture and symbolism.
Featured Artist
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Date Farmers |
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See the Date Farmers
Smother Your Mother Exhibit
Jonathan LeVine Gallery
Five Year Anniversary
Group exhibition
Jonathan LeVine Gallery
February 27, 2010 through March 27, 2010NEW YORK, NY (January 26, 2010) — Jonathan LeVine Gallery will celebrate its fifth anniversary with a commemorative group exhibition featuring exceptional and exemplary new works by thirty-six artists who are either currently represented by the gallery or who have exhibited at the gallery in the past five years. The exhibition will be on view from February 27—March 27, 2010, and there will be an opening reception on Saturday, February 27, from 7—9pm. Since 2005, Jonathan LeVine Gallery has been an important venue for Street Art (ephemeral work placed in public urban environments) and Pop Surrealism (work influenced by illustration, comic book art, and pop culture imagery). As such, the pieces in this exhibition—comprised of paintings, drawings, and sculptures—will be primarily figurative with a strong sense of narration. Artists in this exhibition have developed prominent creative voices for themselves as individuals, while also playing valuable roles within the historical context of the larger Street Art and/or Pop Surrealism movements. All of them have been influential in shaping the gallery’s program, creating work with a unique counter-culture point of view. In LeVine’s words: “I believe that my program represents a generational shift, and that the artists who I work with will continue to define the evolution of this genre.” Artists with work in the exhibition include (more to come):
Featured Artists
See the Jonathan LeVine Gallery
Five Year Anniversary Exhibit
Saelee Oh
Infinite Roots
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
January 16, 2010 through February 13, 2010NEW YORK, NY (January 2, 2010) — Jonathan LeVine Gallery is pleased to announce Infinite Roots, a solo exhibition of new works on paper by Los Angeles based artist Saelee Oh. As her first solo exhibition at the gallery, Infinite Roots features imagery created in a variety of mediums including paintings, drawings and hand-cut paper, all of which will be incorporated into a site-specific installation. The theme of the work in this exhibition relates to the artist’s belief that everything in the universe is connected, and that no one is ever truly alone. Heavily influenced by nature, Saelee’s imagery portrays flora and fauna of land, sea, and sky. Her subject matter depicts a harmonious world, flowering and full of life. The narratives are told primarily through female figures as well as various animal species. The artist has said: “The roots of a plant are what secure it to an interconnected underground where all life is nourished, as the buds and leaves bloom above. The show title, Infinite Roots, alludes to the deep reaches of our intrinsic inner desires. The tone of the work in this series is bittersweet with hints of nostalgia. The pieces appear delicate and frail but the stories they tell are about timeless strength.” Many of Saelee’s pieces are delicately painted or drawn, while others are created in an intricate process where she constructs ornate compositions of interconnected flat shapes, imaginatively fabricated and cut by hand out of paper. In a textural play between positive and negative space, the paper overlay often forms subtle shadows beneath the silhouetted imagery, introducing added depth and dimensional layers to the organic line quality of the work.
Featured Artist
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Saelee Oh |
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See the Saelee Oh
Infinite Roots Exhibit
Josh Keyes
Fragment
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
January 16, 2010 through February 13, 2010NEW YORK, NY (January 2, 2009) — Jonathan LeVine Gallery is pleased to present Fragment, a solo exhibition of new works by Josh Keyes. In what will be the artist’s first solo exhibition at the gallery, Keyes continues to expand upon his signature aesthetic. Rendered in clean, controlled and finely detailed realism, the paintings in Fragment feature various wildlife species isolated within habitats that foreshadow a theoretically dystopian fate. These fragmented landscapes are surrounded by a sea of empty white space, representing the universal unknown in an allegorical interpretation of the effect of contemporary civilization’s disconnect from nature. Through his work, Keyes often explores timely political and ecological themes which involve a deep concern for the environmental crisis our planet is facing. This includes aspects of the effects of global warming such as: climate change, species extinction, the decline of natural resources and the threat of rising sea levels. All of these issues are integrated and woven throughout the mythological fabric of the work, in a resounding visual study on causality. Subject matter suggestive of hope, healing and mortality is conveyed through the shedding of skin, exposed bone and skeletal structures, while green growth and butterflies symbolize transformation and rebirth. The artist has said: “Through my work I attempt to examine the phenomenon of transformation, in a metaphorical interpretation of both biological and psychological change. These paintings embody an idiosyncratic vision, yet the familiar imagery allows for a connection to collective concerns, shared globally. The animals I paint personify unconscious drives and energies. The tension created when unconscious elements meet the conscious landscape is something that holds tremendous mystery and fascination for me. It is in this space that I feel free to explore the depths of archetypal and mythical potentiality. What began as a personal journey has (I hope) translated into images with emotional impact that resonate with others to question their own temporality.”
Featured Artist
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Josh Keyes |
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See the Josh Keyes
Fragment Exhibit
Doze Green
New works
Project Room
Solo Exhibition
Jonathan LeVine Gallery
January 16, 2010 through February 13, 2010NEW YORK, NY (January 2, 2009) — Jonathan LeVine Gallery is pleased to present a selection of new works by Doze Green in the gallery's Project Room. Working in an array of mediums such as ink, gouache, metallic pigments, charcoal and collage, Green’s signature aesthetic creatively combines stylized letterforms and figurative abstraction with fluid continuous line work, resulting in an evolved approach to organic cubism. Returning for what will be the artist’s third solo exhibition at the gallery, this show will feature a new series of original mixed media works on canvas, watercolors on paper, and black and white contour line paintings on cardboard. The largest work featured in the show entitled Siddhartha, made it’s debut in December of 2009 during Chimera, an exhibition curated by David Hunt as part of the Scope-Miami International contemporary art fair. Siddartha is the companion piece to Green’s earlier Omega Bridge canvas, a collaborative painting created with the Brazilian street artist Fefe Talavera, which measured over thirteen and a half feet wide. The Omega Bridge piece was exhibited in Green’s 2008 solo exhibition N.O.O.N.—No One Observes Nibiru. Green recently completed a set of two large-scale public murals commissioned by CityCenter in Las Vegas, Nevada. He named the project Crossroads of Humanity. The two murals, which contain muti-figure imagery, occupy the surfaces of 6 conjoined walls (3 walls each). Wrapping around several corners, the total combined wall distance measures 80 feet wide by 20 feet high, per mural.
Featured Artist
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Doze Green |
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See the Doze Green
New works Exhibit
Audrey Kawasaki
Hajimari—a prelude
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
December 12, 2009 through January 9, 2010NEW YORK, NY (November 12, 2009) — Jonathan LeVine Gallery is pleased to present Hajimari—a prelude, new works by Audrey Kawasaki, marking her highly anticipated debut solo exhibition in New York. This new series includes paintings on wood panel, and some on paper, all of which feature the artist’s signature, sultry female subjects. By applying thin washes of oil paint onto wooden panels, accentuated by organic lines drawn with graphite, Audrey allows the natural grain of the wood surface to show through her imagery which adds translucency to the subjects and a warm glow to every curve and contour of the female form, enhancing the overall ethereal effect. The works in this show make subtle references to Audrey’s heritage. The show title Hajimari means beginning in Japanese, and is a word often used in the introduction of a story. Although it is a theme she does not typically explore artistically, Audrey has always felt strongly rooted in two distinct cultures. Born and raised in America, with parents from Japan, she has been immersed in Japanese culture her entire life. Deeply connected to each of the two, she feels both cultures are very much a part of her personal identity. After revisiting Japan twice in 2009, with some nostalgic experiences and self-reflection, the artist decided to introduce some traditional Japanese elements into her work such as: kimonos, architecture, folklore, and symbolism. Audrey has also begun to incorporate more of an environment or background setting into many of these new compositions to complement her figures, which—in previous work—have normally appeared isolated within the visual plane. Audrey considers the art of Japanese Manga comics to be one of her earliest creative inspirations. She is also heavily influenced by the highly stylized and flowing curvilinear forms found in Art Nouveau—a movement the origins of which happen to have been partially derived from the flat-perspective of the Japanese woodcut tradition. The influence of both styles can be found in Audrey’s use of organic forms, focus on the natural world and human sexuality. Contradiction is a concept that also plays an important role in Audrey’s provocative subject matter. The paradox of identity in the perception and allure of the unknown is what lies behind the direct gaze of her subjects—who remain a constant mystery, even to Audrey. Other issues include: coming of age, social pressure, inner-conflict, innocence, sexual maturity, idealizing, idolizing, femininity and desire.
Featured Artist
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Audrey Kawasaki |
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See the Audrey Kawasaki
Hajimari—a prelude Exhibit
James Marshall
And There Was War in Heaven
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
December 12, 2009 through January 9, 2010NEW YORK, NY (November 12, 2009) — Jonathan LeVine Gallery is pleased to announce And There Was War In Heaven, a solo exhibition of recent works by James Marshall, the artist more commonly known as Dalek (a name which references a fictional robotic race from the classic British Sci-Fi series Dr. Who). In the artist’s second solo exhibition at the gallery, And There Was War In Heaven, Marshall continues to build upon the creative departure marked in his 2007 show Desperate, Rejected, and Angry—when he dropped the Dalek moniker to reveal his true name and debuted a new series of paintings rich in color and complex layers, reducing his popular Space Monkey character to its basic underlying geometric components for the first time. On the experience, the artist said: “The show was really cathartic, and I think it helped open up a lot of things for me visually. By not having that iconic centerpiece to build a painting around, all the other elements started happening more naturally… things grew in a different way, which was liberating.” The Space Monkey was a character that Marshall created early on in his career. Resembling a mouse with mischievous bulging eyes, the figure was once described in The New York Times by art critic Holland Cotter as: “an ingeniously stylized creature with bulbous ears, a lopsided grin and a clear pedigree in the art of Takashi Murakami.” The character was used as a tool to represent and explore concepts of human emotions and relationships, often illustrating themes of violence and survival. These iconic figures became Marshall’s trademark as they appeared in his work for over a decade, however they play a far less prominent role in recent paintings. The familiar forms that defined earlier work by the artist have been refined into a new set of signature elements. By fragmenting, abstracting and obscuring the figural component within busy environments that echo the mechanical repetition of industrial mass-production, Marshall’s direction has evolved yet his aesthetic remains cohesive. His canvases consistently feature brightly hued flat colors painted in crisply defined planes of space, forming shapes and optical perspectives clearly separated by impeccably clean, sharp, and precise geometric line-work.
Featured Artist
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James Marshall (Dalek) |
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See the James Marshall
And There Was War in Heaven Exhibit
Scope-Miami 2009
Scope Contemporary Art Fair
Jonathan LeVine Gallery
December 2, 2009 through December 6, 2009Jonathan LeVine Gallery is pleased to announce our program for SCOPE-Miami 2009. SCOPE International Contemporary Art Fair Soho Studios | 2136 1st Avenue (entrance @NW 21st Street) Miami, FL http://scope-art.com Jonathan LeVine Gallery — BOOTH 100—will be exhibiting new works by: AJ Fosik, James Jean, Jeff Soto, and Stephan Doitschinoff (aka Calma) Also, a large bronze by Scott Musgrove will debut in the fair's sculpture garden. The piece is called: The Great Lesser PlantSampler (Extinct ~ ca. 1877) which depicts a life-size PlantSampler in it’s natural habitat. The sculpture stands approximately 6ft tall, the PlantSampler itself is almost 6ft from nose-to-tail. This is the first of 3 new bronze sculptures by Musgrove, all depicting extinct (and fictitious) animal species. The bronzes are cast at Metalphysic Studios in Tucson, AZ. Additionally, a special exhibition within the fair called Chimera curated by David Hunt (Director of SCOPE's curatorial committee) will feature new large-scale paintings by three of the gallery's represented artists: Doze Green, Jeff Soto, and Stephan Doitschinoff (aka Calma). Jonathan LeVine Gallery's program at SCOPE-Miami this year includes a total of six represented artists :
Featured Artists
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James Jean Stephan Doitschinoff Scott Musgrove |
Doze Green AJ Fosik Jeff Soto |
See the Scope-Miami 2009 Exhibit
True Self
Group Exhibition
curated by Gary Baseman
Gallery I
Jonathan LeVine Gallery
October 24, 2009 through November 21, 2009NEW YORK, NY (October 1, 2009) — Jonathan LeVine Gallery is pleased to announce True Self, a group exhibition of new works by over 40 artists, brought together by represented artist and special guest curator Gary Baseman. The theme has been left open to encourage individual interpretation and there are no size or medium restrictions, so that each participating artist has complete creative freedom on the subject at hand. In the curator’s words: “In this exhibition, I have invited a group of painters, photographers, and sculptors, to look deep inside themselves and create an image that they feel represents their own passion or obsession. They might imagine themselves as anyone or anything—a wolf, a cupcake, a mermaid, even a skyscraper. I am requesting each artist to create an artwork that represents his or her true self. I am not asking for (nor do I want) a self-portrait. Rather, I’m requesting that the participating artists pick an icon, metaphor, or symbol that they feel represents their true essence. The desired result is a breaking of boundaries to allow a space and time where we can discover, accept, and love our true selves, feeling nirvana and heaven on earth.” *More artists and works to come* Partial list of participating artists include:
Featured Artists
See the True Self
Group Exhibition
curated by Gary Baseman Exhibit
Jim Houser
Make Room For The Emptiness
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
October 24, 2009 through November 21, 2009NEW YORK, NY (October 1, 2009) — Jonathan LeVine Gallery is pleased to present Make Room For The Emptiness, a solo exhibition of new original works by Jim Houser. Returning for what will be his third solo show at the gallery, Houser has created a new series of paintings and sculptures which will be incorporated into a site-specific installation. Additionally, the artist has composed a new score of original instrumental music to be played in the space throughout the exhibition, enhancing the experience on an audio-sensory level by complementing the tone, rhythm and repetition of the work. Houser’s paintings are visual poems by which he communicates his innermost thoughts and feelings; words are involved at times, but not in the traditional sense. By cataloging his experiences through a unique pictoral language, the artist has created his own iconography. As a result, the collective imagery acts as a cognitive presentation of highly interpretive ideas. Houser’s signature aesthetic contains elements of stylized figures and hand-drawn typography along with patterned line work—all rendered with clean precision using a gradient of tints and shades within his minimal palette of harmonious flat colors. When his sculptural pieces—which include hand-made guitars and flowerpots—are combined with his paintings, it becomes clear that all of the works are associative and directly related. This deceptively dimensional quality is further highlighted when the pieces are assembled into one of Houser’s elaborate installations, adding to the complexity of each individual piece by emphasizing a greater cohesive inter-connectivity to the body of work, as a whole. Make Room For The Emptiness marks a subtle departure in style and sophistication for Houser, resulting in a cleaner, simpler, more mature approach to his installation. For the past several years, his work has been heavily influenced by intense physical and emotional pain due to a congenital health problem and grief suffered from personal tragedy. Honoring the memory of his late wife, while also suffering from health issues, Houser’s work has often been a practice in cathartic meditation, driven by memory and mourning. This year however, the artist has celebrated the affirmation of a new love and has also received medical treatment for his previous health condition. Through experiencing these feelings of profound change and healing in both heart and body—as the show title suggests—Houser is consciously choosing to make some room for fresh, new beginnings by creating a blank slate upon which he can begin to write this new chapter in his life.
Featured Artist
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Jim Houser |
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See the Jim Houser
Make Room For The Emptiness Exhibit
D*Face
Ludovico Aversion Therapy
All Your Dreams Belong To Us
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
September 12, 2009 through October 10, 2009NEW YORK, NY (August 12, 2009) — Jonathan LeVine Gallery is pleased to present Ludovico Aversion Therapy / All Your Dreams Belong To Us, a solo exhibition of new original works and multiples by the London-based street artist known as D*Face, returning to the gallery for his debut solo show in the United States, which features a site-specific installation. In conjunction with his gallery show, the artist will also be painting a street-level public mural piece at an off-site location (for further info, please click here). The show title Ludovico Aversion Therapy references a futuristic human behavior reconditioning treatment from A Clockwork Orange (the 1972 cult-classic film by Stanley Kubrick), in which the patient’s eyelids are forced open to watch disturbing footage containing subliminal messages. Artist statement: “If you've ever wondered what goes on inside of my mind, this body of work is it. A visual interpretation of lucid dreams—the replaying, disassembly and reconfiguring of images held in one’s mind... it's as much ‘Exquisite Corpse’ as everyday Ludovico Aversion Therapy.” Re-interpreting the exquisite corpse concept, each piece in Ludovico Aversion Therapy features a singular composite subject created using an amalgamation of various branded corporate identity mascots combined with classic superhero characters, interspersed with typography derived from comic book art and advertising. Having spliced these elements into thin segments of recognizable information, the artist scrambles the pieces then stacks them vertically, re-assigning features to form mismatched conglomerate faces and deliver a powerfully graphic impact. To complement his theme, the three-panel 8' x 12' focal point of the artist’s site-specific installation will be unveiled on opening night in an unfinished state, and then change over time. Beginning with an image of the artist’s own eyes on a black background, D*Face will add additional layers individually over the exhibition’s run, so that visitors may return to see the work develop gradually into it’s completed state. Paintings and etchings in this exhibition feature the artist’s signature tongue-in-cheek aesthetic, known for creating two and three-dimensional work using a variety of mediums and techniques. Incorporating pop iconography with satirical commentary and anti-establishment values, D*Face questions the increasing turnover and bombardment of imagery by the media as well as how much (if any and what parts) we recall, digest and retain. Extracting elements from the endless stream of visual stimuli absorbed daily by our conscious and subconscious, the artist re-works and subverts imagery appropriated from comics, currency, corporate advertising, and cultural figures—drawing from decades of materialistic consumption in our media-saturated society.
Featured Artist
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D*Face |
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See the D*Face
Ludovico Aversion Therapy
All Your Dreams Belong To Us Exhibit
Mark Dean Veca
As Cold As They Come
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
September 12, 2009 through October 10, 2009NEW YORK, NY (August 11, 2009) — Jonathan LeVine Gallery is pleased to announce As Cold As They Come, a solo exhibition of new works by Mark Dean Veca, marking his second solo show at the gallery. This exhibition includes over 20 new ink and acrylic paintings—the largest of which measures seven feet wide and depicts a hot rod monster reminiscent of Ed “Big Daddy” Roth. Veca also presents Popeyeconography, a series featuring the beloved comic sailor Popeye, along with the full cast of accompanying characters from the classic strip. In addition to these subjects, Veca mines a variety of genres for his source material including renaissance art, contemporary art, advertising and film. Using the sculptural forms of toys, statues and other objects as a structure within which to improvise, Veca transforms his subjects into surreal, psychedelic hallucinations of their former three-dimensional incarnations via skillfully stylized line work in the tradition of underground comix icon Rick Griffin. The show title As Cold As They Come refers to a line taken from the classic film The Godfather in which a leading character (Michael Corleone, played by Al Pacino) is presented with a .38 Special pistol—specifically, a Smith & Wesson Model 10 Revolver Snubnose—described as being impossible to trace. This weapon and several other firearms that have played major roles throughout cinema history, appear in a new series of paintings in the show. The .45 automatic from Pulp Fiction is represented for example, as is Dirty Harry’s .44 magnum—nearly as synonymous with the character as the actor who played the film’s lead role, Clint Eastwood, himself. The hard edges of these guns have been softened, corners rounded, and structures formed with organically biomorphic and suggestive shapes and symbols. The weaponry-as-character theme is further explored through imagery portraying grenades and brass knuckles, emblematically virtuous or villainous in the classic battle of good vs. evil.
Featured Artist
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Mark Dean Veca |
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See the Mark Dean Veca
As Cold As They Come Exhibit
Beach Blanket Bingo - A Summer Mixer
Group exhibition featuring
work by over 30 artists
Jonathan LeVine Gallery
August 5, 2009 through August 22, 2009NEW YORK, NY (July 21, 2009) — Jonathan LeVine Gallery is pleased to present Beach Blanket Bingo, A Summer Mixer. This group exhibition features new works by a total of over thirty artists—some local, others International; some represented, alongside others who will be showing at the gallery for the first time. Like the broad spectrum of humanity one might find sunbathing on the sand of a summer seashore, the collection of artists participating in Beach Blanket Bingo runs the gamut, showcasing a visually diverse mixture of emerging and established talent. Works in the show include original paintings, drawings, and sculptures created using an array of mediums in a vast range of different styles. Beach Blanket Bingo will take over the entire gallery space for a two and a half week period, during what is normally the off-season in Chelsea. This August, Jonathan LeVine Gallery welcomes visitors to experience a unique grouping of artists, some of which have never before shown together. *More artists and works to come* Partial list of participating artists include:
Featured Artists
WK Interact
Motion Portrait
Solo Exhibition
Jonathan LeVine Gallery
June 27, 2009 through July 25, 2009NEW YORK, NY (June 1, 2009) — Jonathan LeVine Gallery is pleased to announce Motion Portrait, a solo exhibition of new works by the New York based French street artist known as WK Interact. WK’s ephemeral artwork includes wheat pastes and large-scale murals of figures in high-contrast black and white; each piece is site-specific and his imagery is always placed in accordance with its surrounding environment. Known for his elaborate creative process, scouting and sketching locations, staging models for photo shoots, and distorting their image on a copy machine, the artist creates exaggerated visual effects (or illusions) to convey rapid movement. In an age where the evolution of civilization seems to be accelerating at a speed of development—much like the figures in WK’s work—faster than we are able to process the change, the artist conveys themes of violence and mortality through a strikingly graphic and gritty aesthetic, one that is internationally recognized and regarded as distinctly his own. In addition to mixed-media pieces containing found objects and WK’s trademark style of distorted figural imagery, Motion Portrait will also feature a group of large-scale paintings. Expanding upon his signature monochromatic aesthetic, this portrait series—entitled 12 Angry Men (referencing the classic film)—portrays the faces of twelve male subjects painted in black and white acrylic on raw canvas. These larger-than-life scale works, each measuring six feet square, mark a new direction for the artist. Shifting focus to the faces of his subjects is a departure from much of WK’s prior work, which involved the entire body in motion. Using a looser approach to painting the series of portraits in this show, WK allowed himself merely one chance to achieve the desired effect. With a sponge and large brush as his only tools, he left some areas of the rough canvas partially exposed. A degree of risk was also involved by choosing not to paint-over anything, firmly committing to every drop of paint. Using broad gestural smears and splatter techniques, blurring the forms into perspective, WK continues to capture explosive movement with powerful emotional depth and raw energy.
Featured Artist
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WK |
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See the WK Interact
Motion Portrait Exhibit
Invader
Top IO
Solo Exhibition
Jonathan LeVine Gallery
June 27, 2009 through July 25, 2009NEW YORK, NY (June 1, 2009) — Jonathan LeVine Gallery is pleased to present Top 10, a solo exhibition of new works by the Parisian street artist known as Invader. Returning to the gallery for his first solo show in New York, Top 10 marks a highly anticipated event for this internationally celebrated artist. Known for using mosaic tiles to re-create popular characters from vintage 8-bit video games (such as Space Invaders and Pac-Man) on the streets of cities around the world, the artist’s individual mosaics are carefully cataloged after placement in context to their surrounding environment. Yet, since the project has grown on a global-scale, each piece also carries considerable significance from a larger perspective—populating what is now a worldwide installation that stretches across the planet. Invader’s mosaics can be found on the streets of over 40 cities, on all five (habitable) continents. Like the game, his mission is literally an invasion of (public) space. Top 10 introduces a new series of original two and three-dimensional works featuring the artist’s signature pixel-based aesthetic, created in mediums such as mosaic tile and rubik’s cubes, which clearly translate the concept of pixilation (the division of visual information in digital format). Invader is the first artist to bring pixels to life, both in the physical world and in the art world. Echoing the neo-Impressionist painting technique of pointillism, with a contemporary voice, his evolved methods bring the composite image concept into the digital age. The show title Top 10 references popular music, as the artist has selected what he believes are the top ten album covers of his generation as subjects for re-interpretation using his own innovative technique of Rubikcubism. The term Rubikcubism is used to describe an art movement of which Invader is believed to be the originator, using Rubik’s Cubes (a 3-D mechanical puzzle game popular in the 1980’s). This exhibition also includes large-scale mixed-media sculptures in bright primary colors and a video installation of projected time-lapse footage, which reveals the geometric complexity of the artist’s incredible process in creating pieces in this show. To preview the video online, please visit: www.jonathanlevinegallery.com/?method=Blog.Video
Featured Artist
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Invader |
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Andy Kehoe
Living In Twilight
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
May 16, 2009 through June 13, 2009NEW YORK, NY (April 14, 2009) — Jonathan LeVine Gallery is pleased to announce Living In Twilight, a solo exhibition of new works by Andy Kehoe. The artist has created a new series of oil and acrylic paintings on wood panel, including some of the largest-scale pieces he has ever produced, for what will be his first solo show in New York and largest collection of work, to date. Kehoe’s allegorical compositions are painted in a low-key palette of rich autumn and earth tones beneath a fine layer of crisp black accents. Many of his characters of the part-man-part-beast variety are portrayed with a strong sense of alienation, finding peace and beauty in solitude to overcome feeling alone. Elemental details like skylight and foliage (or lack thereof, on bare tree branches) represent the passing of time and seasons of change. Kehoe’s isolated figures are often surrounded by the majestic grandeur of nature (a character in and of itself), which has a powerful influence on the artist and is present throughout his work. The nature theme illustrates perspective on how small and insignificant our problems are in the larger scheme of things, although the artist says that he “completely sympathizes and relates to the heavy toll these problems have on the mind and heart.” Living In Twilight features Kehoe’s trademark style of imagery inspired by traditional folktales and mythological art with narratives of the fantastic and grotesque. Nostalgic for a time before society’s age of science (or before an individual’s developmental age of reason), Kehoe rekindles a childlike sense of wonder in his work, recalling an era when fables and legends were believed as truths to explain all the mysteries of the unknown. Even though Kehoe’s world is a magical imaginary one, it is not a perfect fairytale—contrasting forces of nature and human emotions surround primordial themes of life and death—and the fundamental plight of mankind still exists through greed, betrayal, deceit, violence, and self-destruction. On the title chosen for his show, in the artist’s own words: “Twilight can be seen as the waning moments of decline preceding an eventual end. The sun disappears over the horizon, as the onset of darkness is assured and approaching. The actual moment spent in twilight is an instant when two strong forces hang in the balance and quietly coexist. I wanted to make a world that lives in this delicate harmony, even with the promise of change and resolution lying impatiently on a cusp, ready to break…I continue to build this world piece by piece, creature by creature and story by story.”
Featured Artist
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Andy Kehoe |
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See the Andy Kehoe
Living In Twilight Exhibit
Souther Salazar
Last Year's Man
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
May 16, 2009 through June 13, 2009NEW YORK, NY (April 14, 2009) — Jonathan LeVine Gallery is pleased to present Last Year’s Man, a solo exhibition of new works by Los Angeles based artist, Souther Salazar. Returning for his second solo show at the gallery, Salazar has created a new series of original mixed-media paintings, drawings, and sculptures. Last Year’s Man features the largest collection of Salazar’s work to date, assembled into a site-specific installation. Expanding upon his signature aesthetic, Salazar’s dynamic compositions are colorful accumulations of simply drawn characters and their surrounding communities. A single canvas might contain hundreds of narratives and microcosmic worlds within worlds. The depth and complexity of the artist’s large, multi-layered paintings are complimented by the minimalist simplicity of his smaller monochromatic line drawings on paper. Salazar’s two-dimensional pieces incorporate mixed-media collage techniques often mirrored in his three-dimensional work, which transforms the surrounding environment, pulling viewers into the picture plane to further explore his representational world. Salazar’s highly imaginative installations are the physical embodiment of the subject matter found in his whimsical paintings. His carefully crafted sculptures feature tiny civilizations of baked-clay human and animal figures living within cities constructed using a variety of found objects. Inventively recycling every-day materials into his medium—Salazar transforms ordinary items such as pencils, bottle caps, thread spools, matchbooks, and tin cans into robots, dinosaurs, and transportation vehicles—converting light bulbs into hot-air balloons while glue dispensers and asthma inhalers become flying rockets and space ships. Many of Salazar’s characters are portrayed with a sense of melancholy, peacefully secluded from their populated surroundings, buzzing with life. Creating intuitively in a stream of conscious style, Salazar says that his work is sometimes inspired by the materials themselves. Regarding his process, in the artist’s own words: “Ultimately, a lot of what I end up making is an idea that’s pleasing to myself, especially in the pieces that try to depict an ideal world. It’s sort of processing memories, drawing things I like to draw, responding to materials. What I end up with in the end is a sense of community that I think is interesting, something that I’d like to find… a mixture of worlds I have lived in and worlds that would be fun if they existed.”
Featured Artist
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Souther Salazar |
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See the Souther Salazar
Last Year's Man Exhibit
Gary Taxali
Hindi Love Song
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
April 4, 2009 through May 2, 2009NEW YORK, NY (March 9, 2009) — Jonathan LeVine Gallery is pleased to announce Hindi Love Song, a solo exhibition of new works by Gary Taxali. For his fist solo show in New York, the artist has created a series of mixed-media paintings and sculptures in what will be his largest collection of original work to date, both in quantity and in scale. Highly explorative when it comes to application methods, Taxali combines layers of collaged materials and silk-screening techniques. His images are produced using a variety of mediums—ink, oil, acrylic, enamel, and gouache—applied to a number of different surfaces including: paper, plywood, masonite, steel, aluminum, and vintage book covers. Hindi Love Song features Taxali’s anachronistic aesthetic, evoking nostalgia for an era before his own time. Expanding upon his signature style, works in the show feature playful imagery inspired by vintage animation and packaging, often combining the artist’s hand-rendered typography with geometric patterns to compliment his figures. In a Los Angeles Times review, Holly Myers wrote: "The work of Gary Taxali takes a basically juvenile bibliophilic impulse—doodling in the leaves of borrowed books—to a more artistically sophisticated level. There is an appealing sense of play, drawn from childhood but supported by a mature iconographic sensibility." An award-winning illustrator, Taxali’s process in creating commercial work remains void of digital assistance (a rare trait in an increasingly electronic industry) which perhaps has led to the appeal and stylistic development of his retro-looking visuals. The same is true of his approach to gallery work, which is based on a deep love of drawing and hands-on printmaking methods. Taxali’s subjects, with their minimalist yet exaggerated facial expressions and gestures, are painted in flat color onto found materials and other non-traditional canvases. Some of his characters have been created in three-dimensional form, first as a series of vinyl figures, and later in fiberglass. For this show, one of Taxali’s reoccurring characters makes his debut appearance as a limited edition bronze sculpture. Gary Taxali’s new line of limited edition gold and porcelain cufflinks, produced by Hobbs & Kent, will also be on view and available for purchase during the exhibition.
Featured Artist
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Gary Taxali |
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See the Gary Taxali
Hindi Love Song Exhibit
Phil Frost
Paperweight: An Exhibition
of Works on Paper
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
April 4, 2009 through May 2, 2009NEW YORK, NY (March 9, 2009) — Jonathan LeVine Gallery is proud to present Paperweight, a solo exhibition of new works by Phil Frost. For his first show at the gallery, Frost has created a new series of works on paper, including paintings and original drawings. As his first exhibition in New York in the past three years, Paperweight marks a highly anticipated event for this celebrated artist. Using mediums such as ink, aerosol, gouache and oils, beneath a layer of correction fluid, Frost has been known to paint elaborate installations on found objects such as baseball bats, windowpanes, and old barn doors. Oscillating between modernist design and primitivism, abstraction and representation, Frost’s work is tied together cohesively by his signature top-layer of crisp white patterning—remarkably drawn free-hand with a correction fluid pen, without the use of stencils. This white-out element often appears to form a code or language, composed of letters, hearts, dots and mask-like faces, reminiscent of tribal and indigenous art. These symbols, which the artist refers to as “glyphic distinctions,” are painted on top of heavily textured backgrounds. The overall effect is a masking yet highlighting of negative space, like a delicate lace of personal faith and truth, veiling the decay of humanity. Frost’s deep pantheistic spirituality is expressed through imagery such as in the open-heart motif, which represents the surrender of self to a higher purpose. SELECTED QUOTES FROM CRITIC REVIEWS: Roberta Fallon, ArtNet: “Obsessive, earnest and touched by the garage grunge aesthetic, Phil Frost’s paintings and assemblages broadcast an urgent message of spirituality.” Arty Nelson, LA Weekly: “Process aside, the finished product is a monument to the wonders of obsessive expression. The abstractly washed backgrounds and myriad tribal patterns meld together to remind the viewer that no matter how loud the white noise of modern life gets, the 'shaman state' is still attainable.” Roberta Smith, New York Times: “…his paintings and altar-like sculptures exude extreme sophistication, specifically a confidant fusion of graffiti, modern art, modern design and the primitive art that influenced so many facets of modernism. The results are exuberantly decorative and fierce…”
Featured Artist
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Phil Frost |
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See the Phil Frost
Paperweight: An Exhibition
of Works on Paper Exhibit
Camille Rose Garcia
Scope-NY
Scope Contemporary Art Fair
Jonathan LeVine Gallery
March 4, 2009 through March 9, 2009Jonathan LeVine Gallery is pleased to announce our participation in SCOPE Contemporary Art Fair from March 5—8th at Lincoln Center, in New York. We will be exhibiting a series of new paintings, drawings, and soft sculpture by Camille Rose Garcia. The works will be part of a site-specific installation, including a custom wallpaper, designed by the artist, herself. Please visit us in booth number: A-11!
Featured Artist
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Camille Rose Garcia |
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See the Camille Rose Garcia
Scope-NY Exhibit
Mars-1
Nuclear Mystic
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
February 21, 2009 through March 21, 2009NEW YORK, NY (January 27, 2009) — Jonathan LeVine Gallery is pleased to present Nuclear Mystic, a solo exhibition of new works by Mario Martinez, also known as Mars-1. For his second solo show at the gallery, the artist has created a collection of original large-scale works including abstract paintings on paper and wood panel as well as a series of figurative sculptures in bronze, all of which will be incorporated into a site-specific installation. Nuclear Mystic features Mars-1’s signature style of vast, abstracted, quasi-extraterrestrial looking landscapes. The artist paints from a penetrating perspective of great depth. Viewers are drawn into his imaginative compositions, overflowing with colorful geometric and organic shapes, layered to form unique patterns and textures. A number of the pieces in the show feature imagery of surreal distortions, contained within spherically convex transparent bubbles. Skillfully combining optical color blending with perspective line work, his painting techniques result in very three-dimensional forms, which echo the anatomy of architecture, and microcosmic structures of biology. These 3-D qualities transcend into his sculptural work, as well. Mars-1’s distinctly individual aesthetic is not easily compared to the vision of his contemporaries or artists from past movements. His constantly evolving process continues to expand with each new series of work, seemingly beyond the reaches of even his own awareness. Themes explored range from very scientific to more esoteric phenomena. From theoretical physics, metamorphosis and collective consciousness, to ufology and examining possibilities of otherworldly principles, the relative link between physical and life sciences are applied throughout. Transitional energies, natural multiplicity, helixes and spontaneous biological occurrences all come together, forming imagery with hypotheses beyond the scope of modern technology.
Featured Artist
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Mario Martinez (Mars-1) |
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See the Mars-1
Nuclear Mystic Exhibit
Nouar
You Look Good Enough to Eat!
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
February 21, 2009 through March 21, 2009NEW YORK, NY (January 27, 2009) — Jonathan LeVine Gallery is pleased to announce You Look Good Enough To Eat! a solo exhibition of new works by Los Angeles based artist, Nouar. For the artist’s second solo show at the gallery, she has created a collection of original oil and acrylic paintings on wood panel, which will be incorporated into a site-specific installation. You Look Good Enough To Eat! expands upon Nouar’s character-based aesthetic. A feast for the eyes in the most literal sense, her highly stylized, crisply rendered figures depict a variety of edible subjects, personified and bursting with life. The artist’s work is reminiscent of—and inspired by—vintage imagery that encompasses post-WWII era animation, packaging and advertising art, particularly of the food industry. Paintings in this show are tied together by theme, and presented in a vibrantly appetizing color palette. The tasty treats wear big smiles and are often accompanied by hand-lettered type. The messages in Nouar’s paintings parallel the aberrations and accidental humor found in advertising imagery, intertwined with the artist's darker personal narratives. While humorous and inviting on the surface, her subjects convey multiple levels of meaning and connotation. Anthropomorphized and sometimes ambiguous in nature, Nouar’s characters invite the viewer to become engaged in their off-kilter world. In the artist’s own words: “developing mascots with happy cartoon faces on merchandise encourages consumers to feel comfortable... I have always been completely fascinated by our massive consumer culture and often feel everything around us is a commercial, constantly manipulating us into desiring things we don’t really have a need for, or shouldn’t want in the first place.”
Featured Artist
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Nouar |
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See the Nouar
You Look Good Enough to Eat! Exhibit
James Jean
Kindling: New Works
on Paper and Canvas
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
January 10, 2009 through February 7, 2009NEW YORK, NY (December 15, 2008) — Jonathan LeVine Gallery is pleased to present Kindling, a solo exhibition of new works by James Jean. For his first show at the gallery, Jean has created a collection of original large-scale mixed media paintings and drawings on canvas, linen, and paper. Kindling will be Jean’s debut solo fine art exhibition, marking a highly anticipated event for this remarkably accomplished and acclaimed young artist. Jean’s imaginative compositions feature ethereal figures; fluid in motion, and graceful in gesture. His fantasy dreamscapes capture compelling moments, often represented beyond the laws of gravity, on an undefined plane. Incorporating traditional symbolism and dynamic narratives, Kindling introduces finely rendered imagery created with Jean’s unique aesthetic, extraordinarily kinetic style and sophisticated color palette. The subjects, as the artist explains, glide through the tableaux, tracing a narrative of thwarted desires. His subtle yet suggestive themes of metamorphosis, mortality, and sexuality blend together seamlessly, bridging the gap between the real and imagined. Jean uses exquisitely contoured line work to form the spatial relationships between his paint and canvas, resulting in a harmonious balance which can—at times—be experienced as if set to music. Several of his large-scale paintings are divided into multiple panels, echoing motifs from Chinese silk scroll paintings and Japanese wood block prints; two traditions which are sources of inspiration for the works in this show. Considering his background in the commercial arts, Jean’s genre defying style has raised the bar for a generation of young illustrators, having achieved steady success among elite clientele in the fashion, advertising and editorial industries. Winner of numerous prestigious awards, Jean has arrived at a point in his career, deciding to step away from commercial projects and focus his creative energy on fine art. He now spends his time painting for gallery and museum shows, as well as continuing to publish books on his constantly evolving process and technique. ABOUT THE ARTIST Born in 1979 in Taiwan, and raised in New Jersey, James Jean was educated at the School of Visual Arts in New York and moved to Los Angeles in 2003, where he currently lives and works. In a ceaseless torrent of images, his finely wrought and narrative-driven work has captured the attention of a worldwide audience including the admiration of other artists, designers, and filmmakers. Renowned for his draftsmanship and imagination, Jean’s work has been featured in print, fabric, large-scale installations, and animation. His influences include various sources such as Japanese Woodblock prints, Northern Renaissance paintings and etchings, Chinese scroll paintings, Shanghai advertising posters, comics, anatomical charts, and vintage printed ephemera. Jean's images evoke a sense of fantasy and the subconscious, seductive in their delicacy and sensuality.
Featured Artist
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James Jean |
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See the James Jean
Kindling: New Works
on Paper and Canvas Exhibit
Kenichi Hoshine
The Night Before
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
January 10, 2009 through February 7, 2009NEW YORK, NY (December 19, 2008) — Jonathan LeVine Gallery is pleased to announce The Night Before, a solo exhibition of new works by Kenichi Hoshine. For the artist’s first solo show, he has created a series of original mixed media paintings on wood panel. In The Night Before, Hoshine’s pluralistic sensibility combines disparate influences. Elements of heightened realism appear sparsely, in sections, obscured through cloudy forms that echo the organic shapes and spontaneity of abstract expressionism. Working in layers of graphite, charcoal, paint, wax, and tea, Hoshine creates glimpses of fragmented figures in varying levels of focus. The resulting effect appears as partially concealed faces, hands, and other fractioned sections of the body, seemingly emerge from beyond—or withdraw into—a fog-like atmosphere. The soft, intimate, and almost tactile quality to the human subjects depicted contrasts with the artist’s heavier textures and areas of rough line drawing. Hoshine’s figures, often female and often isolated, appear through an abstract haze of gestural brushwork, with their eyes closed or covered. Through their delicate vulnerability and distance in relation to the viewer, they are as intriguing in their (either) finely defined or nebulous forms, as that which is implied within the open, airy space surrounding them. Hoshine’s enigmatic images are penetrating yet subjective in content, and his subtle aesthetic leaves much open for interpretation. The artist applies a painterly approach in creating his work, yet his compositions express a minimalist simplicity, blurring conventional lines of categorical description. Themes of solitude and contemplation exist, throughout. There is as much significance found in the seen as in the unseen, such as in a haiku poem or zen meditative mantra, when hearing the silence that follows the sound. ABOUT THE ARTIST Kenichi Hoshine was born in 1977 in Japan, raised in New Jersey, and educated at the School of Visual Arts in New York City where he currently lives and works. In years since, Hoshine’s work has been exhibited and collected Internationally. In the Spring of 2008, he was selected by London's Saatchi Gallery to show at their booth at the Pulse Art Fair in New York City. He was also chosen as a semi-finalist in the upcoming Outwin Boochever Portrait Competition for the Smithsonian Institution's National Portrait Gallery.
Featured Artist
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Kenichi Hoshine |
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See the Kenichi Hoshine
The Night Before Exhibit
Shepard Fairey
SCOPE Art Fair Miami 2008
Jonathan LeVine Gallery
December 3, 2008 through December 7, 2008Featured Artist
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Shepard Fairey |
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See the Shepard Fairey Exhibit
Shag
Voyeur: New Paintings by Shag
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
November 22, 2008 through December 20, 2008NEW YORK, NY(November 3, 2008) —Jonathan LeVine Gallery is pleased to announce Voyeur, a solo exhibition featuring new works by Josh Agle, also known as Shag. For his second solo show at the gallery, the artist has created a new series of original paintings, cohesively linked by the theme of voyeurism. Shag’s signature style of sophisticated figures lounge within lavish interiors, accentuated by the artist’s mid-century modern design aesthetic. His allegorical cast of glamorous characters living in apathetic opulence and vapid luxury are skillfully rendered in stylized geometric forms and clean lines, using a vibrantly striking color palette. With Voyeur, Shag refines and explores a theme that has always existed in his body of work. Many of his previous pieces have depicted hedonistic figures experiencing debauchery without consequence, expressionless and detached. In past works, he often included a figure observing inconspicuously. However, in this new series, the observers are much more overt. Each piece in the exhibition contains a voyer and a fish. The artist has said that the voyeur in each painting represents himself, while viewers of his paintings become voyeurs as well. “Being an artist gives me license to be a voyeur... When I was young and poor, I used to walk around my neighborhood almost every evening, just after dark. Many people had not yet closed their drapes or blinds, and I was able to look into their homes. I saw interiors through large picture windows: their good taste and bad, their family dynamic, what they were watching on television or eating for dinner, and what they felt comfortable wearing (or not wearing) at home. This was better than TV!” To complement Shag’s work, the walls within the gallery’s Project Room will be covered in custom designed, flocked-velvet wallpaper featuring a multi-colored fish motif, created by the artist himself. Produced and installed in collaboration with Curio Wallcoverings, this will be the fourth custom wallpaper Curio has produced for installation at Jonathan LeVine Gallery (after collaborating with artists: Shepard Fairey, Lori Earley, and Adam Wallacavage on previous designs). ABOUT THE ARTIST Josh Agle, better known as Shag (a contraction of the last two letters of his first name and the first two letters of his last) is a painter, illustrator and designer based in Southern California. His initial intention to establish an illustration career became sidetracked when his original paintings began to garner considerable attention from galleries and collectors around the world. Since his first solo gallery show in 1997, Shag has had successful exhibitions in the US, Europe, Japan, and Australia.Agle has published several books, been the subject of a documentary film, as well as a musical. Currently the artist paints in a large studio with panoramic views of a wooded valley in the hills above L.A., part of a mid-century modern home which he shares with his wife and two children.
Featured Artist
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Josh Agle (Shag) |
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See the Shag
Voyeur: New Paintings by Shag Exhibit
Stephan Doitschinoff aka Calma
Novo Mundo
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
November 22, 2008 through December 20, 2008NEW YORK, NY (November 3, 2008) — Jonathan LeVine Gallery is pleased to present Novo Mundo, a solo exhibition featuring new works by Stephan Doitschinoff, the Brazilian street artist also known as Calma. Calma creates a unique visual language and style by embracing his eclectic influences. Themes in his work are inspired by an informed spiritual history and heritage, filtered through a distinctly urban point of view. The resulting imagery is rich in religious symbolism and often accompanied by Latin text as well as pichação (a style of graffiti writing, native to São Paolo).Having created a series of original paintings accompanied by site-specific installation pieces, Novo Mundo (Portuguese for: New World) marks Calma’s first solo show in New York. Inspired by religious street festivals popular in Brazil, such as São João and Nosso Senhor dos Passos, the installations were constructed using a variety of materials such as paper flags, silk fabric and hand painted kites, creating an altar and emulating traditional processional decorations. As written by Carlo McCormick: “Subject to the effects of Christian fundamentalism and strict education in the wake of a two-decade-long military dictatorship in his native Brazil, Calma is responsive to (it’s) violence, institutional corruption and poverty. With his personal study of religious art and affinity for spiritualist practices—a synthesis of European Catholicism with African vernacular (Macumba in particular)—he can migrate with fluidity from street to chapel, producing fine art conjoined with both Western painting and indigenous folkloric craft traditions. Iconoclastic and outside institutional teachings of the church or esoteric theological systems, Doitschinoff is not concerned with conveying precepts of faith so much as investigating the psychic and historical topography of what it means to believe. He understands ‘god’ as a socio-cultural condition.” The artist says, “I personally see the church as an archaic institution that always aimed to control the masses. I think it is an appropriate symbol for corrupt modern institutions like big corporations, media channels, and governments.” From 2005 to 2008, Stephan traveled throughout the Brazilian countryside of Bahia, painting murals on adobe houses, chapels and even a cemetery. In the small village of Lençóis, he collaborated with local artisans, and expanded his research into the rich history of Brazilian folklore and syncretism between Christian theology and African spiritual traditions. Visuals from the trip are documented in his 2008 book, Calma: The Art of Stephan Doitschinoff, and are also the subject of a short documentary film, called: Temporal. The book and film will both debut during Novo Mundo. ABOUT THE ARTIST Stephan Doitschinoff (aka Calma) is a self-taught artist based in Bahia and São Paulo, Brazil. As the son of an Evangelical minister, Stephan spent his entire childhood absorbing the visual vocabulary of religious art. As an artist, he has developed his own unique language and style through imagery which creatively combines Afro-Brazilian folklore with Baroque religious iconography, as well as Alchemic and Pagan symbolism. Stephan’s street alias, Calma (Portuguese for: Calm) is also a shortened version of con alma (Latin for: with soul). He has exhibited in museums and galleries in the US, Brazil, and Europe.
Featured Artist
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Stephan Doitschinoff |
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See the Stephan Doitschinoff aka Calma
Novo Mundo Exhibit
Blek Le Rat
Paris-New York, New York-Paris
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
October 18, 2008 through November 15, 2008NEW YORK, NY (September 30, 2008) — Jonathan LeVine Gallery is pleased to present Paris—New York, New York—Paris, a solo exhibition featuring new works by Xavier Prou, also known as Blek le Rat. Prou was among the six artists who participated in the Streets of Europe group show at Jonathan LeVine Gallery in 2007. For this show, he has created a new collection of large-scale paintings using pouchoir (stencil) techniques, and a video installation featuring his interventional street art pieces over the past 25 years. Blek le Rat returns to the gallery for Paris—New York, New York—Paris, marking a much-anticipated first solo show in New York for this celebrated artist. Paris—New York, New York—Paris combines historical references with social commentary through Blek’s iconic pop-culture and self-portrait based imagery. Adding a human element to his often politically charged messages by incorporating himself into his subjects, Blek uses his own likeness to represent the artist in all of us. Some of the pieces contain religious context as, in a tribute to both Warhol and Da Vinci—we find Adam with Eve, holding a banana rather than an apple. Another painting portrays the artist seated in the place of Christ at The Last Supper table. Political symbolism is also prevalent, offering war commentary through an army of marching soldiers carrying paintbrushes in the place of rifles. Doves of peace appear in several of the works, as well as a gasoline truck driven by a laughing man, an unmistakable statement on the fuel crisis. Perhaps the most compelling element of Blek le Rat’s work is his use of humor. One of the new paintings simply reads: “BANKSY?” next to a figure, which resembles The Invisible Man. This speaks to the media’s recent obsession with revealing the famed contemporary British street artist’s true identity. Although Blek le Rat’s work is often compared to (and at times confused for) work created by Banksy, Banksy himself has actually been quoted as saying that he is heavily influenced by his predecessor, Blek le Rat, whom much of his work pays homage to.
Featured Artists
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TBA |
Blek le Rat |
See the Blek Le Rat
Paris-New York, New York-Paris Exhibit
Doze Green
N.O.O.N.
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
October 18, 2008 through November 15, 2008NEW YORK, NY (September 30, 2008) — Jonathan LeVine Gallery is pleased to announce N.O.O.N., a solo exhibition of new works by Doze Green. The artist returns for his second solo show at the gallery, having created a new series of original charcoal drawings and mixed media paintings on canvas and wood panel. Using a variety of materials such as ink, gouache, metallic pigments, and collage, Doze Green speaks in a creative voice from the collective consciousness, applying a symbolist approach to metaphysical concepts. Often compared to Basquiat, his urban background and involvement in the early hip-hop graffiti movement of NYC in the late 70’s, early 80’s, led him to transition from creating art in the streets and subways into the gallery setting. In N.O.O.N., Doze Green’s signature style of figurative abstraction and use of letterforms remain prominent, yet the organic cubist quality of his images has evolved. The high-contrast fluid line work characteristic of earlier paintings is now rendered in a fuller, more tonal palette, complemented by the introduction of an element not seen in his work previously—layers of collaged imagery. The artist’s genealogy inspires many of the themes he explores, his aesthetic influences include a mixture of ancient civilizations and indigenous cultures, including his own Afro-Caribbean roots. His totem-like human and animal figures are conceptually based on various polytheistic deities. These divinities represent sentinels, the guardians of universal truths. Immortal warriors warning mankind of dangers society has manifested, looming on the horizon and threatening to destroy us. The show title, N.O.O.N., stands for No One Observes Nibiru. This references the planet X prophecy of a cataclysmic cosmic shift occurring in the year 2012, causing dramatic effects to life on earth. Also a prominent year in the Mayan and Hopi calendars, 2012 marks the end of our current solar cycle, signifying transition into a new age. Inspired by these theories, there is a transitional quality to the artwork. Movement, migration and transformation of form combine to form enigmatically kinetic narratives. Portals and beams of energy, layered over collaged media clippings, surround Green’s figures which echo social diaspora of the past, yet also seem to be preparing for a futuristic voyage of sorts—a survivalist evacuation plan for the great escape from doomsday.
Featured Artists
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TBA |
Doze Green |
See the Doze Green
N.O.O.N. Exhibit
Camille Rose Garcia
Ambien Somnambulants
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
September 6, 2008 through October 4, 2008NEW YORK, NY (August 4, 2008) — Jonathan LeVine Gallery is pleased to present Ambien Somnambulants, a solo exhibition featuring new works by Camille Rose Garcia. The artist returns for her second solo show at the gallery, with a new series of original paintings, drawings, and a site-specific installation. In Ambien Somnambulants, tragic sleepwalkers wander along beautifully bleak post-apocalyptic dreamscapes, inspiring dissent from a dire dystopia. Garcia’s stunningly subversive images expand upon her signature style of elaborate socio-political narratives, hidden beneath layers of fairy-tale charm. The artist creates human and animal characters, influenced by a vintage animation aesthetic, which aid in her epic visual storytelling, rendered in a palette of psychedelic color, glitter, and glazed-over collaged wallpaper. Her use of bright color serves as a visual distraction from painful realities, while her use of silver leaf as a decorative element, references an age of abundance and opulence, slightly tarnished to represent the twilight years of our civilization. Referencing concepts from Snow White, The Matrix, Soylent Green, and Aldous Huxley’s Brave New World, Garcia combines Disney references with paranoid social theories and fatal prophesies about the dangers of detachment in troubled times. Ambien, the sleeping pill, is used as a metaphor for our sedated populace being controlled by corporate empires such as the pharmaceutical industry, while the world crumbles around us. The complacency of our culture and lack of outrage over the current state of affairs (loss of liberties, soaring national debt, and depleting natural resources) form central themes, told in a series of disjointed tableaux, in which the artist describes how “a powerful witch delivers apples poisoned with sleep elixir to the ambien somnambulents, a sleepwalking army of fancy dressed revelers, innocent and content in their dream world of complete denial.” With the absence of sustainable capitalism and renewable energy sources, our self-destructive society sinks deeper into its own demise, controlled by fear and distraction through fantasy propaganda and escapism. World catastrophes both environmental and military, threaten even the most privileged of lives, as over-population and overindulgence lead to an inevitable fate of gloom and global disorder. ABOUT THE ARTIST Camille Rose Garcia was born in 1970 in Los Angeles, California. She grew up in the generic suburbs of Orange County, visiting Disneyland and going to punk shows with the other disenchanted youth of that era. Her paintings of creepy cartoon children living in wasteland fairy tales are critical commentaries on the failures of capitalist utopias, blending nostalgic pop references with a satirical slant on modern society. Creative influences include Phillip K. Dick, William Burroughs, Henry Darger, and Walt Disney. In 2007, her work was the subject of a mid-career survey at the San Jose Museum of Art. The retrospective, entitled Tragic Kingdom: The Art of Camille Rose Garcia, was the artist’s first solo museum exhibition. She has pieces in the permanent collection there, as well as in the Los Angeles Museum of Art. The artist currently lives and works in the Pacific Northwest.
Featured Artist
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Camille Rose Garcia |
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See the Camille Rose Garcia
Ambien Somnambulants Exhibit
Panorama Project 3
129 artists, one continuous piece
Gallery II
Group Show curated by
Jordin Isip and Rodger Stevens
Jonathan LeVine Gallery
September 6, 2008 through October 4, 2008NEW YORK, NY (August 4, 2008) — Jonathan LeVine Gallery is pleased to announce The Panorama Project 3, a group exhibition featuring commissioned works by over one hundred artists, which will be combined to create a single collective artwork and a site-specific installation. This show will be the latest in a series of large-scale group exhibitions curated by New York based artists Jordin Isip and Rodger Stevens. Since 2001, they have been bringing together an ever-expanding network of painters, sculptors, illustrators, designers, photographers, and video makers to create conceptually and visually unconventional group projects. Some of the original participants included: Doze Green, Chris Johanson, Misaki Kawai, Barry McGee, Georgie Stout, and Eric White. This exhibition—a variation on one of their earliest efforts—creates a single, continuous work, comprised of one hundred and thirty-four individual pieces. The participating artists each received a 7” x 5” wooden panel, on which to create their portion of the installation, with one requirement: each work had to include some manner of horizontal line or division, set at 1-3/4” from the bottom of the board. This common visual device allows each of the separate pieces, when installed together side by side, to cohere into one long contiguous image—a panorama, encircling the entire gallery space. With no knowledge of what would appear on either side of their panel, each artist had the freedom to interpret the line in their own unique way. The installation creates a grand and unpredictable visual synthesis, in a monumental iteration of the exquisite corpse concept. Bringing together artists from so many disparate fields, unlikely to ever appear in the same exhibition space at the same time, this show creates an opportunity for lively experimentation and unexpected results, inspiring innovation while working within a set of prescribed limitations. ABOUT THE CURATORS Jordin Isip is from Queens, NY and has lived in Brooklyn since graduating with a BFA from Rhode Island School of Design. He makes artwork for both publication and gallery walls. His work has appeared in numerous publications including: The Atlantic Monthly, Juxtapoz, The Los Angeles Times, The New York Times, and Time. He has curated over a dozen group exhibitions including Mystery Meat at Future Prospects (Phillipines), Scab on My Brain at Space 1026 (Philadelphia), and A Piece Apart at Aidan Savoy (NYC). Rodger Stevens was born in Brooklyn NY. He studied at the School of Visual Arts and Parsons School of Design, where he currently teaches. His sculptures, installations, and drawings have been exhibited in galleries and museums in New York and abroad and he has been commissioned by numerous institutions including: The Whitney Museum of Art, Tiffany&Co, The Rockwell Group, W Hotel, Sotheby's, and MTV. His work has been featured in publications such as Art&Antiques, Harper's Bazaar, Elle Decor, and The New York Times.
Featured Artists
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Matt Leines |
The Panorama Project |
See the Panorama Project 3
129 artists, one continuous piece Exhibit
Ray Caesar
In the Garden of Moonlight
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
June 28, 2008 through July 26, 2008NEW YORK, NY (June 3, 2008) — Jonathan LeVine Gallery is pleased to present In The Garden of Moonlight, a solo exhibition featuring new works by Ray Caesar. The Toronto-based artist returns for his third solo show at the gallery, having created a new series of large-scale original pieces and limited edition multiples installed in ornately designed frames. In The Garden of Moonlight is a collection of beautifully bizarre images, in which Caesar expands upon his signature style. A hauntingly captivating cast of doll-like figures are depicted with physical abnormalities, dressed in costumes from both the past and future, fashioned from deep within the artist’s own whimsical imagination. They appear in elaborate Rococo style interiors, peering at the observer with the innocence of a child, yet also possessing an underlying awareness of dark truths—their inner strength and courage seemingly in contrast with the fragility of their physical appearance. These characters are messengers, or spirit guides from another realm. Caesar offers them a window into ours, where he has created a safe place beyond the cruelty of humanity. They arrive carrying clues with them, layered in mystery and meaning, trusted only to eyes sensitive enough to witness. Ray Caesar has said that he is often able to access his creative subconscious through time spent in a waking dream state, bringing back memories and bits of detail, which appear frequently in his artwork. An expert in his digital medium of choice, the artist uses Maya, a 3D modeling program, to create his figures and the virtual environments in which they exist. His meticulous process incorporates elements of drawing, painting, collage, sculpting, and more, to achieve his completely intricate digital world. He has compared working in this software to the experience of lucid dreaming, as in both situations, one has the ability to control and manipulate a simulated reality. ABOUT THE ARTIST Working for 17 years in the Art and Photography Department of The Hospital For Sick Children in Toronto, Ray Caesar documented things such as child abuse, surgical reconstruction, psychology, and animal research. Coupled with inspiration from the dreamlike works of Frida Kahlo, Salvador Dali and Paul Cadmus, Ray’s experiences continue to linger and present themselves through his haunting, evocative scenes, which are all digitally created. Using a 3D modeling software called Maya, he builds models and wraps them in painted and manipulated texture maps. The models are set up with an invisible skeleton that allows him to pose each figure in a 3D environment. Digital lights and cameras are added to simulate shadows and reflections, completing the effect of a mysterious and strange alternate world.
Featured Artist
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Ray Caesar |
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See the Ray Caesar
In the Garden of Moonlight Exhibit
Adam Wallcavage
Les Trésors de la Tanière de Neptune
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
June 28, 2008 through July 26, 2008NEW YORK, NY — Jonathan LeVine Gallery is pleased to announce Les Trésors de la Tanière de Neptune, a solo exhibition featuring new works by Adam Wallacavage. Inspired by nature, and organic sea life in particular, Wallacavage finds inventive ways to blend Art Nouveau and Surrealist influence into something “Biomorphically Baroque,” as described by fellow artist Lord Whimsy. Having created a new collection of his famous octopus shaped chandeliers, the Philadelphia-based photographer and sculptor extraordinaire returns to the gallery for what will be his first solo show in New York. Les Trésors de la Tanière de Neptune (French for: The Treasures of Neptune’s Lair) brings together the largest collection of Adam’s chandeliers to date, creating a sub-aquatic spectacle on dry land. Striking creatures of varying shape and size mingle together in a shining sea of vibrant color, their curvaceous tendrils appear dripping wet and writhing with life. Self-taught in the traditional craft of ornamental plastering, Wallacavage uses this method to cast his trademark tentacles which he then paints in pigmented epoxy resin, adding iridescent powders and glitter to further enhance their eccentric beauty. The pieces—all functional light fixtures—will be shown as a site-specific installation in the project room of the gallery, fully illuminated and suspended from the ceiling. Complementing his under-water theme, the walls surrounding Adam’s chandeliers will be covered in custom designed, flocked-velvet wallpaper featuring a multi-colored sea kelp pattern, created by the artist himself especially for the show. This will be the third custom wallpaper Adam has produced for installation at Jonathan LeVine Gallery (after collaborating with fellow artists on the two previous designs) as part of his latest venture Curio Wallcoverings. ABOUT THE ARTIST Inspired by an obsession with the ocean and a fascination with extravagant interiors of old churches, Adam Wallacavage transformed the dining room of his South Philadelphia Victorian Brownstone into something from the pages of a Jules Verne novel. Teaching himself the traditional craft of ornamental plastering, Adam evolved his new found skills into making plaster cast octopus shaped chandeliers as the final touch to his underwater themed room. Adam continued his experimentation by making more and more. He changed the shapes and colors and even collaborated with famed jewelry designer, Tarina Tarantino, who supplied the beautiful pearls for his pink glitter chandelier featured in his first showing at Jonathan LeVine Gallery in June of 2006. Beyond making chandeliers, Adam Wallacavage is also an accomplished photographer, documenting artists, musicians, daredevils and all things weird and wonderful. His first book, Monster Size Monsters, was released in August of 2006 through Gingko Press and spans fifteen years of his photography.
Featured Artist
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Adam Wallacavage |
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See the Adam Wallcavage
Les Trésors de la Tanière de Neptune Exhibit
Tim Biskup
The Artist in You
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
May 16, 2008 through June 14, 2008NEW YORK, NY (April 28, 2008) — Jonathan LeVine Gallery is pleased to present The Artist In You, a solo exhibition featuring new works by Tim Biskup. The artist returns for his second solo show at the gallery, having created a series of new paintings on canvas and wood panel. In conjunction with The Artist In You, Biskup will also release a limited edition book by the same title, in which he verbally explores the ideas presented visually in his new collection of work. The Artist In You expands on Biskup’s well known graphic style and decorative aesthetic, yet also reflects a new direction—his recent analytical exploration of themes surrounding the complexities, contradictions, and separations within the fine art world. Developed through experimental exercises and multiple studies on a subject, the female portrait in his Asylum series and the skulls in his Doom Loop series are taken through cubist, minimalist, florally decorative, and other such variations to achieve subtle manipulations of feeling through transformation and the dissection of form. Statements made in Tim’s paintings are further elaborated upon in his writing for the accompanying book, a collection of intimate essays and poems, which expose the extremes of his creative process. His personal feelings and thoughts are expressed openly in a style that embraces intellectual art theory while revealing his love and frustration towards the industry itself. Embarking on this project of critical analysis took the artist through stages of emotion and discovery. His original intention, to seek a deeper understanding of the enigmatic paradox that is the art community—ultimately concludes with a revelation of sorts, where the artist accepts his own role within that realm. Biskup’s work has transcended, becoming more conceptual in recent years—this is evident within the words and images of The Artist In You, which express the artist’s deepened commitment to question and confront his own perceptions and fears, an endeavor towards creative growth. A PDF version of the book is available at: http://www.timbiskup.com/TheArtistInYou/Artist-In-You.pdf ABOUT THE ARTIST Tim Biskup is a fine artist based in southern California. His work has been shown worldwide including galleries and museums in Los Angeles, New York, San Francisco, Tokyo, Kyoto, São Paulo, Barcelona, Berlin, and Melbourne. He’s collaborated with artists and designers around the globe and has organized art auctions and exhibitions. Biskup has long been known for a cheery graphic style, which reflects the influence of his many years in the animation industry as well as his fondness of mid-century modern design and illustration. Recent exhibitions have displayed a dramatic stylistic and conceptual detour into darker, more personal territory. While still technically adept and complex, the newer works show the maturity and depth of a seasoned fine artist.
Featured Artist
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Tim Biskup |
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See the Tim Biskup
The Artist in You Exhibit
Titi Freak
Vida Apaixonada
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
May 16, 2008 through June 14, 2008NEW YORK, NY (April 28, 2008) — Jonathan LeVine Gallery is pleased to announce Vida Apaixonada, a solo exhibition featuring new works by Hamilton Yokota, the Brazilian artist better known as Titi Freak. After introducing his work to New York audiences during the 2007 group show, Ruas De São Paulo: A Survey of Brazilian Street Art, Jonathan LeVine Gallery has welcomed Titi Freak back this year for Vida Apaixonada, the artist’s first solo exhibition in the United States. For Vida Apaixonada (which is Portuguese for: Passionate Life), Titi Freak has created a new collection of original mixed media paintings, drawings and collages on a variety of alternative surfaces and found objects. He has also begun a new series of hand-carved etchings. Expanding on his signature style—working on canvas, wood panel, fabric, sake packaging and other found materials—the artist uses screens, stencils, spray paint drips, and graphic brush strokes of varying line quality. These elements collectively result in layers of vibrant colors, rich in pattern and texture. The work will be incorporated into a site-specific installation, transforming the space into a completely cohesive environment. Drawing influence from his Japanese heritage as well as his Brazilian upbringing, Titi Freak’s diverse mixture of cultural backgrounds combine to form a very distinct perspective, and unique creative voice. Often wearing street fashions and somber expressions, his figures appear alongside details inspired by the urban landscape such as electrical pole shadows and silhouettes of stray dogs. At times, his work uses imagery derived from Japanese wood block prints—traditional kimonos, cloud forms, sumo figures, and historical national symbols of Japan, such as the rising sun flag. Additional elements include highly stylized lettering, Japanese calligraphy, and Pichação (a form of graffiti writing specifically native to São Paulo, the artist’s home town). ABOUT THE ARTIST Hamilton Yokota (aka Titi Freak) is a São Paulo native with Japanese ancestry, resulting in a mixture of personal qualities that stem from his combined cultural backgrounds. The artist has created illustration work for International ad agencies and several brands including Adidas, Ecko and Nike. He has painted in the streets of cities around the world, and his fine art has been exhibited in galleries throughout Asia, South America and Europe. Titi Freak first began writing graffiti in 1995 on the streets of São Paulo, Brazil. His style fuses Eastern and Western cultures, with fashion, pop imagery, illustration, graffiti and comic influences. Titi Freak’s references range from Hokusai and Murakami to Robert Williams and Dave Cooper. He is also a champion yo-yo master.
Featured Artist
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Hamilton Yokota (Titi Freak) |
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See the Titi Freak
Vida Apaixonada Exhibit
Erik Mark Sandberg
The Equilibrium of Glamour
Project Room
Solo Exhibition
Jonathan LeVine Gallery
April 5, 2008 through May 3, 2008NEW YORK, NY (March 18, 2008) - Jonathan LeVine Gallery is pleased to announce The Equilibrium of Glamour, a solo exhibition of new works by Erik Mark Sandberg. The artist has created a series of new paintings for The Equilibrium of Glamour, which will be the artist’s first solo gallery exhibition in New York. The Equilibrium of Glamour contains Sandberg’s unique hybrid of styles and mixture of mediums. Painting obscure allegorical narratives by incorporating 3D digital polygon models, printmaking, photography, drawing, collage, and painting into his work, the results are a seamless synthesis of colorful visuals developed across the scope of craft and technique. Carefully combining his digital imagery with organic elements, Sandberg’s creative process is highly experimental in nature. The artist explores initial stages of progression further within the work itself, adding and subtracting layers until he has achieved just the right balance for a completed piece. One source of artistic inspiration for Sandberg is his own environment, as well as his perception of tensions that exist between certain environments and their inhabitants. Living in Los Angeles, he is confronted daily by the types of issues prevalent in contemporary society. These issues often influence his work, becoming the subjects communicated through his illustration and fine artwork, including themes such as globalization, gentrification, consumerism, online dating and the dynamics of modern relationships. Integrating digitally rendered human and animal figures with contrasting traditional and non-traditional painting skills, there is a photo-realist component within Sandberg’s part-digital, part-organic world. To the artist, this composite relationship reflects the increasing disconnection of contemporary society from its greater organic environment, and the progression towards a new, self-manufactured, synthetic reality.
Featured Artist
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Erik Mark Sandberg |
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See the Erik Mark Sandberg
The Equilibrium of Glamour Exhibit
Alex Gross
Mysteries and Manners
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
April 5, 2008 through May 3, 2008NEW YORK, NY (March 18, 2008) - Jonathan LeVine Gallery is pleased to present Mysteries and Manners, a solo exhibition featuring new works by Alex Gross. For the artist’s first show at the gallery, he has created a collection of large oil paintings on canvas as well as a series of small collage paintings on antique cabinet photographs from the 19th Century. Mysteries and Manners will be Alex’s first show in New York, marking his fifth solo gallery exhibition, to date. Drawing from a vast range of artistic influences, Alex has a keen interest in and appreciation of foreign cultures and world history. His paintings often contain references to both vintage Japanese and Chinese advertising imagery, as well as contemporary American advertising. Other important influences include Gothic Flemish painting, early American lithography, and Victorian wedding photography. In Mysteries and Manners, Alex incorporates elements inspired by these diverse sources, as well as a comprehensive knowledge of art history, in exploring such themes as globalization, industrialization, consumerism, alienation, reconciliation, and mortality. Mysteries and Manners features highly involved, figurative paintings that contain enigmatic narratives. Birds and butterflies, snakes and goats, crashing aircraft, beautiful brides, and even ice cream cones populate Alex’s large canvases. There is a dreamlike quality in all of his work, creating unusual hybrids that form some strange new world, which we cannot fully decipher. Alex’s figures, barely emotive at times, seem peacefully ambivalent towards their complex, chaotic environments. His work suggests the unspoken distress of humanity—that, which is understood by all, yet remains hidden from human consciousness.
Featured Artists
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TBA |
Alex Gross |
See the Alex Gross
Mysteries and Manners Exhibit
The Date Farmers
The Crying Playboy
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
April 5, 2008 through May 3, 2008Jonathan LeVine Gallery is pleased to present The Crying Playboy, a solo exhibition of new works by Armando Lerma and Carlos Ramirez, known together as The Date Farmers. For the pair’s first show at the gallery, and their first solo exhibition in New York, The Crying Playboy features a collaborative series of mixed media work incorporated into a site-specific installation. Together, the artists create collages, paintings, and crosshatch ink drawings on a variety of surfaces—used as alternative canvases—such as discarded signs, wood, cardboard, and corrugated sheet metal. Artwork by The Date Farmers echoes Mexican-American heritage rooted in California pop culture. Their paintings, collages and three-dimensional sculptures contain elements influenced by graffiti, Mexican street murals, traditional revolutionary posters, sign painting, prison art and tattoos. Living in the peaceful seclusion of the desert, the artists often travel across the border, into Mexicali and Oaxaca to scavenge for materials. With traces of ancient indigenous art, mushrooms, and mescal, the Date Farmers combine familiar pop iconography and corporate logos with figures from comics, folklore and Catholicism. Desert creatures such as coyotes, snakes, and scorpions appear frequently in their works as well as found materials like stamps, bottle caps, hand painted or collaged lettering.
Featured Artist
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Date Farmers |
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See the The Date Farmers
The Crying Playboy Exhibit
Tara McPherson
Lost Constellations
Solo Exhibition
Gallery I
Jonathan LeVine Gallery
February 23, 2008 through March 22, 2008NEW YORK, NY (January 29, 2008) — Jonathan LeVine Gallery is pleased to announce Lost Constellations, a solo exhibition of new works by Tara McPherson. For the artist’s first solo show at the gallery, Lost Constellations features a new series of oil paintings and resin-cast sculptures, incorporated into a site-specific installation. The sculptures are a new experience for the artist, who has never before worked in this medium, three-dimensionally in full-scale proportions. The painted portraits in Lost Constellations depict adventurous super-heroines from an alternate universe, crossing dimensional planes of time and space. McPherson considers the idea of parallel existence through the use of multiple views or angles on a subject, inspired by the Einstein cross (a phenomenon caused by gravitational lensing) while her series of bodily transfigurations convey principles on the physical manifestation of thought. A reoccurring cast of female characters appear in various states of action—fighting battles and growing toward self-discovery. Using her signature bold and graphic style, Tara’s imagery explores love, loss and loneliness through variations on strength, vulnerability and female empowerment. Concepts of non-verbal communication and the evolution of spoken language are explored as well, along with an interpretation on the circle of life—represented through transitional properties of water particles: gas, liquid and solid. One of the first women to gain recognition in a genre (and greater Art world) dominated by Male artists, Tara McPherson is a role model for younger female artists in the movement. A multi-faceted artist, she has successful careers in both Fine Art and Illustration. Her process remains the same in commissioned illustrations as in her personal work. Tara only does what she enjoys, never compromising her talent or individual sense of creative expression. Fine Art allows McPherson to develop a deeper, more intimate narrative for her subjects. Through layers of paint and symbolism, ideas that take pages of storyboard to convey in illustration projects can be condensed into a singular panel for one of her original pieces of artwork. About the Artist: Born in San Francisco, and raised in Los Angeles, Tara McPherson is a painter, poster artist and freelance illustrator based out of New York City. She received her BFA from Art Center College of Design in Pasadena, CA with honors in Illustration and a minor in Fine Art. While in college, she interned at Rough Draft Studios, working on Matt Groening's animated series Futurama. Creating art about people and their odd ways, her characters exude an idealized innocence with a glimpse of hard earned wisdom in their eyes. Recalling many issues from childhood and good old life experience, she creates images that are thought provoking and seductive. People and their relationships are a central theme throughout her body of work. Tara exhibits her paintings and prints in fine art galleries all over the world. Lost Constellations is her first solo exhibition at Jonathan LeVine Gallery.
Featured Artist
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Tara McPherson |
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See the Tara McPherson
Lost Constellations Exhibit
Lori Earley
Fade to Gray
Solo Exhibition
Gallery II
Jonathan LeVine Gallery
February 23, 2008 through March 22, 2008NEW YORK, NY (January 29, 2008) — Jonathan LeVine Gallery is pleased to announce Fade to Gray, a solo exhibition featuring new drawings and oil paintings by the internationally acclaimed artist Lori Earley. This will be the artist’s first solo show at the gallery, marking the fourth solo exhibition of her career, to date. Fade to Gray offers an intimate presentation of Earley’s unique creative process, as it is the first time a collection of her skillfully rendered graphite drawings has ever been exhibited. This series provides a rare opportunity to see original studies on a smaller scale, as the artist does not keep a sketchbook, and only produces one drawing per painting through her practiced studio method. In Fade to Gray, Lori Earley elaborates upon her signature aesthetic with a new subdued palette, evoking mood and intensity. Blending photorealist painting techniques with Mannerist elements of surreal distortion, Lori’s portraits of hauntingly captivating female figures bring historical context into a contemporary light. The stylized, elongated necks and limbs of her subjects accentuate delicate features, with prominent eyes that hold the viewer in a penetrating stare. Cast in dramatic lighting effects that produce an ethereal glow, their fair skin and hair appear as pale as alabaster, ghost-like and incandescent. Earley’s shift into a muted color palette for Fade to Gray reflects a new direction for the artist, who typically paints in a vivid chromatic spectrum. These faded hues represent the artist’s emotional and physical energy levels, caused by a demanding creative process. After investing arduous hours into her work, Earley uses an absence of color to express feeling drained. Expanding on this theme for her gallery installation, all pieces will be framed in white and displayed on custom Victorian-inspired wallpaper, produced in a flocked velvet texture for the site-specific installation. The wallpaper was designed especially for this exhibition by Lori Earley in collaboration with artist Adam Wallacavage, as part of his new venture: Curio Wallcoverings. About the Artist: Lori Earley grew up down the street from an amusement park in Rye, New York. She began drawing at a very young age, always intrigued by the unusual—a fascination that would become a trait in her art, later on. Lori received her Bachelor of Fine Arts degree from the School of Visual Arts in New York, where she studied with influential artists like Marshall Arisman and Steven Assael. A recipient of numerous awards and scholarships, she was one of the few students in her graduating class to receive the Rhodes Presidential Award for Outstanding Achievement. In 2004, she began exhibiting her oil paintings. Her debut feature article can be found in the March/April 2005 issue of Juxtapoz Magazine, where her painting of “The Hunter” graced the cover. Since then, her fine art career catapulted at an unusually fast pace. Her artwork has been exhibited in prominent galleries in New York and on the West Coast as well. Fade To Gray at Jonathan LeVine Gallery marks her fourth solo exhibition, to date. Lori Earley draws inspiration from high fashion, her artistic influences include the painting techniques of J.W. Waterhouse, John Singer Sargent, William Bougeureau, and Steven Assael as well as the subject matter of artists such as Chris Cunningham, Ray Caesar, and Floria Sigismondi. Her oil paintings are a unique combination of classical realistic rendering with an element of distortion. Their distortion is derived from her innate desire to render the world she feels as opposed to the world she sees. Often, the eyes are her primary focus of expression and every painting is a portrait of implicit emotion and mystery. Lori’s figures exist in their own esoteric realm and time, each of her paintings offers the viewer a glimpse into the anomalous world she has created.
Featured Artist
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Lori Earley |
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See the Lori Earley
Fade to Gray Exhibit
Jonathan Viner
Target Practice
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
January 12, 2008 through February 9, 2008NEW YORK, NY (January 2, 2008) — Jonathan LeVine Gallery is pleased to present Target Practice, a solo exhibition featuring an exciting collection of new paintings and drawings by Jonathan Viner. This will be the artist’s second solo show at the gallery, and his largest exhibition to date. Viner’s work has continued to mature in both form and scope and in his newest body of work he delves into themes of vulnerability, power, and survival. The artist chose to call his exhibit Target Practice not only because it fits the subject matter of this work, but also because it functions as a metaphor for his time in the studio. “Imagine waking up, going alone to a secluded field, and shooting at targets all day, every day, for your entire life,” he recently said. “That’s basically what I do.” Working on smooth gessoed panels in oils, Viner builds his images gradually; layer upon layer, resulting in vividly detailed subjects and environments of remarkable depth and atmosphere. There is no linear narrative thread running through this body of work. However, Viner's repetition of visual motifs seems to link some paintings to others, in a nonlinear fashion. The significance of any such connections is left for the viewer to decipher. In Target Practice, Viner depicts people who are scrambling for safety in a hostile world. They peer through binoculars, take cover behind walls, don armor, wield weapons, sit and worry, or strip naked in order to survive and grow. While the subject matter may be ominous and bleak, the viewer is seduced and assuaged by the stark beauty of Viner's imagery. *Jonathan Viner is also known as Jonathan Weiner ABOUT THE ARTIST Born in 1976 in New York, Jonathan Viner* was raised up and down the east coast of the United States. After receiving a BFA from the Rhode Island School of Design in 1998, he moved to New York City, where he lives and works today. Viner’s work draws upon a broad range of cultural influences that include a variety of Old Masters, contemporary American pop culture, and psychology. A significant theme in his work is the exploration of power relationships, particularly as they relate to safety and danger. The subtle hues and rich value ranges of Viner’s skillfully crafted oil paintings help to create an atmosphere of palpable tension. While his subjects are carefully delineated, Viner’s work offers the viewer space for contemplation, introspection, and conversation. Viner’s paintings and drawings are the subject of a 2006 monograph, Tranquil Aftermath, co-published by Jonathan LeVine Gallery and Murphy Design.
Featured Artist
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Jonathan Viner |
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See the Jonathan Viner
Target Practice Exhibit
Esao Andrews and Xiaoqing Ding
Separate Lives
Gallery II
Two person Exhibition
Jonathan LeVine Gallery
January 12, 2008 through February 9, 2008NEW YORK, NY (January 2, 2008) — Jonathan LeVine Gallery is pleased to announce Separate Lives, a two-person exhibition featuring works by Esao Andrews and Xiaoqing Ding. Paired together, these two young Brooklyn-based artists will combine their talents to present new paintings and drawings, showcasing each of their distinctly creative voices. This will be the first time Andrews has shown at Jonathan LeVine Gallery. His work, full of dark and whimsical allegory will be put on display in a series of skillfully rendered oil paintings. Surreal, frightening and humorous all at once, his pieces are windows into a strange and imaginative dream world. Xiaoqing Ding returns to the LeVine Gallery, after having previously exhibited in the 16th Annual Swap Meet group show in 2007. Using Silverpoint and pastels in vibrant hues, her unique interpretation of timeless themes—yearning and fantasy—are flavored with a special mixture of traditional Chinese Folklore, multi-culturally influenced mythology, and eroticism. ABOUT THE ARTISTS Esao Andrews grew up in the Arizona desert, and moved to New York in 1996 to complete his BFA in Illustration at the School of Visual Arts. After graduating in 2000, he spent the next few years working as a flash animator while painting in his free time. Andrews exhibited his oil paintings in coffee shops and group shows before landing his first major two-person show at Fuse Gallery in New York with John John Jesse in 2003. He has since collaborated with Tara McPherson for a DC Comics project, and has created album artwork for several bands, as well. Esao Andrews has developed a signature cast of dark and surreal characters, blending erotic and sometimes frightening images, in a manner that is often compared with other American artists like Mark Ryden and John Currin. Originally from China, Xiaoqing Ding’s artwork is inspired by a fusion of her eight years of traditional Asian Arts training in Beijing, and her recent exposure to American culture. The result is a captivating mixture of old world technique and modern subject matter. Working with Egg Tempera, Silverpoint, and pastel, her sometimes overtly sexual imagery explores the nature of identity and personal politics. She references ideas from Chinese and Greek mythology, European fairytales and Medieval studies, resulting in a body of dark and mysterious works which focus on timeless sentiments and the personal struggle between good and evil. A recipient of numerous awards such as The Joan Mitchell Foundation Grant in 2001, she has participated in major exhibitions in New York, including Jonathan LeVine Gallery’s 16th Annual Swap Meet.
Featured Artists
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Esao Andrews |
Xiaoqing Ding |
See the Esao Andrews and Xiaoqing Ding
Separate Lives Exhibit
THE STREETS OF EUROPE
New Works and Installations by:
Blek Le Rat, Blu, Bo130, D*Face
Microbo, and Space Invader
Jonathan LeVine Gallery
December 1, 2007 through December 29, 2007NEW YORK, NY (November 12, 2007) — Jonathan LeVine Gallery is pleased to announce The Streets of Europe, a group exhibition featuring installations by six of Europe’s most dynamic Street Artists. Continuing the gallery’s series on International Street Art that began with Ruas De São Paulo : A Survey of Brazilian Street Art, Jonathan LeVine Gallery has invited Blek le Rat, Blu, Bo130, D*Face, Microbo and Space Invader directly from the streets of Europe, to present their work to New York audiences. The Streets of Europe brings the vibrancy of urban art scenes currently found in London, Paris, and Milan into the Chelsea gallery setting, through newly created original works and site-specific installation pieces. The six talented artists in this show each have their own individual aesthetic, form of medium, and means of expression. Together they will transform the gallery using a variety of materials including paint, wheat paste, stencil, mosaic tile and digital animation—merging techniques and traditions, from the old and new world. Street Art culture has grown from its graffiti roots over the past few decades and has since evolved into a global movement. Often conveying political or social commentary, the intent of many Street Artists is to create an open message to society, introduce unconventional ideas to the general public and engage the masses. When European artists—influenced by American Graffiti and Hip-Hop culture—first began to experiment in the streets of their own cities, their approach naturally translated into distinctly different techniques, in contrast with those found in the US. Street Artists in European cities developed applications that would compliment the classical architecture of their native environment, within the context of their own urban landscapes. Jonathan LeVine Gallery’s goal in organizing this series of International Street Art exhibitions (First Brazilian, and now European) is to help create a visual dialogue within our global community, a creative exchange of ideas that transcend class and cultural differences, while crossing geographical borders. The objective is to promote freedom of expression through exposing new artwork to people in different cities worldwide.
Featured Artists
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Invader Blek le Rat D*Face |
Blu Microbo Bo130 |
See the THE STREETS OF EUROPE Exhibit
Chris Mars
New Salem
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
October 20, 2007 through November 17, 2007NEW YORK, NY (October 2007) – American artist Chris Mars debuts more than 25 new works in his exhibition New Salem, opening at Jonathan Levine Gallery in New York City on October 20, 2007. The paintings, all created this year, reflect themes of political persecution and corruption, interpersonal unity and cruelty, condemnation, redemption and hope by use of Mars’ stunning technical control of his medium, and his wrenching empathy relative to world events. Mars’ personal vision was borne of his intimate childhood experience with mental illness. When Mars was a small boy, his oldest brother was diagnosed with schizophrenia and institutionalized. He witnessed the cruel response of society, denial from his own family, and the prison-like corridors of the state hospital where his brother was held captive, probed, and drugged. This traumatic experience struck him profoundly. An oeuvre that began in championing the misunderstood, over-medicated and under-cared for wards of the medical establishment found a natural evolution into the championing of all those who are misunderstood or persecuted. At times, New Salem evokes a call for understanding, warmth, and sympathy. Yet more searing testimony is portrayed as well with a shift in tone from urging comfort for the Victim to a proposed unmasking of the Perpetrator. The artist himself holds strong social and political beliefs but feels the presentation of “truth” in his work is limited, as it is still a very personal one. Mars does not profess to offer objectivity – merely the honest inspection of himself relative to his environment. He does not teach, but rather reveals. Says Mars: “I’m just tattling, not holding trial.” He considers individual interpretation a crucial element in his work. “My goal is to generate consideration and create dialog, in hopes that thinking about something, talking about it, and considering it, can lead to peace – personally, socially, or politically. I seek to generate an authentic emotional response, then to analyze it, then see if the emotional response is an appropriate one. I want a viewer to feel. I always want a viewer to think about how they feel, and why.” As of the date of this release, it is not known whether the rather reclusive Mars will be in attendance at the opening reception of New Salem. ABOUT THE ARTIST The work of Chris Mars has been exhibited at Museums such as: The Minneapolis Institute of Art, The Minnesota History Center, The Longview (Texas) Museum of Fine Art, The Erie Art Museum, The Steensland Art Museum, The Frederick Weisman Art Museum, The American Visionary Art Museum and Art Center of South Florida. His work is also held in numerous prestigious public and private collections. Once known best as a musician, Mars was a founding a member of The Replacements, and after their demise recorded four highly-touted solo albums. He dedicated himself to the visual arts rather exclusively by the mid-1990s. Tolerance, Mars’ debut monograph featuring over 100 of his paintings, will be released in late spring of 2008. The artist says, “It’s a ‘green’ book. Published using vegetable-based inks, on recycled, bleach-free paper. It was not made by slaves, the printing costs do not sponsor State tyranny, no child’s hands will have sewn the binding. It’s green and it’s fair-trade. It took a while to make that happen. I think I’m as proud of that as I am of the work inside it.”
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Chris Mars |
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See the Chris Mars
New Salem Exhibit
Mark Dean Veca
Imbroglio
Project Room
Solo Exhibition
Jonathan LeVine Gallery
October 20, 2007 through November 17, 2007NEW YORK, NY (October 2007) – Jonathan LeVine Gallery is pleased to announce Imbroglio, a solo exhibition by Mark Dean Veca. This will be the artist's first solo show at Jonathan LeVine Gallery and his most ambitious New York exhibition to date. For Imbroglio, Veca presents 17 new paintings on panel which will be incorporated into an all-encompassing installation. In his latest body of work, Mark Dean Veca continues to explore the unification of opposing elements- high vs. low, elegant vs. vulgar, masculine vs. feminine, micro vs. macro, figure vs. ground, all with humor and playfulness. Using the French Rococo textile pattern known as Toile de Jouy as a compositional infrastructure, Veca improvises a phantasmagoria of pop iconography, cartoon abstraction, art history, biomorphic psychedelia, and sexual innuendo. John Belushi, Jimi Hendrix, and Colonel Klink mingle with Koons’s Rabbit, Tennessee Tuxedo and Viagra, while the Three Stooges schmooze with AC/DC over by the mushroom cloud. This overload of visual stimuli is finely rendered with brush and ink under the influence of Underground Comix, Phillip Guston, Mad Magazine, Franz Kline, and Dr. Seuss. The resulting round and oval-shaped panels are then seamlessly integrated into a site-specific wall drawing where, as Carlo McCormick wrote of Veca’s previous installations, “confines create ideas, obstacles dictate illusions, and the proliferation of optic information ignites a kind of brain-searing explosion.” ABOUT THE ARTIST Mark Dean Veca was born in 1963 in Shreveport, Louisiana, and received his BFA in Painting at Otis Art Institute in Los Angeles, CA. He currently lives and works in Brooklyn, NY. His work has been shown throughout the United States, Europe, and Japan at institutions such as PS1/MOMA, The Drawing Center, The Brooklyn Museum, The Aldrich Contemporary Art Museum, and Yerba Buena Center for the Arts. Reviews of Veca's work have appeared in numerous publications including The New York Times, Juxtapoz, Artforum, Art in America, and Flash Art. He has received numerous awards including fellowships from The New York Foundation for the Arts in 1998 and 2002, as well as a grant from The Pollock-Krasner Foundation in 2006.
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Mark Dean Veca |
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See the Mark Dean Veca
Imbroglio Exhibit
Jeff Soto
Storm Clouds
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
September 8, 2007 through October 6, 2007NEW YORK, NY September 2007 – Jonathan LeVine Gallery is proud to announce Storm Clouds, a solo exhibit of new works by Jeff Soto and the artist’s second major show at the gallery. Storm Clouds features over thirty new works on wood panel and paper, as well as large-scale installations that will focus on the theme of politics, fear, and fatherhood. Storm Clouds is Jeff Soto’s most politically charged exhibition to date. For Storm Clouds, Jeff Soto explores his predominant fears and anxieties over his daughter’s future, the civil war in Iraq, and the United States policies on environmental conservation. Soto’s concern for the American population’s indifference and a general disconnection to global affairs are motivating factors behind his overtly mature subject matter. Storm Clouds is ripe with metaphors that allude to the fate of the planet should neglect and indifference prevail. Soto’s expressive narratives evoke inherent contradictions, crossing between notions of a precarious and fragile natural world on the brink of extinction with one that is an indestructible, organic mass. Executed with a sophisticated mélange of graffiti and mixed media techniques, Jeff Soto’s paintings permeate with influences of popular culture, science fiction, and memories of nuclear war. Illustrating these notions, Soto creates a futuristic world where ominous clouds dominate, exotic plants struggle to survive, and colored prisms symbolize hope amidst desolate landscapes. Soto’s creatures, floating gardens, and religious symbols exist in entangled masses, revealing a civilization’s decline, destruction, and efforts to regenerate. In this surreal universe, an inevitable ice age has befallen, humans are extinct and fantastic robotic creatures flourish. Swarms of oil-like cloud formations expand on themes of death and decay, while subtle and bold use of text emphasizes the artist’s most intense trepidations and desires. “I wish more Americans would take a stand, get educated and try to make a difference,” states Soto. “I know making paintings is like preaching to the choir, most fans of my art are aware of what’s going on a global level. But I might be able to reach a few open minds here and there. That's why there's always a hint of optimism in my paintings. I think we can make things better somehow.” ABOUT THE ARTIST In 2002, Soto graduated with Distinction from Art Center College of Design in Pasadena, California. Jeff Soto has illustrated for record companies, skateboard magazines, book publishers and advertisers. His client list includes Sony Music, Warner Bros., Wired, Entertainment Weekly, Disney Adventures and Outside Magazine. Recent exhibitions include Supernova, Jonathan LeVine Gallery, New York, NY and We’ll Make A Lover of You, ArtCenter of South Florida, Miami, FL. He has been featured in fine art and popular culture publications including, Artweek, Juxtapoz, American Illustration, Communication Arts, Beautiful Decay, and Lodown Magazine. In 2002, Soto graduated with Distinction from Art Center College of Design in Pasadena, California. He currently lives in Riverside, California, with his wife Jennifer and daughter Shannon.
Featured Artist
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Jeff Soto |
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See the Jeff Soto
Storm Clouds Exhibit
Jim Houser
asobviousasaskull
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
September 8, 2007 through October 6, 2007NEW YORK, NY September 2007 – Jonathan LeVine Gallery is please to present asobviousasaskull, a solo exhibit of new works by Jim Houser. This is the artist’s second major solo show at the gallery and will feature an installation of paintings, sculptures, and a large-scale mural featuring a collection of painted wooden panels. For this exhibition, the artist will debut original composed music to create a visceral experience for the viewer. For asobviousasaskull, Houser continues to translate an acute awareness of words and sensitivity to his surroundings through his art. Working in a style of free-association, Houser creates profound and uplifting poetry, which renders his art carefree and innocent. Houser’s fascination with word association parlays to a distinct aesthetic and mode of communication — a new visual language. Choosing words that interest him, either for their visual or aural properties, Houser is concerned with transcribing subjective elements through a basic vocabulary of images. Each work is related through theme, color, and text, forming a deep-coded composition, where the viewer activates a dialogue and participates in a seemingly complex narrative. Structured compositions and harmonious color palette enhance the curious nature of meticulous and refined renderings in Houser’s paintings. Houser’s controlled line, flat color and sectioned narratives reveal a heightened precision, yet are distinctly handmade. Comprised of a system of ideas and methods, Houser’s work is a catalogue of his active observations and experiences transferred to multiple forms of tangible surfaces and objects, including painted sculptures on wood, clay and cast stone. These recognizable objects, removed from their everyday use and reworked into a playful narrative, adopt new meaning. The result is a body of work that is extremely personal and accessible, rich with iconography of word, phrase, and symbol fused seamlessly together to illustrate the human condition. “That’s how I wanted to present my work,” explains Houser, “in the context of the world that I occupy. All my influences are present there.” ABOUT THE ARTIST Jim Houser lives and works in Philadelphia, PA. Recent exhibitions include, The Beating Heart Acts as a Time, Painted Bride Art Center, Philadelphia, PA, We’ll Make A Lover of You, ArtCenter of South Florida, Miami, FL, and systemsanderrors, Jonathan LeVine gallery, New York, NY. Houser's work is in the permanent collection of the Philadelphia Museum of Art. Houser’s work has been published in Rolling Stone, Los Angeles Times Magazine, Anthem, Flaunt, Modern Painters, Paper, Los Angeles Times, and Juxtapoz magazine He has created design work for Toy Machine, Designarium, and Nike. In 2005, Ginko Press published Babel, a book cataloging Jim Houser's life in the arts. For F
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Jim Houser |
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See the Jim Houser
asobviousasaskull Exhibit
Souther Salazar
Space Cadets
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
June 23, 2007 through July 21, 2007Jonathan LeVine Gallery is proud to announce Space Cadets, a solo exhibit of new works by Souther Salazar. This show will be the artist’s first solo show at Jonathan LeVine Gallery and his largest exhibition to date. Souther Salazar presents an alternate universe, where nothing is realistic and yet everything is familiar. His exhibition includes large-scale mixed media works on panel, ink renderings on paper, and sculptures created using a variety of materials and found objects. For Space Cadets, Souther Salazar explores the nature of reality versus the imagination, two intangible realms to create an adventurous new world. Salazar creates characters and environments executed in a stream-of-conscious style to convey a constructive creative process associated with daydreaming. He simultaneously focuses on creating rich details of recognizable things, including weeds, antennas, and chimneys, to draw the viewer between an inner space and a familiar place. For Salazar, what one perceives as a lack of focus, or being “spacey”, is conversely an acute sense of the time and space in which they exist. Salazar switches from modes of extreme control in his process to inviting chance and flux, creating a heightened state of these dueling realities. He juxtaposes highly detailed and tactile works of layered collage, acrylic, paper, ink and pencil with simplified characters and forms, celebrating spontaneity and the process of exploration with medium and subject matter. To further draw the viewer into his creations, interpret and create new narratives, Souther expands his stories from existing in a two-dimensional plane to sculpture form. An installation of paintings in boxes and shelves with figures made of paper mâchè and fire-baked clay, invites the viewer to discover hidden stories whose narratives multiply upon further inspection and use of our imagination. ABOUT THE ARTIST Souther Salazar's work first began to circulate in the early 90's, in the form of photocopied cut-and-paste microcomics and 'zines made in his bedroom as a young teenager in rural Oakdale, CA. After graduating from Art Center College of Design in Pasadena, CA, he moved to Los Angeles. Souther Salazar exhibits his collages, paintings, drawings and sculptures in dense and frenzied installations that encourage exploration and participation by the viewer. His work has appeared in galleries in New York, Los Angeles, Portland and Tokyo, and in publications such as Kramers Ergot, Swindle and The Drama and a recent cover feature in Giant Robot.
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Souther Salazar |
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See the Souther Salazar
Space Cadets Exhibit
Shepard Fairey
E Pluribus Venom
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
June 23, 2007 through July 21, 2007DUMBO Installation Space Opening Reception: Thursday, June 21st, 7pm – 11pm, 81 Front Street Brooklyn, NY 11201 Exhibition on view Thursday, June 21 – Saturday, July 7, open Wed-Sun from 11-7 Jonathan LeVine Gallery: Opening Reception: Saturday, June 23rd, 5pm – 9pm, Jonathan Levine Gallery, 529 West 20th Street, 9th floor, open Tues-Sat from 11-6 For Transportation directions and additional information about the Dumbo exhibition please click here _____________________________ Jonathan LeVine Gallery is proud to announce, E Pluribus Venom, a solo exhibit of new works by Shepard Fairey. This show will be the artist’s first solo show at Jonathan LeVine Gallery and will feature a second, off-site exhibition space for the artist to exhibit large-scale installations and murals on wood and canvas. Shepard Fairey’s provocative collection includes politically charged paintings, screen prints, stencils, album covers and mixed media pieces rich with metaphor, humor and seductive decorative elements. E Pluribus Venom, which translates “out of many, poison,” is derived from E Pluribus Unum (out of many, one) an early motto adopted by the U.S. government, which appears on U.S. coins and dollar bills. For Shepard Fairey, many becoming one, or a loss of power and the influence of the individual in favor of homogeny is a symptom of a society in decline. E Pluribus Venom entails a two-fold metaphor: referring to the poison in the American system and the individuals who are motivated by venom and have anger towards this system. The exhibition is comprised of artworks designed to scrutinize the dichotomy of symbols and methods associated with ideologies of the American Dream. Fairey’s artwork comments on underpinnings of the capitalist machine, critiquing those who support blind nationalism and war. Fairey addresses monolithic institutional authority, the role of counter culture, and independent individuals who question the cultural paradigm. Utilizing currency motifs and a Norman Rockwell aesthetic, Fairey employs the graphic language of the subjects they critique. Blending Art Nouveau, hippie, and revolutionary propaganda styles, he celebrates subjects advocating peace. His works blur the perceived barriers between propaganda and escapist decoration, political responsibility and humor with the intent of stimulating both viscerally and intellectually. ABOUT THE ARTIST Shepard Fairey was born in Charleston, SC, in 1970 and currently lives and works in Los Angeles. In 1989, as a student at the Rhode Island School of Design, Shepard Fairey launched his ambitious street campaign of stickers featuring Andre the Giant. Fairey became an internationally known artist using the slogan “The Medium is the Message” in his “Obey Giant” street campaign. Since then his propaganda has become something of an anomaly and design empire, encompassing stickers, clothing, skateboards, posters, stencil based graffiti and film. Founder of Studio Number One, a design firm in Los Angeles, Fairey has worked with numerous high-level corporate accounts and recently co-founded Swindle magazine. In 2005 Fairey was a resident artist at Honolulu’s The Contemporary Museum, as well as designing the poster art for the feature film Walk the Line. In 2006, Fairey contributed eight vinyl etchings to a limited-edition series of 12" singles by alternative rock icons Mission of Burma, and has also produced work for Interpol and the Black Eyed Peas. Fairey’s work has been exhibited in numerous museums and collections including The New Museum of Design, New York, NY; San Diego Museum of Contemporary Art, San Diego, CA; Baltic Center for Contemporary Art, New Castle, UK; Museum of Modern Art; Victoria & Albert Museum, London, UK; and The Los Angeles County Museum of Art. Recent gallery exhibitions include Merry Karnowsky Gallery, Los Angeles, CA, White Walls Gallery, San Francisco, CA, Tokyo Wonder Site, Tokyo, Japan; Galerie du Jour Agnès b and Galerie Magda Danysz, Paris, FR; and Maxalot Gallery, Barcelona, Spain. In 2005, Time Magazine featured Shepard Fairey in a photo essay, Art of The Street. His book, Supply and Demand: The Art of Shepard Fairey was released in July of 2006. Numerous articles have been written about Shepard Fairey and have appeared in well-know publications, including The New York Times Magazine, GQ magazine, Los Angeles Times Magazine, Art Papers Wired, Print Magazine, Juxtapoz, Creative Review, WAD Magazine, Philadelphia City Paper, Tokion Magazine, and Details Magazine. DUMBO Installation Space: Opening Reception Thursday, June 21st, 7 - 11pm. Exhibition on view until July 6th. 81 Front Street (@ corner of Washington St.) Brooklyn, NY 11201. Featuring 14 foot installations and additional art pieces by Shepard Fairey Th
Featured Artist
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Shepard Fairey |
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See the Shepard Fairey
E Pluribus Venom Exhibit
Shepard Fairey
E Pluribus Venom
Installation space
Dumbo, Brooklyn
http://www.jonathanlevinegallery.com/shepardfairey
Jonathan LeVine Gallery
June 21, 2007 through July 6, 2007Featured Artist
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Shepard Fairey |
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See the Shepard Fairey
E Pluribus Venom Exhibit
Vitche
Equilibrium
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
May 12, 2007 through June 9, 2007NEW YORK, NY (April 14, 2007) – Jonathan LeVine Gallery is pleased to present Equilibrium, Brazilian native Vitche’s first solo exhibition in New York. The show will feature a large collection of paintings, sculptures and an installation. The exhibition will be on view from May 12th through June 9th, 2007. An opening reception will be held on Saturday, May 12th from 7pm to 9pm. For Equilibrium, Vitche explores how the relationship between man and nature has been lost in modern society. He incorporates themes of politics, nature, ancient cultures and the human condition to formulate questions of environmental consciousness. “To me every ancient culture has an intimate connection with the earth’s spirit.” Combining stylistic elements and techniques of graffiti and sculpture, Vitche channels his life experiences and influences of Brazilian culture to revive the primitive energy of forgotten civilizations. Vitche translates iconography of religion, rituals, and sacred symbols to create a rich and complex dialogue of culturally significant visual narratives. Influenced by Polynesian and Aztec cultures and Brazilian Indians, he references figural characters and animals in his work. For his installation, Vitche illustrates ancient and modern energies colliding on a large-scale. A dragon, symbolizing the modern-age, battles with a tranquil dream world. The essence of materials and color is paramount in Vitche’s work. Transforming materials from one state to another, using found wood objects from the street; he expands the connection between the material’s origin, urban environment, and new medium. Red, black, and white often dominate his work, symbolic of life’s more trivial qualities, while green is frequently present, representing the void of such color in city streets. Through these contradicting methods, Vitche creates concern for modern society’s rapid development and change. ABOUT THE ARTIST Vitche is a painter, sculptor and graffiti artist based out of São Paulo, Brazil. He has developed a diverse style, describing himself as abstract, political, and lyrical, equating his artistic process with that of being alive. He uses his work to fill voids and change what he does not like in a given setting. Vitche allows his materials and urban environment to inspire him whether he is working in the streets or in his studio. Each setting provides a different point of view as he lets his imagination create a visual reality with accompanying narratives. As a child, he used found objects like wood, canvas, and metals to create new pieces and stories as he still does today. Vitche continues to be as original as possible by stepping away from popular graffiti content like hip-hop to the unexpected genre of the circus as well as extending his medium to include photography. His work is internationally recognized. Most recently, Vitche exhibited in Cuba’s Urban Panel Project, Los Angeles’s Scion Gallery, and San Francisco’s Upper Playground. In March an exclusive interview with Vitche was published in Juxtapoz magazine. The
Featured Artists
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TBA |
Vitche |
See the Vitche
Equilibrium Exhibit
AJ Fosik
At the Edge of Town
Gallery I
Solo Exhibition
Jonathan LeVine Gallery
May 12, 2007 through June 9, 2007NEW YORK, NY (April 16, 2007) – Jonathan LeVine Gallery is please to present an exhibition of new mixed media sculptures by AJ Fosik. This will be Fosik’s second exhibition at Jonathan LeVine Gallery, his first solo show and largest exhibition to date. The exhibition will be on view from May 12 through June 9, 2007. An opening reception will be held on Saturday, May 12th from 7pm - 9pm. Drawing inspiration from his background creating street art and signage, Fosik’s work possesses wit, humour, and raw subversiveness. For At The Edge of Town, Fosik creates eclectic and intricately designed animal sculptures and paintings using wood and found materials. He handcrafts each form, which often involves a painstaking process of arranging hundreds of pieces of individually cut, varnished, and painted wood in vibrant color patterns. Sculptures are mounted or constructed as freestanding forms, alluding to modern taxidermy practices. Fosik’s uncanny representation of man-made animals, and absurd notion of preservation of such artificial creatures, parlays to Fosik’s playful discourse. Fosik embraces the kitschy elements of taxidermy, presenting his sculptures in various poses, echoing that of popular displays offered as hunting trophies. Through a process evocative of American Folk Art, Fosik renders his animals as simultaneously unnatural and anthropomorphized beings. He explores the powerful medium of language and metaphor to emphasize narrative and interpretation. A cluster of cultural icons and familiar imagery stemming from Americana is, in fact, merely a series of paradoxes. For some creatures he renders them half animal, half human with rifle in hand. Viewers are confronted with cryptic symbols from overlapping sources, both traditional and contemporary, which intrigue and provoke. Fosik engages the viewer and evokes questioning of familiar concepts, creating a dynamic tension where art and viewer come together in an expanded definition of culture and assumption. ABOUT THE ARTIST AJ Fosik studied illustration at Parsons School of Design and graduated in 2003. An avid traveler, Fosik prefers the experience of foreign and constantly changing environments. Fosik’s work has been published in SWINDLE magazine The New York Sun, Wooster Collective, Ideal Digital, and Juxtapoz magazine.
Featured Artist
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AJ Fosik |
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See the AJ Fosik
At the Edge of Town Exhibit
Andy Kehoe and Matt Haber
Trouble, Pass Me By
Project Room
Two person exhibition
Jonathan LeVine Gallery
May 12, 2007 through June 9, 2007NEW YORK, NY (April 16, 2007) – Jonathan LeVine Gallery is proud to announce, Trouble, Pass Me By, a two-person exhibit of new pieces by Matt Haber and Andy Kehoe. This show will be the first opportunity for both emerging artists to exhibit a larger repertoire. It is Matt Haber’s largest show to date and Kehoe’s first show at Jonathan LeVine Gallery. Both artists explore themes of moral conflict through character-based work. The exhibition will be on view from May 12th through June 9, 2007. An opening reception will be held on Saturday, May 12th from 7pm to 9pm. For Trouble, Pass Me By, Matt Haber expands his universe of whimsical characters to include gods at war with mortals in an exploration of the human experience. He utilizes his interest in storytelling and metaphor to express an interminable cycle of human greed, revenge, and malice. Theatrical settings inhabited by characters including circus strongmen, dinosaurs, sea life and sorcerers are juxtaposed with violent imagery. Mortals ultimately prevail, decapitating the heads of immortals, a metaphor for destroying supreme indulgence. Haber’s continuous narratives weave and overlap, symbolic of a child’s perspective and moments of acute psychological and emotional awareness. To heighten this allegorical state, Haber flattens and simplifies his composition, utilizing a technique reminiscent of folk art and hand painted Greek and Roman vessels. Andy Kehoe provokes ambiguity in his paintings and explores an interaction between figures and their natural surroundings, as well as the contrast between natural beauty and human ugliness. To escape personal anxiety, Kehoe paints isolated and seemingly peaceful scenes complete with monochromatic pastoral environments. However, undertones of unease and conflict permeate his work. Animals and human figures symbolize power, anxiety, truth, and fear. The characters play out Kehoe’s emotions and his observations. Recurring characters in Kehoe’s work includes the two-headed crow, or "King Crow" who is the ruler of the land and his sons, the politicians who fight over power. Kehoe’s lion character is a fighter for truth, creating a balance of power, defeating the crooked and corrupt. Other new characters in his work include tax collectors and a figure Kehoe uses to embody himself. ABOUT THE ARTISTS Andy Kehoe currently lives and works out of Pittsburgh. He has shown in a number of group shows around the country, most recently in 2006, including Power in Numbers at Nucleus Gallery and Under the Table at Black Maria, both in Los Angeles, and Grand Union in Brooklyn NY’s Front Room. Kehoe’s illustration work includes such clients as The New York Times, The Progressive, Metropolis, and The Stranger. Matt Haber is a San Diego native who lives and works in Los Angeles and New York. He studied at RISD and worked with Walt Disney Animation and Fox Animation as a storyboard artist and assistant animator, all which have all helped to shape his insight into storytelling and colorful style. Haber develops a narrative tradition developed in cartoons and comic books to create character-driven works that reflect a range of emotion. The sweetness and innocence of his characters belies the mature, adult scenarios that they encounter. Haber has shown in numerous galleries across the country including his 2005 solo show, Hand holders, hold on, at Black Market Gallery in Los Angeles and several group shows including 2005’s Sometimes I Just Want a Hug and Fork in the Road at Jonathan LeVine Gallery, and I Know What Girls Want, I Know What Boys Like at Gallery 1988, Los Angeles. Haber has been published in Juxtapoz Magazine and Flavorpill.
Featured Artists
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Matt Haber |
Andy Kehoe |
See the Andy Kehoe and Matt Haber
Trouble, Pass Me By Exhibit
Dalek:
Desperate, Rejected & Angry
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
March 31, 2007 through April 28, 2007NEW YORK, NY – Jonathan LeVine Gallery is proud to announce Desperate, Rejected & Angry, a solo exhibition of new paintings by DALEK. The exhibition will be on view from March 31st through April 28, 2007. An opening reception will be held on Saturday, March 31st from 7pm - 9pm. For Desperate, Rejected & Angry, DALEK formulates shapes found in the natural and mechanical world to create a continuous, abstract narrative. Drawing on wood panel and then painting in a dramatic color scheme, DALEK’s familiar characters form a subtle dialogue juxtaposed with darker backgrounds. For his new works, DALEK achieves a delicate balance of form amidst a hostile, violent and bleeding world. Each painting becomes an excerpt for an ambiguous story, unfolding notions of human survival. DALEK (aka James Marshall) is a Brooklyn-based artist. His Space Monkey character was born out of graffiti, but quickly transcended the genre into paintings, toys, silkscreens and housewares. A self-taught painter, DALEK discovered graffiti in 1994 in the rail yards of California and later Chicago. In addition to working as an assistant to Takashi Murakami, DALEK’s work has been shown in galleries across the United States and in Japan, England, Canada and France. He has also exhibited in London’s Apart Gallery and in the Museum of Contemporary Art in Washington. DALEK received a BFA from the Art Institute of Chicago in 1995. In 2003, Gingo Press published DALEK – Nickel Plated Angels, written by Roger Gastman. His work has been featured in numerous publications, including Tokion Magazine, NY Press, deviantART, Sacramento News and Review, Juxtapoz magazine, Art Week, Art Papers, Wall Street Journal, Rolling Stone, and NYArts Magazine.
Featured Artist
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James Marshall (Dalek) |
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See the Dalek:
Desperate, Rejected & Angry Exhibit
Mario Martinez (Mars-1)
Aerodynamics for Psychonauts
Gallery II
Solo Exhibition
Jonathan LeVine Gallery
March 31, 2007 through April 28, 2007NEW YORK, NY – Jonathan LeVine Gallery is proud to announce Aerodynamics for Psychonauts, MARS-1’s first solo exhibition at Jonathan LeVine Gallery. The exhibition will be on view from March 31st through April 28, 2007. An opening reception will be held on Saturday, March 31st from 7pm - 9pm. MARS-1 invites the viewer to use their own imagination to develop storylines from his paintings in Aerodynamics for Psychonauts. Creating nearly a dozen new, large-scale works in acrylic and gouache, MARS-1 focuses on bringing intangible realms into existence. He explores what he describes as “the sixth sense, or extra-sensory perception and levels of reality,” filtered out by the mind in modern society. He grasps these abstract qualities of existence through his ethereal landscapes. “With so much that we don’t understand, it’s easy to put blinders on and have a narrow view of what we perceive instead of keeping the mind open.” Expressing these thoughts onto his wood panel surface, MARS-1 creates a mysterious, multi-dimensional realm with both familiar and unfamiliar spaces to explore. To heighten this awareness for the viewer,MARS-1 creates a wall mural and sculptural installation. His sculpture, made of resin has a shell of approximately an inch and a half, painted with an organic pattern of dark to light gradients. MARS-1 (aka Mario Martinez) is heavily active in San Francisco’s contemporary art scene where he lives with his wife, fellow artist Mikas. He began his career at the early age of 13, doing graffiti in his hometown. MARS-1 moved on to airbrushing and began to paint on canvas at the age of 20. Since then, his work has expanded to include sculpture, books, skateboard decks and designer toys. Past exhibitions at Jonathan LeVine Gallery include two group shows in 2005: Fork in the Road and Pop Pluralism. MARS-1’s has been published in SHIFT Japan, Artbusiness.com, StrangeCO, Juxtapoz, Hi-Fructose, IdN magazine, WAD, and Mass Appeal.
Featured Artist
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Mario Martinez (Mars-1) |
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See the Mario Martinez (Mars-1)
Aerodynamics for Psychonauts Exhibit
Jonathan LeVine Gallery's
16th Annual Swap Meet
Project Room
Group Exhibition
Jonathan LeVine Gallery
March 31, 2007 through April 28, 2007Jonathan LeVine Gallery’s 16th Annual Swap Meet brings together thirteen represented and emerging artists for a group show in the new Project Room. The group exhibition willprovide an opportunity for talented young artists to exhibit alongside some prominent gallery artists inspired by illustration, comics, and fine art. Through this juxtaposition, viewers will enjoy a cornucopia of eclectic styles from contemporary artists emerging out of a burgeoning art movement. The roster of talent includes: Xiaoqing Ding, Ron English, Catalina Estrada, Erik Foss, Andrew Foster, Gibby Haynes, Foi Jimenez, Josh Keyes, Jack Long, Tara McPherson, Nouar, Daniel Peacock, Mark Dean Veca, and Damian Weinkrantz.
Featured Artists
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Mark Dean Veca Erik Foss Eric White Daniel Peacock Nouar |
Tara McPherson Catalina Estrada Andrew Foster Xiaoqing Ding Gibby Haynes |
Foi Jimenez Josh Keyes Jack Long Damian Weinkrantz Ron English |
See the Jonathan LeVine Gallery's
16th Annual Swap Meet Exhibit
Ruas de São Paulo:
A Survey of Brazilian Street Art
Presented in association with
Choque Cultural Gallery
Artists Include: Boleta, Fefê, Highraff
Kboco, Onesto, Speto, Titi Freak, Zezão
Jonathan LeVine Gallery
February 17, 2007 through March 17, 2007EIGHT BRAZILIAN STREET ARTISTS TRAVEL TO NEW YORK FOR LANDMARK EXHIBITION IN NEWLY EXPANDED GALLERY SPACE NEW YORK (January, 2007) — On February 17, 2007, Jonathan LeVine Gallery, in association with Choque Cultural Gallery, presents Ruas de São Paulo: A Survey of Brazilian Street Art From São Paulo, featuring artists Boleto, Fefê, Highraff, Kboco, Onesto, Speto, Titi Freak, and Zezão. This landmark exhibition will be on view through March 17, 2007 in a newly renovated and expanded gallery space, which will cover approximately 4500 square feet, creating an arena for one of the largest events ever to take place at Jonathan LeVine Gallery. An opening reception will be held on Saturday, February 17, from 6p.m. to 9p.m. at Jonathan LeVine Gallery. Ruas de São Paulo allows eight Brazilian street artists to present their non-traditional painting styles and native culture. Choque Cultural Gallery, based in São Paulo, will collaborate on this exhibition of contemporary Brazilian art, and explore Brazil’s graffiti heritage and influence on current South American mural art. Ruas de São Paulo will offer exposure for these talented artists in the art capital of the world, bringing recognition to a growing international graffiti art scene. For many of the artists, this will be their first time traveling to and showcasing their work in the United States. This will be the first group exhibition of its kind, a distinct collaboration between Jonathan LeVine Gallery and Choque Cultural Gallery. Video monitors featuring short video clips of interviews with artists, footage of site-specific murals in Brazil, as well as the Choque Cultural Gallery exhibition space and São Paulo artist community, will be on view. Choque Cultural Gallery’s pivotal role in creating an environment where artists congregate, collaborate, and share ideas, and the story of this “new Brazilian art” is explored in documentaries highlighting the vibrant lifestyle of the Brazilian street art scene. The film ‘Zezão's Art & Life' (55 minutes) will feature Baixo and Mariana Ribeiro, owners of Choque Cultural Gallery, who explain Zezão's creative process and the influence of his urban experiences in his fine art. Ruas de São Paulo captures the changing Brazilian urban landscape, raw and uninhibited graffiti scene, and is a snapshot of a thriving movement stemming from a rich political and poetic history. A city destroyed by pichação (markings originating from inner-city, impoverished neighborhoods), these young, innovative Brazilian muralists are now transforming, and beautifying, the city of São Paulo. The result is a hybrid of graffiti and mural art, a cultural reflection of contemporary São Paulo. Viewers can observe the influence São Paulo has had on each artist through their individual style, which combines a distinctly Brazilian aesthetic with talent, innovation, and imagination. Each of the eight artists will present more than a dozen individual works, including acrylic and spray-painting on wood, canvas, paper and found objects. ABOUT THE ARTISTS SPETO , at 34 years old, is one of Brazil’s most popular street artists. He attributes his visual style to hip-hop influences, local popular culture, and eclectic world styles. Speto’s original graffiti blends lines of traditional Brazilian northeastern woodcarving styles with sophisticated textures and figurative imagery. Working in variety of mediums, including murals, illustration, and graphics, he fuses modern techniques with Brazilian cultural heritage to create a distinctive form of street art. BOLETA 29, represents the psychedelic side of Brazilian graffiti. Influenced primarily by tattoo themes, the construction of his drawings results in an original style — rich with line work, colors, interesting forms and figures. FEFÊ TALAVERA , 27, graduated with a focus in fine arts, but found that street art was the fuel she was looking for to give more strength to her ideas. Her most well known work is made of gluing cut out letterings from popular concert-announcement posters found on almost every wall in São Paulo. Fefê also has an extensive vocabulary present in her paintings, drawings, and carvings. She is inspired by Mayan and Aztec mythologies, and Mexican heritage. ALEX HORNEST , 30, has a striking history in Brazilian graffiti. He has 72 different signatures, one for each working concept, which he identifies as “72 d.i.e.s.e.l.” The oldest signature, Onesto, is recognized primarily for portraits of fantastic beings. Alex Hornest blends these different visual codes and intertwines their styles to create stunning imagery. RAFAEL CALAZANS , 29, whose codename is Highraff, creates imagery of cities and colorful landscapes, with vibrant results. In his latest body of work, Highraff develops his drawings by adding a three-dimensional component. Through use of MDF material, he turns mural imagery into elaborate sceneries and sculptures. His process creates depth and design of monumental proportions. KBOCO , 27 years old, was born and raised in Goiânia, an innermost city of Brazil. His drawing style —— strongly influenced by his origins —— is more ornate and delicate than those found in the city São Paulo. He has developed an original calligraphy mixing arabesques and “pichação”. His styles has a strong decorative appeal resulting in elaborate paintings, full of layers, details and refined colors. TITI FREAK 32, draws inspirations from his Japanese heritage. His style fuses eastern and western cultures, where fashion, pop imagery, illustration, yo-yo, graffiti and comic strips intertwine. He maintains a curious spirit, through an exploration of painting surfaces and the creation of elaborate and densely patterned canvases. ZEZÃO , 34, is one of the leaders of Brazilian abstract graffiti. His trademark arabesques have roots in the Brazilian style of tagging letters called “pixação”. His most striking works are creations in the São Paulo sewer system and subterranean water ducts. ABOUT CHOQUE CULTURAL GALLERY Choque Cultural is a contemporary art gallery exhibiting pop, outsider art. Since its first exhibition in 2004, Choque Cultural Gallery has become a safe harbor for artists inspired by an eclectic mix of origins including tattoo, graffiti, graphic design and illustration. Choque Cultural is a contemporary art gallery exhibiting pop, outsider art. Since its first exhibition in 2004, Choque Cultural Gallery has become a safe harbor for artists inspired by an eclectic mix of origins including tattoo, graffiti, graphic design and illustration. Choque Cultural is based in São Paulo, Brazil — a city known for vibrant street art, talented graffiti artists, and culturally expressive art. All this creative energy ignites inside the gallery with its ever-changing environment. Each exhibition is a creative installation and reflection of the contemporary Brazilian street art movement. Choque Cultural has an important role in cultivating these emerging art forms and cutting-edge contemporary styles. Through fresh and unconventional programs, Choque Cultural receives a loyal following of young collectors and prominent recognition in the Brazilian contemporary art world.
Featured Artists
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TBA Fefê Zezão |
Hamilton Yokota (Titi Freak) Kboco Highraff |
Speto Alex Hornest Boleta |
RUAS DE SÃO PAULO:
A BENEFIT ART AUCTION
Sponsored by Brazil Foundation
and Jonathan LeVine Gallery
Jonathan LeVine Gallery
January 31, 2007 through January 31, 2007RUAS DE SÃO PAULO: A BENEFIT ART AUCTION Hosted by BrazilFoundation and Jonathan LeVine Gallery JANUARY 31, 2007: 7pm -10pm JONATHAN LEVINE GALLERY REPRESENTED ARTISTS AND BRAZIL FOUNDATION RAISE FUNDS FOR BRAZILIAN STREET ARTISTS’ CROSS-CULTURAL EXPERIENCE NEW YORK (January, 2007) — Jonathan LeVine Gallery and BrazilFoundation will host Ruas de São Paulo: A Benefit Art Auction on January 31, 2007 from 7pm to 10pm at The Newspace, located at 530 West 21st Street in Chelsea. The benefit is organized to raise funds for eight Brazilian street artists from São Paulo and Choque Cultural Gallery representatives to participate in a multi-tiered cultural immersion in New York City. Artists will raise awareness of Brazilian art and culture through community outreach and educational events. Projects include a public mural project, live painting demonstration and art exhibition, and Brazilian-themed celebrations. Proceeds from the event will go to BrazilFoundation and to support travel and lodging for the group of visiting Brazilian artists. The open-invite fundraiser will feature an open bar with beer and mixed drinks from Sambazon and Beleza Pura, music, a silent auction and an “equal opportunity” art raffle including prints, books and original pieces from Jonathan LeVine Gallery artists. Jonathan LeVine Gallery artists are donating works exclusively for this auction event to support this international arts community. The Silent Auction can be previewed online Monday, January 29th at www.jonathanlevinegallery.com/fundraiser. Online bidders can place their maximum bids until January 31st at 4:00pm, at which time the online auction will close. Auction participants at the event will have until 10pm to place their final bids. Admission is $30* (minimum donation) and includes a personalized "BrazilFoundation friend card." Besides contributing towards a better Brazil, cardholders will benefit from special rewards offered by the friends of BrazilFoundation campaign partners, including restaurants and business in New York City and others across the country. All door proceeds to benefit the BrazilFoundation. Capacity for this event is limited and pre-registration online via credit card is strongly encouraged to guarantee admittance. Admission at the door is cash only and will be on a space-available basis. Pre-register via the Friend of Brazil link on: http://brazilfoundation.org. Inspired by a trip to Brazil in April of 2006, Jonathan LeVine began orchestrating the project. This cultural exchange will provide opportunities for Brazilian mural painters to interact with other artists in the community,” commented Jonathan LeVine, “And for the public to learn more about Brazilian street art and culture.” ABOUT RUAS DE SÃO PAULO: A SURVEY OF BRAZILIAN STREET ART Ruas de São Paulo: A Survey of Brazilian Street Art, featuring artists Boleto, Fefe, Highraff, Kboco, Onesto, Speto, Titi Freak, and Zezão. This landmark exhibition will be on view February 17th through March 17, 2007 in a newly expanded gallery space, which will cover approximately 4500 square feet. An Opening Reception will be held on February 17th, 2007, from 6p.m. to 9p.m. at Jonathan LeVine Gallery. ABOUT BRAZIL FOUNDATION Mission statement: generating resources for programs that promote social change in Brazil. BrazilFoundation mobilizes resources and talent to contribute to the improvement of social conditions in Brazil. We act as a bridge between the U.S. and Brazil -- capturing donations from individuals and socially responsible corporations in the U.S. and transferring them to social programs throughout Brazil. We are building a new philanthropic network that can transform the lives of impoverished children and adults in Brazil, while simultaneously inspiring new strategies to combat Brazilian social problems. BrazilFoundation's goal is to finance and support projects that act in five areas: education, public health, human rights, citizenship and culture. From our offices in New York and Rio de Janeiro, BrazilFoundation accomplishes its mission through direct fundraising, educational events and project development. The foundation offers tax advantages to donors in the U.S. according to Section 501 (c) (3) of the U.S. Internal Revenue Code, which permits donations for charitable ends to be deducted from personal and corporate income taxes.
Featured Artists
See the RUAS DE SÃO PAULO:
A BENEFIT ART AUCTION Exhibit
David Choe
Gardeners of Eden
Solo Exhibition
Jonathan LeVine Gallery
January 6, 2007 through February 3, 2007Jonathan LeVine Gallery is proud to present Gardeners of Eden, David Choe’s first solo exhibition of paintings in New York. For Gardeners of Eden, David Choe will present the full range and scale of his versatile talent. Experimenting with mixed media, sculpture and painting, Choe’s exhibition is a culmination of recent adventures and powerful experiences. Inspired by being alive and loving life, Gardeners of Eden is a celebration of all acts undeniably human. For Choe, the creative process is part of the narrative journey. “I don’t even know what the outcome is gonna be, but that’s part of the process, the journey has been amazing so far. It’s going to be my last show for a long time, so I’m painting like a fighter getting ready for the title belt.” His multi-layered works are a combination of an innate desire to create and an uncontrollable raw energy. Working from memories from the last two years in prisons, African jungles, and hitchhiking across America, Choe transcribes these sights and tales into his art. Through rustic portrayals of eating, praying, crying, and dying, Choe explores cycles of regeneration in both the self and human nature as a whole. His love of animals and food, quest for peace and redemption, and obsession with sex surface through these strong narratives. Fascinated by the unpredictable outcome of fusing various mediums, Choe’s experimental techniques are a combination of chance, art, and alchemy. Inspired by the quickness and immediacy of the graffiti process, Choe transforms the gallery into a personal environment of idiosyncratic expression. Choe paints on canvas, paper and wood using a variety of materials including crayons, oil, house paint and latex, to acrylics, pens, watercolors, and spray paint. Choe’s restless creativity allows him to break ground in both subject matter and medium. Gardeners of Eden is an experimental platform for Choe within a gallery setting, marking a new direction for David Choe as already highly acclaimed fine artist.
Featured Artist
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David Choe |
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See the David Choe
Gardeners of Eden Exhibit
Jonathan LeVine Gallery at Bridge Art Fair
Artists: Andrew Brandou, AJ Fosik, Andrew Schoultz, and Matt Haber
Jonathan LeVine Gallery
December 7, 2006 through December 10, 2006JONTHAN LEVINE SWEEPS MIAMI New York Art Dealer Announces Participation in Bridge Art Fair ____________________________________________________________ MIAMI BEACH – (November, 2006) – Jonathan LeVine Gallery is pleased to announce participation in two cultural events in Miami this year during Art Basel to continue the gallery’s mission to provide artists with a nurturing arena for experimentation and discussion. First, Jonathan LeVine be exhibiting the work of Andrew Brandou, Ray Caesar, AJ Fosik, Matt Haber, Andrew Schoultz, Randall Sellers, Adam Wallacavage, and Mark Dean Veca at Bridge Art Fair (Catalina Hotel & Beach Club, 1732 Collins Avenue, Miami Beach), December 7 -10, 2006 (www.bridgeartfair.com), at Booth #114. ABOUT BRIDGE ART FAIR Art is our only criteria. Our focus is on emerging and new contemporary work in all media. This includes but is not limited to painting, prints, photography, sculpture, installation, drawing, film, video, new media and conceptual art. We encourage the pursuit of interplanetary travel, murder mystery scenarios, karmic conversion, stunt professionals, inductive reasoning, golems, commercial junk, hot rock, stunningly beautiful women in tiny cocktail dresses, live comedy, swarthy men in fast cars, gadgetry, human decency, subcultural trends, game theory, America and the newest in phaser gun technologies. The goal of the Bridge Art Fair, an international exposition of new art, is to broaden the exposure of emerging and contemporary art and artists by providing a cost-effective showcase for the best in new art from both established and emerging galleries, ateliers, storefronts, artist collectives and artist-run spaces.
Featured Artists
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Matt Haber Andrew Brandou |
AJ Fosik |
See the Jonathan LeVine Gallery at Bridge Art Fair Exhibit
We'll Make a Lover Of You
Group show Curated by Francesco LoCastro at Art Center/South Florida
Jonathan LeVine Gallery
November 25, 2006 through January 21, 2007JONTHAN LEVINE SWEEPS MIAMI New York Art Dealer Announces Participation in ArtCenter of South Florida Exhibition ____________________________________________________________ MIAMI BEACH – (November 15, 2006) – Jonathan LeVine Gallery is pleased to announce participation in two cultural events in Miami this year during Art Basel to continue the gallery’s mission to provide artists with a nurturing arena for experimentation and discussion. Aside from exhibiting at Bridge Art Fair at the Catalina Hotel, Jonathan LeVine Gallery is also co-presenting “We’ll Make a Lover of You: A Group Show of the New Movement,” curated by Francesco LoCastro at the Art Center South Florida gallery (800 Lincoln Road, Miami Beach) (www.artcentersf.org), held November 25, 2006 – January 7, 2007. An opening reception will be held Friday, December 8, 2006, from 7pm to 11pm. ArtCenter/South Florida presents curator and artist Francesco LoCastro’s We’ll Make A Lover Of You – an exhibition that explores the avant-garde urban contemporary and pop surrealism characteristic of the Lowbrow movement. Forty internationally renowned artists will show their paintings, installations and sculptures at the ACSF gallery (800 Lincoln Road, Miami Beach) from November 25, 2006 to January 21, 2007. The opening reception is slated for Friday, December 8, 2006 from 7:00 to 11:00 p.m. during Art Basel Miami Beach. The event is free and open to the public. “As a not-for-profit visual arts organization, our mission is to provide access to contemporary art and artists,” says Jeremy Chestler, Executive Director, ACSF. “We felt it important to host an exciting and dynamic exhibition of Pop Surrealist works during Art Basel in an effort to educate visitors about an under-represented and frequently misunderstood movement.” R. Grimes and Francesco LoCastro are collaborating to create a mural painting as the backdrop for all We’ll Make A Lover Of You’s artworks. In deviation from the traditional white walls typical of galleries, this colored canvas will be the connector between the hanging pieces, installations and the physical space. The ArtCenter will be transformed into a venue that can be admired as a whole or for the individual works within the composition. Exhibiting artists include Van Arno, Anthony Ausgang, Gary Baseman, Shawn Barber, Tim Biskup, Andrew Brandou, Ray Caesar, Colin Christian, Sas Christian, Richard Coleman, Dave Cooper, Curve, Dalek, Mike Davis, Cardiac Design, Ron English, Shepard Fairey, Doze Green, R. Grimes of FACTION, Alex Gross, Thomas Han, Jim Houser, Yumiko Kayukawa, David “LEBO” Lebatard, Kris Lewis, Travis Louie, Mars 1, Chris Mars, Scott Musgrove, Niagara, Anne Faith Nicholls, Kevin Peterson, Chris Ryniak, Todd Schorr, Nathan Spoor, Jeff Soto, Miss Van, Jonathan Weiner, Robert Williams and Francesco LoCastro. Exhibiting artists are showing their work courtesy of Merry Karnowsky Gallery, Los Angeles; Jonathan LeVine Gallery, New York City; The Shooting Gallery, San Francisco;Tony Shafrazi Gallery, New York City; and Francesco LoCastro. “Lowbrow is beginning to enter the realm of the highbrow art world and is quickly becoming the voice of our society – a unique phenomenon which has not been documented within the constructs of past movements” says LoCastro, We’ll Make A Lover Of You curator and artist. “The goal of this show is to add a new facet to Art Basel and to introduce South Florida, as well as the international art community, to a fresh era in art.” The Lowbrow movement is an underground visual art movement that arose on the West Coast of the United States sometime between 1950 and the late 1970s. Often associated with hot rods, auto pin-striping, original comics, punk, rock and roll, and pop cultures, LoCastro describes it as “fine art that speaks to everyone.” Today, Lowbrow works have evolved into a brilliant blend of street culture, graffiti, pop art and surrealism. Whether artists are classically trained or self-taught, this movement has created a voice whereby the rules of aesthetics are consciously neglected and broken. We’ll Make A Lover Of You illustrates how contemporary artistic mediums and movements blur, leaving little room for convention. We’ll Make A Lover of You was selected as part of the Juried Exhibitions program in Fall 2005. After-Party & Silk Screening Session R. Grimes of FACTION will be silk-screening live on Friday, December 8, 2006 at the We’ll Make A Lover of You after-party at The Catalina Hotel (1732 Collins Avenue, Miami Beach). Guests are encouraged to bring their own shirts as canvases or to purchase pieces from FACTION. The silk-screening session will take place from 11:00pm to 1:00 a.m. and the party will continue throughout the night. Book Signing On Saturday, December 9, 2006 from 6:00pm to 8:00pm, ACSF will be hosting a book-signing event at the 800 Lincoln Road Gallery. Several We'll Make A Lover Of You artists including Sas Christian, Gary Baseman, Niagara, Shawn Barber, Yumiko Kayukawa, Jonathan Weiner, Richard Coleman, Jeff Soto, LEBO, Ron English, and Dave Cooper have published their own books and will be present to discuss and sign copies. T-shirts, prints and memorabilia will be on sale in the merchant area of the front gallery space. Gallery Statement Established in 1984, ArtCenter/South Florida is a non-profit 501(C)(3) organization that provides subsidized studio and exhibition space as well as teaching opportunities for emerging and career artists in their facilities at 800, 810 and 924 Lincoln Road, Miami Beach. The mission of the ArtCenter is to advance the knowledge and practice of contemporary visual arts and culture in South Florida while providing affordable programming and work-space for professional artists. The ArtCenter/South Florida is open Monday through Thursday from 11:00 a.m. until 10:00 p.m. and Friday through Sunday from 11:00 a.m. until 11:00 p.m. For further information please call (305) 674- 8278 or visit the website at www.artcentersf.org.
Featured Artists
See the We'll Make a Lover Of You Exhibit
Shag:
Donna Con Bambino
Solo Exhibit
Jonathan LeVine Gallery
November 18, 2006 through December 23, 2006New York, NY November 2006 – For his first solo exhibition of new works at Jonathan LeVine Gallery, Donna con Bambino, Shag invites viewers into a playful, mysterious and ironic world. Juxtaposing pithy subject matter with larger, detailed paintings, Shag magnifies viewers’ consciousness and experience. Through his flat-plane technique, vibrant palette, and paradoxical narratives, Shag expands his sophisticated iconography. Shag’s abstracted works are the first exhibited series, marking a new direction and technique for the artist. For Donna con Bambino, Shag depicts his stylized, seductive women posed in lavish interiors accompanied by their pets — both unconcerned by the news of natural or man-made disasters airing live on their televisions. Surrounded by beautiful things, and enjoying life, these hedonistic women evoke aloofness in the face of disaster. The viewer is invited to study these blithe women and how they are reacting to, or not reacting to, the outside world. Shag’s series of detailed paintings expand on humor, irony, and theme, strengthening a visually linked narrative. By cropping each image, Shag’s rich textures and saturated colors heighten a mood of apathy and indifference, simultaneously mirroring the personalities of his charismatic women. Donna con Bambino, refers not only to the relationship of woman with her pet, but the sets of paintings themselves. Shag (a contraction of the last two letters of artist Josh Agle’s first name and the first two letters of his last) lives and works in Los Angeles. A graduate of California State University, Shag’s works are celebrated throughout the world including Japan, Australia, and Europe. Inspired by modern art and architecture of the 50s and 60s, his distinct style equates with a retro-cool pop aesthetic. Currently, Shag is working on a group of monumental paintings that will go into many of the historic modernist houses of Palm Springs. In 2007 Laguna Beach Art Museum will showcase a retrospective of his work. Jonathan LeVine Gallery exhibits a genre of work influenced by illustration, comic books, graffiti art and pop imagery. Our goal is to expand this genre beyond its Pop Surrealism or Low Brow roots and bring it to the forefront of contemporary art. With this goal in mind, we represent a mix of emerging and mid-career artists with an emphasis on cultivating new talent and creating an environment where artists can develop their work. The Jonathan LeVine Gallery is located at 529 West 20th Street, 9th Floor, New York, NY. Gallery hours are Tuesday through Saturday, 11am to 6pm. For more information, please call 212-243-3822, visit www.jonathanlevinegallery.com, or email info@jonathanlevinegallery.com.
Featured Artist
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Josh Agle (Shag) |
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See the Shag:
Donna Con Bambino Exhibit
Jonathan LeVine Gallery presents "Friendly Fire" at Berman-Turner Projects in California
Group show featuring works by Ray Caesar, Jonathan Weiner, Dan Kennedy, and AJ Fosik
Jonathan LeVine Gallery
October 14, 2006 through November 11, 2006New York, NY October 2006 – Friendly Fire: Four From The East, a group exhibition featuring works by Ray Caesar, AJ Fosik, Dan Kennedy and Jonathan Weiner, will be on view in at Berman / Turner Projects in Santa Monica, California, at Gallery C2 this October 14 through November 11th. An opening reception will be held on Saturday, October 14th, from 6:30pm to 8:30pm. Friendly Fire: Four From The East, addresses the geographic accessibility of four artists at the forefront of an expanding contemporary art movement. Curated by Jonathan LeVine of Jonathan LeVine Gallery, the exhibition offers exposure for these artists to a West coast audience and gives collectors and fans an opportunity to view new works up-close and in person. Friendly Fire: Four From The East will be the first West coast group show featuring the four New York represented artists. Caesar, Fosik, Kennedy and Weiner present individual themes, touching upon the mysterious, bizarre, and subconscious, foreboding threats and intricacies of the human psyche. The eclectic mix of artistic styles, seemingly clash in their juxtaposition and technique, yet create rich, overlapping narratives. Caesar’s mesmerizing digital renderings embody elements of childhood nostalgia, and mysteries of birth and rebirth—the core of art and creation. AJ Fosik presents folk art inspired sculptures and paintings representing images and iconography from past traditions, both real and fabricated. Kennedy’s pop culture icons in multi-layered construction illustrate the depths of the human collective unconscious. Weiner’s seductive characters amidst foreboding landscapes and peculiar domestic environments project elements of fear and anxiety. These stunning visual presentations are windows into the artists’ fascination with the complex human condition. Through narrative, adventure, and fantasy, they entice the viewer and engage the imagination, inviting us to look beyond what meets the eye. ABOUT BERMAN / TURNER PROJECTS Berman / Turner Projects is collaboration between long established art galleries Robert Berman Gallery and William Turner Gallery. They combine resources to work on events such as the L.A. International and share many local artists as well as mounting international exhibitions. Berman / Turner Projects is located at the Bergamont Station Arts Center, 2525 Michigan Avenue, C2, Santa Monica, CA 90404. Exhibition will be located at C-2 Gallery. For more information, please email berman@artnet.net or call, 310.315.1937 or visit www.bermanturnerprojects.com.
Featured Artists
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Ray Caesar Jonathan Viner |
AJ Fosik Dan Kennedy |
Isabel Samaras:
Ex Animo
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
October 14, 2006 through November 11, 2006Isabel Samaras "Ex Animo" Gallery IOn View October 14th - November 11th, 2006 Opening Reception Saturday October 14th, 2006 from 7 p.m - 9 p.m. New York, NY October 2006 – Jonathan LeVine Gallery is pleased to present Ex Animo, Isabel Samaras’ first solo exhibition in New York. In her series of narrative paintings, Samaras focuses on a new direction in her work, presenting a world where dark, elusive desires become reality. Samaras examines alternate realities, re-imagining gothic romances with happy endings. Ill-fated journeys turn into enchanting honeymoons and surprising love connections. For Ex Animo, Samaras replaces her recognizable TV characters with new personal models of expression. A hand, an abandoned and forgotten part of humanity, takes on a life of its own, or gets into mischief. Love and attraction, a reoccurring theme in Samaras’ work, are illuminated through symbols and storytelling. “I’m still presenting idyllic images since I still believe in the power of love to conquer all,” explains Samaras, “but it’s tinged with a bit more darkness.” For Samaras these alternate endings are pleasant antidotes to fictitious stories. She invites the viewer to be part of her humorous and heartfelt storytelling process. To explore the depths of human connection and creation of life, however terrifying, Samaras lures us into an uncharted world, both exciting and fearsome. Challenging the status quo of a typical fairytale, Samaras plays the part of sane scientist, creating works both tender and mysterious. Each painting functions as a portrait, whose seductive, grotesque, or alarming nature plays upon viewers inhibitions, reactions and natural impulses. Painting in an early 19th century style, Samaras attributes romantic and mischievous traits to her characters, incorporating symbols and portraiture that elaborate on traditional fairy tale motifs and recreate fantastic realms. A handsome man who holds the skull of a wolf replaces a menacing animal in Samaras’ version of Little Red Riding Hood. Inspired by science fiction and horror, especially James Whales ‘“Bride of Frankenstein”, Isabel Samaras applies classical technique to her contemporary works. A graduate of Parsons School of Design, her works of erotic, TV-related pop culture characters have been featured in Juxtapoz Magazine, Metropolitan Magazine, The San Francisco Examiner, NextMonet.com, Chico-Enterprise Record, Reflex, Axcess Magazine, Art Prostitute, Carbon 14, and International Tattoo Art Magazine. Works have also been published in Pop Surrealism: The Rise of Underground Art and Weirdo Deluxe: the Wild World of Pop Surrealism and Lobrow Art. Her work was featured in Jonathan LeVine Gallery’s 2005 opening exhibition in New York, Pop Pluralism.
Featured Artist
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Isabel Samaras |
|
See the Isabel Samaras:
Ex Animo Exhibit
Randall Sellers:
Clairvoyants and Other Survivors
Gallery II
Solo Exhibit
Jonathan LeVine Gallery
October 14, 2006 through November 11, 2006Randall Sellers "Clairvoyants and Other Survivors" Gallery II On View October 14th - November 11th, 2006 Opening Reception Saturday October 14th, 2006 from 7 p.m - 9 p.m. New York, NY September 2006 – For his first solo exhibition of new works at Jonathan LeVine Gallery, Clairvoyants & Other Survivors, Randall Sellers continues his meticulous exploration of drawings of imaginary landscapes and figures. Using .3mm mechanical pencils, filed down to a point on an emery board, Sellers’ impossibly miniscule landscapes are an exercise in concentration that pushes the limits of our visual experience. Clairvoyants & Other Survivors highlights a new direction for Sellers, including his most complex drawing to date, featuring delightful vignettes within inexplicable landscapes. Viewers will enjoy a playful exercise in ocular concentration using magnifying glasses provided at the exhibition. Sellers presents unreachable worlds that are both deeply personal and universal, juxtaposing fear, fantasy, and adventure in post-apocalyptic, exotic urban environments. Drawing from imagination, memory, and observation, Sellers’ landscapes are layered with multiple narratives. Curious renderings that surface from his subconscious include elegant women cavorting with men in suits amidst a backdrop of ruins, sci-fi towers, hillside grottoes, and abandoned airliners overgrown with weeds. Books, skulls and Minotaurs allude to symbolic references, however his miniature worlds remain unsolved mysteries. In creating quiet, conservative renderings, Sellers formulates oblique references to geopolitics and taboos, his fabricated worlds inviting contemporary cultural scrutiny. Through painstaking technique and detailed execution, Seller’s creates dense labyrinths, alternate universes with mythological undertones that evoke a cornucopia of uncertainties. Sellers’ early influences include Mad Magazine, Richard Scarry, a book of sci-fi illustrations, and classic music. His later influences include Pieter Breugel, Jean-Auguste Dominque, Mark Ryden, Lewis Mumford, Bernard Rudofsky, Italo Calvino, and Italian film director Federico Fellini. Sellers developed an avid fascination and obsession for topography and city infrastructures, as well as ancient history, architecture, and anthropomorphism that has shaped his distinct style and embodies his work. A graduate of Tyler School of Art in Philadelphia, including studies at Temple University in Rome, Italy, Randall Sellers and has received national and international acclaim, exhibiting in solo shows in Santa Monica, Boston and Philadelphia, and group shows at the John Michael Kohler Art Center in Wisconsin and Tomio Koyama Gallery in Tokyo. Sellers’ work has been acquired by numerous institutions including: Museum of Modern Art (Judith Rothschild Collection), Philadelphia Museum of Art, High Museum in Atlanta, New Museum of Contemporary Art (Altoids Collection), and 21C Museum in Louisville, Kentucky. Sellers’ work has been reviewed in Art Review, Philadelphia Magazine, Philadelphia Weekly, Boston Globe, Los Angeles Times, and Artnet.com.
Featured Artist
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Randall Sellers |
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See the Randall Sellers:
Clairvoyants and Other Survivors Exhibit
Doze Green:
The Left Hand Path
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
September 9, 2006 through October 7, 2006Doze Green: "The Left Hand Path" Gallery I On View September 9th - October 7th, 2006 Opening Reception Saturday October 9th, 2006 from 7 p.m - 9 p.m. New York, NY August 2006 – Jonathan LeVine Gallery is proud to announce the opening of The Left Hand Path, a solo exhibition of new works by celebrated artist Doze Green. His exhibition of new paintings is inspired from roots in modern graffiti and based upon metaphysical and ethereal ideologies. The Left Hand Path will be on view from September 9th through October 7th with an opening reception held on Saturday, September 9th from 7pm to 9pm. For The Left Hand Path, Doze Green translates complex metaphysical concepts through his paintings, such as the possible manipulation of energy and matter to create a timeless space. He explores meditations on matter and anti-matter, layers of consciousness, and different possibilities based on cosmology. The Left Hand Path is based upon life at the crossroads, at the junction of the seen and unseen. Through stream-of-consciousness painting, Doze Green creates fractured imagery to convey infinite possibilities. His intention is to reveal works with an ever-changing narrative. Multi-dimensional planes and illusion of time are presented through fragmented, incomplete figures. He believes by depicting beings that are not fully materialized, these beings are not of this realm. He presents possibilities of immortality through paintings where narratives are interminable. His collection of paintings is an extension of this metaphysical concept. Cubist influences include ascending and descending planes and repetitive, overlapping, and concentric lines in an otherwise undefined landscape. For Doze Green, this energy and motion of created forms exist in a visual meeting place of ideas. Influenced by Edo period paintings, Doze Green mixes black gesso with Sumi ink and applies “creatively chaotic, and intuitive brushstrokes,” in a calligraphy-inspired and graffiti aesthetic. Doze Green translates these primitive markings as “biological entities, a swarm of arrows coming in from infinite perspective.” ABOUT THE ARTIST Doze Green was born and raised in the upper west side of Manhattan, New York City and was one of the pioneers of the Hip-Hop culture. He first started writing graffiti in his neighborhood in 1974, and started painting subway trains in 1976. The following year he joined the Rock Steady Crew. The Rock Steady Crew were pioneers of a new style of dance known as breakdancing or B-Boying. The crew first started dancing at art exhibitions and galleries of Soho and the Lower East Side of Manhattan. During this time Doze Green was also attending the High School of Art and Design, where some of the most talented and well-respected graffiti artists came from. Artists such as Lady Pink, Daze, Ernie Valdez, Seen TC5, , , Mr. Wiggles, Mare 139, and numerous others. In 1982 Doze Green showed his artwork in a well-known group show at the Fun Gallery. At this same time after appearances in major movies such as Flashdance, Style Wars, and Wildstyle, the Rock Steady Crew was launched into action and the limelight. From B-boy to graffiti legend, Doze Green has gone to tagging the hallways of South Bronx projects to designing for clothing lines like Kikwear and Ecko. In the process, he's become a proponent of the avant-garde "fusionistic" art movement. Best known for his characters, Doze Green has begun to concentrate on canvases that blend wildstyle techniques with metaphysical concepts. Doze Green is also known for his live painting performances. Doze Green’s work is in many public and private collections throughout the United States, Japan, Europe, and Australia. His works have been published in BlackBook, Anthem, Juxtapoz, Tokion, and Vibe and reviewed on CNN.
Featured Artist
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Doze Green |
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See the Doze Green:
The Left Hand Path Exhibit
Andrew Schoultz:
Cataclysmic Mayhem...
Capturing the Feelings of the Modern World
New paintings, drawings, and installations
Gallery II
Solo Exhibit
Jonathan LeVine Gallery
September 9, 2006 through October 7, 2006Andrew Schoultz: "Cataclysmic Mayhem...Capturing the Feelings of the Modern World" Gallery II On View September 9th - October 7th, 2006 Opening Reception Saturday October 9th, 2006 from 7 p.m - 9 p.m. New York, NY August 2006 – This September 2006 Jonathan LeVine Gallery will present Cataclysmic Mayhem…Capturing the Feelings of the Modern World, a solo exhibit of new paintings, drawings and installations by California-based artist Andrew Schoultz. The exhibition will be on view from September 9th through October 7th with an opening reception held on Saturday, September 9th from 7pm to 9pm. For Cataclysmic Mayhem…Capturing the Feelings of the Modern World, Andrew Schoultz focuses on capturing an overall mood. Connotations and literal references of modern day events relate to a larger perspective of human emotions. He includes symbols of hope amidst a kinetic cultural chaos. Andrew Schoultz depicts such underlying themes as the resilience of nature and the beautiful dichotomy between man and his relationship with nature. His new works will comment on current tragic and catastrophic global politics and environmental and economic concerns. For the exhibition, Andrew Schoultz will create a three-dimensional installation and sculpture of a red brick structure, half-factory and half-industrial prison complex. Part of the sculpture will be painted on wooden panel and part painted directly onto the wall in a seamless manor. His exhibition will include a large number of paintings on wood panel, ranging in sizes, as well as mixed media works on paper. Andrew Schoultz uses images of American and foreign currency to heighten thematic content and sentiment. Historical references include medieval drawings and maps that allude to war and the conquering of new frontiers. He merges self-trained folk art styles and Indian and Islamic miniature painting techniques with contemporary influences of comics and graffiti to create a distinctive new art form. Through stylistic renderings, skewed perspective, vibrant colors and delicate details Andrew Schoultz conveys a sense of urgency in his works. His painstaking care for details elicits a powerful energy and narrative motion. Complex, restless compositions and old drawing techniques further parlay the correlation with current global tensions, contemporary politics, and artistic styles. Ultimately, Andrew Schoultz achieves a cultural worldview from a singular perspective, inviting viewers to draw their own conclusions from each narrative. ABOUT THE ARTIST For Andrew Schoultz, art is an uncontrollable passion and obsession. After many travels around the United States experiencing skateboarding and graffiti art, Andrew Schoultz settled in San Francisco in 1997. He graduated from the Academy of Art University in San Francisco, California. Although heavily interested in showing work and doing large multi-media installations in the gallery and museum setting, Andrew Schoultz has spent a tremendous amount of time doing murals and various works in the streets of America and abroad. Among solo and group shows at galleries around the country, including the Boston Center for the Arts, Andrew Schoultz has been awarded prestigious grants from The Portland Main Public Art Fund and Neighborhood Beautification Award for his mural projects in San Francisco. Recently His works have been published in a variety of magazines and newspapers including Art Week, San Francisco Weekly, Alarm, McSweeney’s, and Dan’s Papers. Ulysses: Departures, Journeys and Returns, a new book by Andrew Schoultz and published by Paper Museum Press, will be released in October 2006.
Featured Artist
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Andrew Schoultz |
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See the Andrew Schoultz:
Cataclysmic Mayhem...
Capturing the Feelings of the Modern World Exhibit
Adam Wallacavage:
Monster Size Monsters Book Signing
Saturday, July 22nd, 2006 from 3-6pm at Jonathan LeVine Gallery
Jonathan LeVine Gallery
July 22, 2006 through July 22, 2006Adam Wallacavage: Monster Size MonstersA New Book Spanning Fifteen Years of Photography New York , NY July 2006 – Artist Adam Wallacavage celebrates the release of Monster Size Monsters , a new book of photographs documenting fifteen years of the skating and art collective underground. Compiled and edited by Roger Gastman, Editor-in-Chief of Swindle magazine, designed by Smyrski Creative, and published by Gingko Press and R77 Publishing, Monster Size Monsters is available for sale at the online store at www.jonathanlevinegallery.com. Jonathan LeVine Gallery will be hosting a book-signing event on July 22nd, from 3pm-6pm in conjunction with the closing of Adam Wallacavage’s first solo exhibition, Il Lume Della Piovra. Monster Size Monsters includes a collection of Adam Wallacavages’s brilliantly charged action shots of skateboarders, including Bam Margera, Tony Alva, and Robert Mertz. The 176-page book also includes photographs of several important artists of our time such as Barry McGee, Camille Rose Garcia, and art collectives Space 1026 in Philadelphia and Fort Thunder in Providence, Rhode Island. A forward by artist Jim Houser and an interview by artist Andrew Jeffrey Wright offer a fascinating look into the personality and artistic genius of Adam Wallacavage. His photos are all informed by the colorful and dynamic style he developed as a skateboard photographer. “Shooting for skateboard magazines was the best education in photography I could ever have had, that and working at a one hour photo lab,” explains Adam Wallacavage. “I learned to set up lights and shoot in dangerous and illegal situations fast, so that I could get out before security guards or cops showed up to bust us for skateboarding.” Monster Size Monsters , Adam Wallacavage’s first published book of photography, is an intriguing collection and introduction to the artist’s uncanny world. Fans of art and culture will enjoy Adam Wallacavage’s charismatic photos documenting everything from the absurd to the spontaneous in locations like Asbury Park, Coney Island, and skateparks and flea markets around the country. His eclectic portfolio includes images exuding elements of humor, irony, and bizarrerie. A reference section with miniature images and descriptions of all photographs by Adam Wallacavage is included. In addition to documenting amazing moments in the evolution of these emerging art collectives, Adam Wallacavage has photographed seminal underground bands like Gwar, Slayer, and Turbonegro. His work has been published in Thrasher, Transworld Skateboarding, Strength and Slap magazines. Adam Wallacavage is also a regular contributor to Swindle, artist Shepard Fairey’s influential pop-culture and lifestyle magazine.
Featured Artist
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Adam Wallacavage |
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See the Adam Wallacavage:
Monster Size Monsters Book Signing Exhibit
Adam Wallacavage:
Il Lume Della Piovra
and
Nouar:
The Licky Sticky Sugar Show
Project Rooms I and II
Jonathan LeVine Gallery
June 24, 2006 through July 22, 2006Adam Wallacavage:"IL Lume Della Piovra"Project Room IandNouar:"The Licky Sticky Sugar Show"Project Room IIOn View June 24th - July 2nd, 2006Opening Reception Saturday June 24th, 2006 from 6 p.m - 9 p.m. New York, NY June 2006 – Jonathan LeVine Gallery is proud to announce Il Lume Della Piovra, a special project room installation of six new octopus chandeliers by Adam Wallacavage and The Licky Sticky Sugar Show, new paintings by featured emerging artist, Nouar. The exhibitions will be on view from June 24th through July 22nd. An opening reception will be held on Saturday, June 24th from 6-9pm. A book signing event for the release of Adam Wallacavage’s collection of photography spanning the past fifteen years, Monster Size Monsters, will be held on July 22nd, from 3pm-6pm. For Il Lume Della Piovra, Adam Wallacavage unveils his bizarre series of suspended creatures of the ocean. A master craftsman and innovator, Adam Wallacavage fuses art and alchemy to fashion his surreal sculptures into functional chandeliers. Sculpting by hand using a dense plaster called drystone, Adam Wallacavage creates elongated tentacles and detailed suction cups. After bending threaded pipe, which simultaneously disguises the wires and reinforces the sculpture, he then paints the molded plaster, coating it in a resin mixed with iridescent powders to achieve a luminescent shine. Part of the series includes a chandelier by Adam Wallacavage created in collaboration with Los Angeles-based accessories designer, Tarina Tarantino. Known globally for her sparkling and colorful creations, Tarina Tarantino has contributed ninety pearl drops with Swarovski crystals for Adam Wallacavage’s most ornate work. Adam Wallacavage, fascinated with elaborate interiors, is also an avid collector of interesting and unusual objects. His experimental projects evolved with the transformation of his Victorian Philadelphia home into a fantastic dream space, complete with an aquatic-themed dining room, the original dwelling place of his unusual sea urchins. His inspirations include the book Art Forms in Nature, by Ernst Haeckel, and the Acquario Civico di Milano (Milan Aquarium). "Il Lume Della Piovra" translates literally to the lamp of the octopus, but can also be interpreted as a lamp of knowledge, or enlightened mind. For The Licky Sticky Sugar Show, Nouar has created a tasty assortment of paintings, reminding us that we must not always deny ourselves the simple pleasures we find in dessert and confectionary treats. Inspired by food and ice cream packaging, mid 20th century design, Enoch Bolles pin-ups, and Vernon Grant cartoons, Nouar introduces a lighthearted, humorous collection tinged with a slightly sinister side. For her New York debut, Nouar creates twenty new paintings on routered wood panel, including a series of twelve stylized cupcakes. The Licky Sticky Sugar Show is a pithy collection, the first series by the artist featuring figures interacting with her devious deserts. From a cast of lollipop characters to a tiny sweet tooth painting, or bubble gum and marshmallow encounter, Nouar incorporates elements of graphic design. Both color palette and a seamless incorporation of text and image, combine to unify her paintings. ABOUT ADAM WALLACAVAGEAdam Wallacavage is an acclaimed photographer and founding member the Philadelphia-based artist collective Space 1026. Known for his photographs of artists and skateboarders, Adam has long documented the skating and art collective underground, as well as shooting for Thrasher Skateboard Magazine, Transworld and recently Shepard Fairey's magazine, Swindle. ABOUT NOUAR Nouar graduated from Art Center College of Design in Pasadena, California in 2004. She has since lent her time as a traditional background painter for television animation. Recently, she finished working on the first season of Nickelodeon's "Catscratch". Nouar's work draws largely from early to mid-century animation, illustration, food and advertisement art. Van Bueren cartoons, the Illustrations of Enoch Bolles, Vernon Grant, as well as old cookbooks continually inspire her colorful, humorous, and sometimes dark pieces.
Featured Artists
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Nouar |
Adam Wallacavage |
See the Adam Wallacavage:
Il Lume Della Piovra
and
Nouar:
The Licky Sticky Sugar Show Exhibit
Andrew Brandou:
Everyone's Happier Now That You're Gone
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
June 24, 2006 through July 22, 2006Andrew Brandou:"Everyone's Happier Now That You're Gone"On View June 24th - July 2nd, 2006Opening Reception Saturday June 24th, 2006 from 6 p.m - 9 p.m.New York, NY June 2006 – Jonathan LeVine Gallery is proud to announce the opening of Andrew Brandou’s first New York solo exhibition, Everyone’s Happier Now That You’re Gone. A featured artist in Pop Pluralism, Jonathan LeVine Gallery’s New York City debut group exhibition, Andrew Brandou has created a series of thirty large scale and multiple panel paintings for his solo show. Painting from the perspective of a Southern California artist influenced as a child growing up in the 1970’s in a society fascinated with Charles Manson culture, cult mentality and murder, Andrew Brandou integrates both pop culture and personal references for his latest narrative. Everyone’s Happier Now That You’re Gone will be on view from June 24th through July 22nd with an opening reception held on Saturday, June 24th from 6-9pm. For Everyone’s Happier Now That You’re Gone, Andrew Brandou illustrates a modern perspective of the Manson Family murders, communicating the poisonous beauty, and intriguing conflicts around him. His subtle vocabulary, use of icons, and cartoon characters create a narrative that is palpable and accessible. The motives of Andrew Brandou’s characters are rooted from his childhood experience of reading comics and drawing cartoons, while simultaneously being exposed to more mature and disturbing subject matter. Horror and violence permeated into his own cultural vocabulary, as psychedelic drugs became a part of his own experience. Using color, texture, and imagery, Andrew Brandou creates an organic narrative of abstract elements and interconnected pieces. Andrew Brandou depicts the architectural development of Modern California houses, including his own house on the Hollywood hillsides. Remnants of furniture, a fireplace, or couch are juxtaposed with foreboding skulls and blossoming flowers amidst pools of red or layers of gold leaf. Part metaphor for change and growth, Andrew Brandou incorporates a color palette reminiscent of Japanese prints, using gold leaf, and a cohesive use of reds, grays, and blacks throughout his works to communicate action or mood. Andrew Brandou works as the artist Howdypardner, creating work based on inspiration from children’s books and LSD, Charles Manson, and opium dens. He is a graduate of Otis Parsons and lives and works in Los Angeles. While working for his bachelor’s degree at Otis Parsons, Andrew worked at the legendary Paper Moon Graphics card company. In the early 90’s he showed at galleries such as La Luz de Jesus and Zero 1. He continued to finance his personal work by working on a series of animation projects including The Simpsons, Rugrats, Duckman, and Spongebob. He was also an active illustrator for the recording industry, working for such artists as The Carpenters, Hole, and Tori Amos. Recently, he acted as an animator for “Realms of the Unreal” a documentary film about the life of artist Henry Darger. His work has been seen in the New Yorker, Nickelodeon Magazine, and he is featured in the current issue of Bark Magazine.
Featured Artists
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TBA Andrew Brandou |
Ana Bagayan |
See the Andrew Brandou:
Everyone's Happier Now That You're Gone Exhibit
Jonathan Weiner:
Book Signing
Saturday, June 10th, 2006 from 3-6pm at Jonathan LeVine Gallery
Jonathan LeVine Gallery
June 10, 2006 through June 10, 2006JONATHAN WEINER: TRANQUIL AFTERMATH A New Book Published by Jonathan LeVine Gallery in Partnership with Murphy Design New York, NY June 2006 – Tranquil Aftermath, the highly anticipated collection of works by artist Jonathan Weiner, is now available. Introductory texts by John Purlia and Jonathan Weiner with a closing article written by Jonathan LeVine, frame over seventy-two full color reproductions, sketches, and family photographs in the first of many volumes. Designed and distributed by Mark Murphy of Murphy Design, Tranquil Aftermath is a currently available for sale at the online store at www.jonathanlevinegallery.com. This limited-edition of 2500 copies is the first book published by Jonathan LeVine Gallery in partnership with Murphy Design. A book signing event will be held at Jonathan LeVine Gallery on June 10th from 3pm-6pm in conjunction with the closing of Jonathan Weiner’s first solo exhibition, The Attacker’s Move. Through allegory, surrealism and distinctive style, Jonathan Weiner confronts themes facing New York’s contemporary society. He renders curious and complex narratives with foreboding landscapes to illustrate themes of violence, alienation, morality and power. Weiner’s distinct palette, ethereal spaces, and dramatic subjects can be studied meticulously throughout the pages of this collection. Alternating colors and compositions, cropped in various formats, offer an intimate perspective into the artist’s world. Tranquil Aftermath is beautifully reproduced on archival paper, hard bound and smythe-sewn. The front and back inside-cover highlights a simple and refined sketch of a boy with a gun, playfully mirrored, creating a mysterious and contemplative narrative. Fans of Jonathan’s work will enjoy sixty-seven pages of sketches and oil paintings, including Tranquil Aftermath, Puncture Wound and the Playing with Kittens series. A Deluxe Limited Edition series is to be released at a later date. This limited edition of 150 copies will only be available at Jonathan LeVine Gallery. The Deluxe Limited Edition will include a one-of-a-kind, original drawing by Jonathan Weiner and will be packaged in a cloth-covered slipcase sealed with a red foil stamping.
Featured Artist
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Jonathan Viner |
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See the Jonathan Weiner:
Book Signing Exhibit
Dan Kennedy:
Dust of Oblivion
Gallery II
Solo Exhibit
Jonathan LeVine Gallery
May 13, 2006 through June 10, 2006Dan Kennedy:"Dust of Oblivion"On View May 13th - June 10th, 2006Opening Reception Saturday May 13th, 2006 from 6 p.m - 9 p.m.New York, NY May 2006 – Pop culture icons resurface in artist Dan Kennedy’s solo exhibition Dust of Oblivion, a saturation of phantasmagoric landscapes illustrating the depths of the human collective unconscious. Kennedy expands upon the explorations of previous projects, delving into an earlier history of the construction and expansion of a mass commercial culture, where text and image are suspended in a world of memory and dream. An archeologist of visual language, Kennedy incorporates a conglomerate of vocabulary straddling 19th and 20th century, architectural images, and characters to create new, mysterious narratives and dense pictorial realms. The opening reception for Dust of Oblivion is on Saturday, May 13th, from 6pm-9pm at Jonathan LeVine Gallery. The exhibition will be on view through June 10th. Excavating types of chromo lithography from early and mid 19th century advertising, Kennedy references a multiplicity of sources and historical materials such as song sheets, Farmer’s Almanacs, gameboards, paint by numbers, and both obscure and recognizable commercial characters. An avid collector and archivist of words, imagery and language, Kennedy’s new works are influenced by a diversity of readings from Milton’s Paradise Lost, Mark Twain, Robert Coover and Joe Hill. Kennedy builds layers in oil and glazes, pinning down his findings like specimens offering a poetical potential. From this ephemera of commercial culture of the past, emerges a beautiful and evocative world, a museum of language and archetypes loaded with ambiguities. Kennedy identifies his paintings as having theatrical qualities, where visual text and commercial characters substitute props and actors. However, the stage is intangible and the dialogue in a constant state of flux. For example, images by an unknown pool of illustrators are juxtaposed with a terrified Snow White or a drowned Pinocchio. His mysterious, graphic narratives invite the viewer to engage in the absurd, dark and surreal qualities of his work. Rich layering of lush paint, texture, and text combine to create a dense labyrinth, or abstract plane upon which, Kennedy says, “project a hallucinatory spectacle of history, anxiety, parody, commerce, defiance, and beauty.” Images appear like mythical icons, permeating into the collective language and culture we share and inhabit to become a Dust of Oblivion. Dan Kennedy studied at the Ontario College of Art, A.O.C.A. His works are in numerous public and private collections in the U.S. and Canada, including the Canada Council Art Bank, in Ottawa. Kennedy is the recipient of the Canada Arts Council B Grant, and both Ontario and Toronto Arts Council Grants. His recently acclaimed shows include Kidnapped, Factory Broken Melody, and Shack of Deals. Kennedy’s works have appeared in Juxtapoz, Canadian Art Magazine, Border Crossings, Toronto Life, Vancouver Sun, National Post, MIX Magazine, LOLA Magazine and Parallelogram. Kennedy currently lives in Toronto.
Featured Artists
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TBA |
Dan Kennedy |
See the Dan Kennedy:
Dust of Oblivion Exhibit
Jonathan Weiner:
The Attacker's Move
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
May 13, 2006 through June 10, 2006Jonathan Weiner: "The Attacker's Move" On View May 13th - June 10th, 2006 Opening Reception Saturday May 13th, 2006 from 6 p.m - 9 p.m. New York, NY May 2006 – In artist Jonathan Weiner’s foreboding imagery, characters share something in common: they are each struggling to survive. As voyeurs of this narrative world, we are unaware of the origin of this threat, yet we sense it’s presence and empathize with characters that fear the uncontrollable. Through skillful representation, a rich, iridescent palette, and subtle metaphor, Weiner shares a world of human struggle, stripped of pretense. The opening reception for The Attacker’s Move is on Saturday, May 13th, from 6pm-9pm at Jonathan LeVine Gallery. The exhibition will be on view through June 10th. A book signing event will be held on June 10th, from 3pm-6pm featuring Weiner’s new book, Tranquil Aftermath. Essential to Weiner’s subject matter is an element of opposition: “I think of my paintings as movies, and what’s a movie without conflict or drama? There must be a struggle, or it’s not interesting.” In The Attacker’s Move, the plight is for safety. Using dramatic lighting effects on his subjects, Weiner creates an ethereal space where insecurities and suspicions emerge from seemingly ill-fated circumstances. In Weiner’s work there exist two basic, yet overlapping archetypes: predator and prey, though it is unclear at times which is which. He depicts a twisted food chain, where a swarm of white butterflies looms suspiciously, or a strange bird with a menacing beak lurks in a peculiar domestic environment. Weiner discovers a tragic and beautiful species amidst the absurd and artificial wilderness of contemporary urban life. Applying irony and humor to his compositions with nuanced symbolism, he captures moments and experiences both fleeting and visceral. In a series of portraits entitled Unarmed Civilians, Weiner seduces the viewer with the gaze of a porcelain-faced woman, or stuns us with the contorted face of a distressed male. “Even a simple portrait needs a story,” explains Weiner, “I like depicting characters with vulnerabilities and defenses. One is hiding beneath his hooded parka, one covers his wounded eye, a woman looks sad or worried . . . I inject an element of anxiety into everything.” Jonathan Weiner (a.k.a VINER) was born somewhere in New York in June of 1976. He was raised up and down the east coast, and upon graduation from Rhode Island School of Design in 1998, he moved to Brooklyn, NY, where he continues to work. His paintings and illustrations have been published in Juxtapoz Magazine, Communication Arts, American Illustration, Print Magazine, Art Matters, Playboy, and Rolling Stone. Saturday June 10th, 2006 from 3-6 pm will be a book signing at Jonathan LeVine Gallery for Jonathan Weiner's new book "Tranquil Aftermath". Following the book signing we will be having a party at the Crocodile Lounge to celebrate the realease of Tranquil Aftermath as well as the birthday of artist Jonathan Weiner. The Crocodile Lounge is located at 325 East 14th Street (bet 1st and 2nd ave). The party starts at 9pm. There will be a cash bar, skee ball and free pizza. Go to Past Exhibits to see more information regarding the release of "Tranquil Aftermath".
Featured Artist
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Jonathan Viner |
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See the Jonathan Weiner:
The Attacker's Move Exhibit
Camille Rose Garcia:
Subterranean Death Clash
Solo Exhibit
Jonathan LeVine Gallery
April 1, 2006 through April 29, 2006Camille Rose Garcia: "Subterranean Death Clash"On View April 1st - April 29th, 2006 Opening Reception Saturday April 1st, 2006 from 6 p.m - 9 p.m. New York, NY April 2006 – Jonathan LeVine Gallery is proud to present Subterranean Death Clash, new works by acclaimed artist Camille Rose Garcia. Using narrative and fairytale structures, Garcia explores a futuristic scenario in which an overpopulated, overdeveloped world is forced to move into a series of underground caves. The exhibition includes nearly forty pieces, comprised of paintings, drawings, wall murals and a sculptural installation. The opening for Subterranean Death Clash is on Saturday, April 1st from 6pm-9pm at Jonathan LeVine Gallery. The exhibition will be on view through April 29th. Using metaphor and symbolism, Garcia illustrates her cultural commentary of a world destroyed by the military industrial complex, overpopulation, and emperialism. The Royal Disorder, an elite group led by General Disorder and his army of poison bottles and castles, slash and burn their way through many different underworlds until they dig their way into the final cavern, the Land of the Dead. There they battle cave swans and death armies in a final Subterranean Death Clash. “The Royal Disorder represents a capitalistic society at the end of it’s rope” explains Garcia, “These parasitic creations dig underground, blind with over consumption, and ultimately dig their own graves, a metaphor for how we live exploiting all of our resources.” Antarctic Suburban Outpost, the only painting that is stationed above ground, depicts the most elusive creature in the world, the Giant Squid, land marooned, as even the bottom of the sea has become uninhabitable. Through beautiful line work and acute stylization, Garcia’s Subterranean Death Clash presents a psychological retreat, a cultural mirror that is violent, fashionable, and political. “The Earth is older than humans and will rebound, but the fate of our species seems to be precarious at best. I try to be positive and use humor in my work, even while knowing this.” Camille Rose Garcia was born in 1970 in Los Angeles, California and grew up in the generic suburbs of Orange County, visiting Disneyland and going to punk shows with the other disenchanted youth of that era. Her paintings of creepy cartoon children living in wasteland fairy tales are critical commentaries on the failures of capitalist utopias. Creative influences include Phillip K. Dick, William Burroughs, Henry Darger, Walt Disney, as well as politically aware bands like The Clash and Dead Kennedys. Her recent solo show, Ultraviolenceland, explored ideas of violence and empire. Her work has appeared in Modern Painters, Juxtapoz, Rolling Stone, and Flaunt Magazine, and has been exhibited internationally. Her work is in the permanent collections of the Los Angeles County Museum of Art, and the San Jose Museum of Art. Garcia will have her first museum show at the San Jose Museum of Art in 2008. She currently lives in Los Angeles.
Featured Artist
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Camille Rose Garcia |
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See the Camille Rose Garcia:
Subterranean Death Clash Exhibit
Jeff Soto:
Book Signing
February 19th, 2006 from 4-7pm at Jonathan LeVine Gallery
Jonathan LeVine Gallery
February 19, 2006 through February 19, 2006JEFF SOTO RETURNS TO HIS ROOTS WITH “POTATO STAMP DREAMS”Eager Fans Await Artist’s Book Signing at Jonathan LeVine Gallery New York, NY January 2006 – “Potato Stamp Dreams” will become a reality for art and culture lovers on Sunday, February 19th from 4pm-7pm at Jonathan LeVine Gallery, when graffiti-inspired artist Jeff Soto appears for an exclusive book signing event, held in conjunction with his solo exhibition, Supernova. An impressive compilation of works from the prolific artist, the book includes installations, graffiti and photography. The 160 page hardbound edition, published by Murphy Design and released in August of 2005, features a poster fold out, double-sided dust jacket, embossed cloth cover and a limited edition 48 page mini Potato Stamp Soto zine. Fans are encouraged to arrive early for the book signing and can purchase “Potato Stamp Dreams” on-site, or pre-order copies on www.jonathanlevinegallery.com. “Potato Stamp Dreams” is an extension of Jeff Soto’s imaginative world. Named after his first solo show in September 2001 at New Image Art Gallery in Los Angeles, “Potato Stamp Dreams” signifies a milestone for Soto’s outstanding growth as an artist. Soto describes the origin: “I got the title thinking about how we take things out of nature and use them for mechanized processes, like mining metals to make machinery, or chopping down trees to make toothpicks. Potato stamps are tubers pulled out of the dirt and sculpted by man to do a repetitive job. For good or bad, we take advantage of what nature has to offer.” When approached by publisher and designer Mark Murphy to collaborate on the book, Soto explained, “>From the start my intentions were to tell a story and take the viewer on a journey rather than just show the artwork. I wanted people to get a feel for where I’m coming from and what my inspirations are.” What began as a sample layout of Soto’s ideas developed into creative exploration for both designer and artist and, ultimately, a collection that inspires and intrigues the reader. Through “Potato Stamp Dreams,” we learn a bit more about Jeff Soto and how his art connects his early inspirations and memories. “An important aspect of my work is nostalgia,” explains Soto, “showing what I did as a kid and how that shapes who I am as an adult.” Themes of beauty, destruction, and nature versus machine are beautifully captured in this impressive collection. Subtle nuances make the book unique, such as photographs of Soto as a young child. The rounded edges and yellowish hues of Soto’s photographs blend seamlessly with his signature color palette and painted wooden panels. Elements of nostalgia weave throughout his collages on panel, which are highlighted through the stunning reproductions and lush details.
Featured Artist
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Jeff Soto |
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See the Jeff Soto:
Book Signing Exhibit
Jeff Soto:
Supernova
Solo Exhibit
Jonathan LeVine Gallery
February 18, 2006 through March 18, 2006New York, NY January 2006 – After taking over a year and a half off for the birth of his first baby, artist Jeff Soto has returned to his studio to create nearly twenty-five works for his solo exhibition, Supernova, opening on Saturday, February 18th from 6pm-9pm at Jonathan LeVine Gallery. The exhibition will be on view through March 18th, 2006. Soto transplants his magical world onto the Chelsea gallery walls with paintings on wood, including a panel spanning twelve feet long, and works on paper. An installation of paintings, photographs, and found objects will also be on view. Influenced by current events and how they relate to fatherhood, Soto describes his new work as darker and more serious: “I’ve been thinking about what’s going on over in Iraq and the way we live on this planet. I’m thinking about the future of my child. My daughter could go to war someday and that’s a frightening thought.” Environmental issues also take precedent for Soto, who is concerned with conflict of humans trying to harness, or take advantage of nature. His paintings exude this tension, as robotic creatures duel, organic tentacles and flower bouquets thrive, and black smog looms amidst floating, ominous skulls. Through striking visual imagery, Soto communicates profound visions and fears, nostalgia of his youth, and themes of love, lust, and hope. “I’m putting out good work that I’m proud of,” reflects Soto, “Some of my works in the past have been disguised technically with collage and drips, but now they are more pure painting. Imagery has more importance to me, with subtle differences stylistically.” Soto’s distinct color palette, subject matter, technique and bold themes resonate with a growing audience. Inspired by toys such as transformers, the colorful lifestyle of skateboarding and graffiti, hip-hop and popular culture, Soto’s representational work is simultaneously accessible and stimulating. Book Signing: “Potato Stamp Dreams” will become a reality for art and culture lovers on Sunday, February 19th from 4pm-7pm at Jonathan LeVine Gallery, when graffiti-inspired artist Jeff Soto appears for an exclusive book signing event, held in conjunction with his solo exhibition, Supernova. An impressive compilation of works from the prolific artist, the book includes installations, graffiti and photography. The 160 page hardbound edition, published by Murphy Design and released in August of 2005, features a poster fold out, double-sided dust jacket, embossed cloth cover and a limited edition 48 page mini Potato Stamp Soto zine. Fans are encouraged to arrive early for the book signing and can purchase “Potato Stamp Dreams” on-site, or pre-order copies on www.jonathanlevinegallery.com. “Potato Stamp Dreams” is an extension of Jeff Soto’s imaginative world. Named after his first solo show in September 2001 at New Image Art Gallery in Los Angeles, “Potato Stamp Dreams” signifies a milestone for Soto’s outstanding growth as an artist. Soto describes the origin: “I got the title thinking about how we take things out of nature and use them for mechanized processes, like mining metals to make machinery, or chopping down trees to make toothpicks. Potato stamps are tubers pulled out of the dirt and sculpted by man to do a repetitive job. For good or bad, we take advantage of what nature has to offer.” When approached by publisher and designer Mark Murphy to collaborate on the book, Soto explained, “From the start my intentions were to tell a story and take the viewer on a journey rather than just show the artwork. I wanted people to get a feel for where I’m coming from and what my inspirations are.” What began as a sample layout of Soto’s ideas developed into creative exploration for both designer and artist and, ultimately, a collection that inspires and intrigues the reader. Through “Potato Stamp Dreams,” we learn a bit more about Jeff Soto and how his art connects his early inspirations and memories. “An important aspect of my work is nostalgia,” explains Soto, “showing what I did as a kid and how that shapes who I am as an adult.” Themes of beauty, destruction, and nature versus machine are beautifully captured in this impressive collection. Subtle nuances make the book unique, such as photographs of Soto as a young child. The rounded edges and yellowish hues of Soto’s photographs blend seamlessly with his signature color palette and painted wooden panels. Elements of nostalgia weave throughout his collages on panel, which are highlighted through the stunning reproductions and lush details. In addition to receiving both national and international acclaim and exhibiting in top galleries across the country, Soto has illustrated for record companies, skateboard magazines, book publishers and advertisers. His client list includes Sony Music, Warner Bros., Wired, Entertainment Weekly, Disney Adventures and Outside Magazine. He has been featured in fine art and popular culture publications including, Artweek, Juxtapoz, American Illustration, Communication Arts, Beautiful Decay, and Lodown Magazine. In 2002, Soto graduated with Distinction from Art Center College of Design in Pasadena, California. He currently lives in Riverside, California, with his wife Jennifer and newborn baby, Shannon.
Featured Artists
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opening photos |
Jeff Soto |
See the Jeff Soto:
Supernova Exhibit
Chris Mars: Subderma
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
January 7, 2006 through February 4, 2006Chris Mars:"Subderma"On View January 7th - February 4th, 2006Opening Reception Saturday January 7th, 2006 from 6 p.m - 9 p.m. For his first solo show at Jonathan LeVine Gallery, Chris Mars has created his most political body of work to date, focusing on issues ranging from social injustice and media corruption to the appropriation of labels - positive or negative, religious or otherwise - for the purpose of control of the Spirit. Subderma has recently concluded an acclaimed run at The Minneapolis Institute of Arts, which also holds Mars' work in its permanent collection. Strongly influenced as a young boy by visits to the mental hospital where his sixteen-year-old brother was treated for schizophrenia, each painting reveals the darkest and most sincere realities of the human soul. Chris Mars depicts these haunting memories through his paintings of distorted figures existing in an uncomfortable and desolate time and space. Also featured will be Mars' thirteen minute animated film The Severed Stream, a fascinating stream-of-consciousness journey inside and through the paintings' imagery, and the some of the artist's notions regarding them. Chris Mars was born in 1961 in Minneapolis where he applied his musical talents and co-formed the band “The Replacements” before focusing on independent recording projects and art exhibitions in the 90’s. His work has been featured in solo exhibitions at The Erie Art Museum, The Minneapolis Institute of Arts, The Steensland Museum and the Coker Bell Museum, as well as group exhibitions at The American Visionary Art Museum and The Weisman. His work is included in many prestigious private and public collections, including MIA and The Minnesota History Center. His work has shown throughout the United States and Canada, and have been widely published in magazines such as Juxtapoz, Rolling Stone, The Los Angeles Times, Entertainment Weekly, Rue Morgue, Magnet and soon a ten-page feature in International Tattoo Art. Mars is presently at work on his first monograph, a compilation of his visual and written works, due out in 2007.
Featured Artists
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opening photos |
Chris Mars |
See the Chris Mars: Subderma Exhibit
Ray Caesar:
Sweet Victory
Project Room
Solo Exhibit
Jonathan LeVine Gallery
January 7, 2006 through February 4, 2006Ray Caesar:"Sweet Victory"On View January 7th - February 4th, 2006Opening Reception Saturday January 7th, 2006 from 6 p.m - 9 p.m. For Sweet Victory Ray Caesar redefines possibility and pushes the boundaries of digital art, moving away from multiples to create completely innovative digital artworks. Caesar experiments with new techniques and materials on a larger scale, applying each one-of-a-kind digital ultrachrome and acrylic medium print on wood panel with varnish. Combining themes of hope, birth, and victory of the human soul, Caesar parlays the spiritual nature of his art. Sweet Victory embodies mysteries of birth and rebirth—the core of art and creation. Caesar conveys hope in spite of a world filled with destruction. Although children are the dominant subjects of his works, Caesar “paints” pictures of the human soul—“that alluring image of the hidden part of ourselves.” First sculpting models in a three dimensional software called Maya, Caesar then wraps the figures and backgrounds in manipulated texture maps. This malleable digital process involves elements of childhood nostalgia for Caesar, who recalls sculpting dolls with placticene, hence the bulbous figurative heads. Casting digital lights, shadows, and reflections, Caesar accomplishes a baffling realism. A collector of textiles and keen observer of textures, Caesar photographs, scans and manipulates swatches of fabrics or skin surfaces in and transposes those onto the digital skeleton models. Born in London in 1958 Ray Caesar is currently a resident of Toronto, Canada, where he lives with his wife. He studied at the Ontario College of Art and worked as a medical artist for The Hospital for Sick Children in Toronto for seventeen years prior to his position as a Senior Animator at GVFX Toronto. Caesar is the recipient of a several awards and recognitions including Monitor Award for Special Effects in a series, a Primetime Emmy Nomination for Outstanding Special Effects in a Series, and a Gemini Nomination for Special Effects. His work has been published in numerous publications, including Juxtapoz, WeAr Fashion, EFX Art and Design, Digital Media World 2004 Australia, Computer Graphics World, New CG China, and Glamour Magazine, to name a few.
Featured Artists
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opening photos |
Ray Caesar |
See the Ray Caesar:
Sweet Victory Exhibit
Scope Art Fair Miami Florida
Townhouse Hotel
Jonathan LeVine Gallery
December 1, 2005 through December 4, 2005Featured Artists
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Scope Fair |
Jonathan Viner |
See the Scope Art Fair Miami Florida Exhibit
Sometimes I Just Want a Hug
Gallery II
Group Exhibit
Jonathan LeVine Gallery
November 19, 2005 through December 23, 2005"Sometimes I Just Want a Hug":Group show featuring AJ Fosik, Doze Green, Andrew Schoultz, Matt Haber, Scott Gillis, David Sandlin, Tara McPherson, Jordin Isip, Melinda Beck, Kristin Baker, Max Lawrence, Matt Leines and Nouar. On View November 19th - December 23rd, 2005Opening Reception Saturday November 19th, 2005 from 6 p.m - 9 p.m. Sometimes I Just Want a Hug represents a new direction for Jonathan LeVine Gallery. The mix of emerging and mid-career artists, most of whom are new to the gallery, offers an exciting look at the outer edges of the "lowbrow" genre. Their work encompasses both pop culture and fine art influences, as well as tapping into all that lies in between. This conglomerate of artists pulls from illustrators and painters as well as those who work in more three dimensional medias. Our goal is to give viewers the opportunity to experience where the genre has been as well as where we believe it is going. Sometimes I Just Want a Hug is what happens when a group of artists get together to break all the rules and think outside of the box, as well as have a good time in the process.
Featured Artists
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Scott Gillis Matt Haber Max Lawrence opening photos Melinda Beck |
Matt Leines Nouar David Sandlin Kristin Baker Tara McPherson |
Andrew Schoultz Doze Green Ray Caesar AJ Fosik Jordin Isip |
See the Sometimes I Just Want a Hug Exhibit
New Paintings and Drawings by Dave Cooper:
Pictorial Ruminations on the Volume and Density of Mostly Pillowy Girls
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
November 19, 2005 through December 23, 2005New Paintings and Drawings by Dave Cooper:"Pictorial Ruminations on the Volume and Density of Mostly Pillowy Girls"On View November 19th - December 23rd, 2005Opening Reception Saturday November 19th, 2005 from 6 p.m - 9 p.m.NEW YORK, NY: Jonathan LeVine Gallery is pleased to present new paintings and drawings by DAVE COOPER. The exhibition will be on view from November 19th until December 23rd . An opening reception will be held on Saturday, November 19th from 6-9pm. The Canadian artist brings his “pillowy girls” to New York for his first solo gallery exhibition on the East Coast. The exhibition will feature over 40 new works including the debut of two limited edition giclée prints, Immunity and Two on Forest Floor. Using multiple fine glazes to achieve a sublime luminescence, his collection of fleshy female figures have a beautiful but unsettling presence. The women are lumpy, typically unbeautiful women, drawn in strange and erotic scenarios. Cooper’s dark and surrealistic portraits of women play with the traditional notions of beauty and erotica. Dave Cooper was born in Nova Scotia, Canada in 1967. He now lives in Ottawa, with his wife Julie and infant son, Jake. He is the author/illustrator of the award-winning graphic novels Ripple, Crumple and Suckle, published by Seattle's influential Fantagraphics Books. In addition to comics, Dave has worked extensively as a designer, producer, and creator in the field of animation. For the past two years he has focused exclusively on painting, creating works for two major solo gallery exhibitions. In 2004 Cooper also released Overbite, a hardcover art book featuring over 40 of his oil paintings. His follow-up book, Underbelly, was released shortly thereafter.
Featured Artists
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opening photos |
Dave Cooper |
Affordable Art Fair
Pier 92 New York City
Jonathan LeVine Gallery
October 27, 2005 through October 30, 2005Featured Artist
|
AAF |
|
See the Affordable Art Fair Exhibit
Tim Biskup: Virtue
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
October 15, 2005 through November 12, 2005Tim Biskup:"Virtue"On View October 15th - November 12th, 2005Opening Reception Saturday October 15th, 2005 from 6 p.m - 9 p.m. For Virtue, Tim returns to paper, rediscovering the medium after years of painting on wood. The exhibition will include over fifty works, including the latest additions to the “Jackson 500” series_his series of 500 business card-sized paintings. In conjunction with Virtue, Tim will also be releasing his latest print Black Helium, a limited edition, 17-Color, Serigraph print on wood. Tim Biskup has successfully created a unique and widely recognizable style out of the marriage of comic book illustration, graphic design, and abstractionism. His graphical, multilayered works are precise and colorful while expressing movement and intensity. Tim Biskup's dense style is inspired by mid-century modern design infused with a healthy dose of punk rock energy. He classifies his style as “Baroque Modernism” due to its infusion of modernism and ornate, detailed patterns. A main influence of Tim’s is Mary Blair, a designer who worked for Disney for 37 years and is best known for her work on the Disney animated films Alice in Wonderland and Peter Pan. Since entering the Lowbrow scene in the late 90's, Tim’s artwork has evolved at a break-neck pace. He has extended his aesthetic influence into print, media, clothing and many other arenas while creating works for galleries and maintaining focus as a painter. He's collaborated with artists Mark Ryden and Gary Baseman and organized art auctions and exhibitions. His highly sought after original paintings and sculptures have been shown worldwide, including galleries in Los Angeles, New York, San Francisco, Tokyo, Kyoto and Melbourne.
Featured Artists
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opening photos |
Tim Biskup |
See the Tim Biskup: Virtue Exhibit
Dalek: The Way That I Want You to Die
and Plankton Art Company:
Flat Like Me
Gallery II
Two and a Half Person Exhibit
Jonathan LeVine Gallery
October 15, 2005 through November 12, 2005Plankton Art Co.: "Flat Like Me" and Dalek: "The Way That I Want You to Die"On View October 15th - November 12th, 2005 Opening Reception Saturday October 15th, 2005 from 6 p.m - 9 p.m. Flat Like Me explores the bizarre and beautiful natural world. Natural phenomena has always been a strong interest for the Planktons who recently completed drawing 400 animal identification key illustrations for the refurbished Hall of Ocean Life at the American Museum of Natural History. Using the oddities of nature as their inspiration, the exhibition will feature 12 new works. Their work is a juxtaposition between rich, textured surfaces and crisp, bold contours. Self-described ‘unfashionable modernist holdouts,’ The Planktons maintain a flatness to their work and relish the challenge of paring things down to their most basic, recognizable form. Originally studying to become marine biologists, Allen and Susan Crawford launched Plankton Art Company in 1999 to broaden the scope of their work, which has included painting, illustration, graphic design, typeface design, assemblage, collage, animation and video/performance projects. The Way That I Want You to Die will feature new works by Brooklyn-based Dalek. For this exhibition, Dalek’s Space Monkey character encounters vibrant geometric landscapes, mysterious holes and futuristic battles. The Space Monkey was born out of graffiti, but quickly transcended the genre into paintings, toys, silkscreens and housewares. A self-taught painter, Dalek discovered graffiti in 1994 in the rail yards of California and later Chicago. In addition to working as an assistant to Takashi Murakami, Dalek’s work has been shown in galleries across the country.
Featured Artists
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opening photos Plankton |
James Marshall (Dalek) |
See the Dalek: The Way That I Want You to Die
and Plankton Art Company:
Flat Like Me Exhibit
Scott Musgrove: Natural Alchemy
and Miss Van:
Don't Be Shy
Gallery II
Two Person Exhibit
Jonathan LeVine Gallery
September 10, 2005 through October 8, 2005NEW YORK, NY: Jonathan LeVine Gallery is pleased to present “Natural Alchemy: a pictorial inventory” by Scott Musgrove and “don’t be shy!” featuring new works by Miss Van. The exhibitions will be on view from September 10th until October 8th. An opening reception will be held on Saturday, September 10th from 6-9pm. In “Natural Alchemy” Scott Musgrove exhibits his latest archeological discoveries. His surreal exploration of extinct animals blends the bizarre comic book world of quirky, often grotesque, characters against rich, finely executed landscapes. His influences range from the work of artists, Carlos Crivelli, Jan Van Eyck, Hieronymus Bosch to contemporary artists Donald Roller Wilson, Botero and Odd Nerdrum. Seattle-based Scott Musgrove attended Columbus College of Art and Design in downtown Columbus, Ohio where he studied illustration and painting. Musgrove's work has been published by Fantagraphics Books and Dark Horse Comics, and has also been included in various comic anthologies. In addition to showing his paintings in numerous galleries across the United States, Scott has created an animated TV series, Fat Dog Mendoza, which is distributed through Cartoon Network Europe. Miss Van’s sexually suggestive portraits originated as graffiti and have appeared on numerous city streets in Europe and the United States. The French artist began painting on city walls at the age of 18. Drawn to the excitement of painting illegally and the freedom from censorship, Miss Van used graffiti as a way to boycott the conventional medium of art. Her ultra-feminine characters are a direct challenge to the toughness and masculinity that is associated with graffiti and street art. With “don’t be shy!,” Miss Van brings her work into the gallery to further explore notions of femininity and the ‘provocante.’ Delicately straddling the border between erotica and portraiture, her ‘dolls’ provoke the viewer and question what is ‘appropriate’ in modern society.
Featured Artists
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opening photos Scott Musgrove |
Miss Van |
See the Scott Musgrove: Natural Alchemy
and Miss Van:
Don't Be Shy Exhibit
Gary Baseman:
The Garden of Unearthly Delights
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
September 10, 2005 through October 8, 2005NEW YORK, NY: Jonathan LeVine Gallery is pleased to present The Garden of Unearthly Delights the latest invention by Gary Baseman. The exhibition will be on view from September 10th until October 8th. An opening reception will be held on Saturday, September 10th from 6-9pm. For The Garden of Unearthly Delights, Baseman taps into the idthe part of the psyche which contains our primitive impulses such as sex, anger, and hunger. Influenced by “The Garden of Earthly Delights” a renaissance masterpiece by Hieronymous Bosch, Baseman delves deeper into the “pleasure principle” introducing us to little demons and devils that act out our most suppressed impulses and desires. One such demon is Hotchachacha. Bosch’s work has always been a source of inspiration for Baseman. For his first New York Times Book Review Cover, he created a detail of a flower protruding from a man’s rear end, which drew criticism from the Book Review’s art director. The main painting for this exhibition is a diptych that recalls the story, this time with a devil. Gary Baseman straddles the worlds of fine art and commerce, creating what he calls “Pervasive Art.” Pervasive artists, he believes, use both the channels of mass media TV, Film, Print, and fine art art galleries and museums to infiltrate contemporary life. Baseman continues to blur the lines of fine art and pop culture by creating a limited edition vinyl figure of Hotchachachaa little devil that deflowers angels by stealing their haloswhich will be offered at a later date. Gary Baseman is an award winning illustrator, painter and animator. He was the creator and executive producer of Disney’s “Teacher’s Pet” which earned him both an Emmy and a BAFTA. His work has appeared in Time Magazine, The New York Times, Rolling Stone, GQ, Forbes, Reader’s Digest, and the Atlantic Monthly. His illustrations have also been used for the best selling game “Cranium.” As a fine artist, Baseman’s works have appeared in solo gallery exhibitions in New York, Los Angeles and Tokyo, and can be seen at the National Portrait Gallery in Washington DC and the Museum of Modern Art in Rome. His playful characters have truly invaded popular culture. A feat recognized by Entertainment Weekly, who recently named Baseman one of the 100 Most Creative People in Entertainment.
Featured Artists
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opening photos |
Gary Baseman |
See the Gary Baseman:
The Garden of Unearthly Delights Exhibit
Daniel Peacock and AJ Fosik:
Proof Denies Faith
Gallery II
Two Person Exhibit
Jonathan LeVine Gallery
July 16, 2005 through August 13, 2005Daniel Peacock and AJ Fosik:"Proof Denies Faith"On View July 16th - August 13th, 2005Opening Reception Saturday July 16th, 2005 from 6 p.m - 9 p.m.NEW YORK, NY: Jonathan LeVine Gallery is pleased to present “Proof Denies Faith” a two-person exhibition featuring new work by AJ Fosik and Daniel Peacock. The exhibitions will be on view from July 16th until August 13th. An opening reception will be held on Saturday, July 16th from 6-9pm. All of the artists will be here to celebrate. Detroit native AJ Fosik and California-based Dan Peacock will present their folk art and cartoon inspired sculptures and paintings in “Proof Denies Faith”. The exhibition will be on view in Gallery II until August 13th. AJ Fosik is originally from Detroit, now living in California. He combines images and iconography carefully collected and scavenged from past traditions both real and fabricated which are interpreted and woven together to create a trenchant body of work that is equal parts signage, folly and hard luck story. For “Proof Denies Faith”, AJ has created intricately crafted tiger-warriors, wooden shingled bear heads and other folk inspired creatures. Daniel Peacock was born in Orange County, California and is a graduate of Art Center College of Design in Pasadena. Daniel started doodling at age six and drawing new characters. His drawing influences range from 1930’s animation, marimba music, Neo Rausch, Ub Iwerks and a good cup of green tea. Daniel just finished working with Public Radio Station KCRW, where he illustrated their CD, poster and movie trailer for “Sounds Eclectic 3.” His work has been included in recent exhibitions at Mendenhall-Sobieski Gallery in Pasadena, La Luz De Jesus in Los Angeles, and BGH Gallery in Santa Monica.
Featured Artists
|
opening photos Daniel Peacock |
AJ Fosik |
See the Daniel Peacock and AJ Fosik:
Proof Denies Faith Exhibit
Jim Houser:
systemsanderrors
Gallery I
Solo Exhibit
Jonathan LeVine Gallery
July 16, 2005 through August 13, 2005Jim Houser: systemsanderrorsOn view July 16th - August 13th, 2005 Opening reception: Saturday, July 16th, 2005 from 6 p.m. – 9 p.mNEW YORK, NY: Jonathan LeVine Gallery is pleased to present “systemsanderrors” a solo installation by Philadelphia-based artist Jim Houser. The exhibition will be on view from July 16th until August 13th. An opening reception will be held on Saturday, July 16th from 6-9pm. The artist will be in attendance to celebrate.Jim Houser will also be signing copies of BABEL, a book cataloging his life in the arts, which was published this year by Gingko Press. “systemsanderrors” marks Jim Houser’s first solo exhibition in New York. For the exhibition the artist will create a site-specific installation mixing words, images and symbols. Jim Houser's paintings are the system by which he actively catalogs the images and noises which command his attention. His installations act to create a map of the contents of his head over the course of a particular period of time. Jim resides in Philadelphia, with his best friend Brian, his dogs Stuckley and Ella, and his cat Birdy. He is a founding member of Space 1026, a Philadelphia- based artist collective. First organized in 1997, the artist-run collective focuses in silk-screening, printmaking, painting, audio/video production, graphic design and schedules monthly rotating exhibitions. He has done graphic design work for toy machine, Designarium, and Nike.
Featured Artists
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opening photos |
Jim Houser |
See the Jim Houser:
systemsanderrors Exhibit
Matt Haber, Mars-1, Ben Woodward, Max Lawrence:
Fork in the Road
Gallery II
Four Person Exhibit
Jonathan LeVine Gallery
June 4, 2005 through July 2, 2005FORK IN THE ROAD Ben Woodward, Max Lawrence, Mars 1 and Matt Haber On view June 4th- July 2nd, 2005 Opening reception: Saturday, June 4th, 2005 from 6-9p.m. New York, NY - Fork in the Road a four-person exhibition featuring new works by Mars 1, and Matt Haber and two site-specific installations by Philadelphia-based artists Ben Woodward and Max Lawrence opens at Jonathan LeVine Gallery on June 4, 2005 and remains on view through July 2, 2005. An opening reception for the artists will be held on Saturday June 4th from 6 - 9 pm. Fork in the Road explores how the four artists— all roughly the same age and heavily influenced by the cartoon, graffiti, sci-fi, fantasy and pop culture aesthetics that defined the 70s and 80s—have taken these similar beginnings and interpreted them in different ways. Matt Haber utilizes the narrative tradition developed in cartoons and comic books to create character-driven works that reflect a range of emotion. His doll-like figures wander through giant forests and stage-like settings exploring ethic and moral dilemmas. He explains that each of his pieces is a small story revolving around a larger one. The sweetness and innocence of his characters belies the mature, adult scenarios that they encounter. Ben Woodward examines similarly intense emotions and situations. By using half-animal, half-human figures and simplified settings, Woodward removes himself from his character’s situations; reducing their poses to one symbolic action. The underlying meaning of the work is further explained through his choice of child-like titles and captions. Mars 1 explores the possibilities of other-worldly existence through his alien-like characters. The figures float passively through highly developed multilayered backgrounds that hover between landscapes and abstract paintings. The artist deliberately leaves the viewer guessing about the story. “You can tell that there’s some kind of consciousness driving the creatures, but you can’t really pinpoint anything about their motives or purposes.” Mars 1 invites viewers to use their own imaginations to develop the storylines. The highly stylized portraits of Max Lawrence are explorations into the relationships between what is right and what is considered illegal or immoral. Be it drug dealers who are hailed as heroes in their neighborhoods, or the subtle deceit between a boyfriend and girlfriend; Lawrence’s character studies examine the complexities and contradictions that develop within modern society. Created in multiple layers of gouache and resins, the works have an enamel like feel while at the same time expressing the translucence of a Japanese animation cell. ABOUT THE ARTISTS Matt Haber, a San Diego native, lives and works in Los Angeles. His studies at RISD and experience at Walt Disney Animation have shaped his storytelling insight and colorful style. He is currently working as a story artist at Fox Animation and has shown in numerous galleries across the country. Mars 1 (aka Mario Martinez) is heavily active in San Francisco’s contemporary art scene where he lives with his wife, fellow artist Mikas. He began his career at the early age of 13, doing graffiti in his hometown. He moved on to airbrushing and began to paint on canvas at the age of 20. Since then, his work has expanded to include sculpture, books, skateboard decks and designer toys. Ben Woodward and Max Lawrence are both founding members of Space 1026, a Philadelphia- based artist collective. First organized in 1997, the artist-run collective focuses in silk-screening, printmaking, painting, audio/video production, graphic design and schedules monthly rotating exhibitions. Ben Woodward attended Rhode Island School of Design. His work has been exhibited at The Institute of Contemporary Art, Moore College; White Columns in New York and several venues in California and New York. He is a featured artist of the Projet Mobilivre Bookmobile project and has produced many artist books. Max Lawrence attended Rhode Island School of Design and Cornell University where he received a BFA. He has been a member of the Philadelphia art collective Vox Populi since 2000 and has shown in numerous exhibitions throughout the United States and Europe. His work is also included in the 55DSL corporate collection.
Featured Artists
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Matt Haber Max Lawrence Mario Martinez (Mars-1) |
opening photos Ben Woodward |
See the Matt Haber, Mars-1, Ben Woodward, Max Lawrence:
Fork in the Road Exhibit
Todd Schorr and Kathy Staico Schorr: The Golden Age of Hypocrisy
Gallery I
Two Person Exhibit
Jonathan LeVine Gallery
April 30, 2005 through May 28, 2005Todd Schorr and Kathy Staico Schorr:The Golden Age of HypocrisyOn view April 30th - May 28, 2005Opening reception: Saturday, April 30th, 2005 from 6 p.m. – 9 p.m. Jonathan LeVine Gallery is pleased to present, “The Golden Age of Hypocrisy,” new works by Los Angeles based artists Todd Schorr and Kathy Staico Schorr. This unique exhibition will combine five new acrylic paintings, three drawings, and one bronze by Schorr, with seven oil paintings by Staico Schorr, as well as, a collaborative painting titled, “Autumn Sojourn.” Included in the current exhibition is the latest large scale painting by Todd Schorr that continues his quest of presenting popular culture iconography in the context of vast sweeping historical allegories. The 60”x84” piece titled, “The Parade of the Damned,” uses contemporary horror imagery, set in a medieval world, and was inspired by Pieter Bruegel’s 1562 painting, “Dulle Griet,” (Mad Meg). In astonishing detail, an elaborate procession of hideous characters make their way to the open mouthed Cyclops, which represents the Gates of Hell. Schorr’s formal training and extensive illustrative background are a platform for his run amok surrealism and far too fertile mind. After several years working as a successful illustrator, Kathy Staico Schorr broke away from the confines of illustration and began painting for herself. Not long after, the Laforet Gallery in Tokyo, Japan, invited her to be a part of the group show, “The First Pop Culture Show Today.” It was a life changing experience as she proudly exhibited alongside ‘Lowbrow Great’ Robert Williams, Suzanne Williams, Georganne Deen, Gary Panter, and Mark Mothersbaugh. Drawing from early childhood influences of Gerry Anderson’s puppet animated cartoons and the horror and sci-fi films from the 1930’s to the 1960’s, Staico Schorr, is our guide into a blameless world where we are once again ultra-conscious and impressionable. The gallery will be releasing two new prints of Schorr’s paintings, “The Parade of the Damned,” and “Under Autumn’s Tentacled Spell,” and one print of Staico Schorr’s painting, “Early Departure.” Todd Schorr, in conjunction with Jonathan LeVine Gallery will be releasing his first bronze based on his painting, “Under Autumn’s Tentacled Spell.” The bronze, sculpted by well-known sculptor Tim Bruckner, stands approximately 12”, and is limited to an edition of ten.
Featured Artists
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opening photos Todd Schorr and Kathy Staico Schorr |
Todd Schorr Kathy Staico Schorr |
See the Todd Schorr and Kathy Staico Schorr: The Golden Age of Hypocrisy Exhibit
Daniel Martin Diaz: Death Unto Life
Gallery II
Solo Exhibit
Jonathan LeVine Gallery
April 30, 2005 through May 28, 2005Daniel Martin Diaz: Death Unto Life On view April 30th - May 28, 2005 Opening reception: Saturday, April 30th, 2005 from 6 p.m. – 9 p.m. Jonathan LeVine Gallery is proud to present, “Death Unto Life,” a solo exhibition of fourteen paintings, a trio of hand carved linocuts titled "Exorcism", and two zinc plate etchings, created by Tucson artist Daniel Martin Diaz. Drawing from old masters, Jan van Eyck, Pieter Bruegal, and Hieronymus Bosch, both in subject matter and in the ancient egg tempera and resin oil painting style, Diaz’s depictions have a sincerity that exposes a seemingly endless devotion to reveal a higher meaning through painstaking craftsmanship. His use of a limited pallet on distressed wood, handmade wooden frames, and expressive use of Latin text allows Diaz’s images to thrust us into another time and place, as though resurrecting relics from the past. Diaz reflects upon the metaphysical realm in a concrete fashion in this latest series of works, which represent the transcendence of the soul into the immortal afterlife. The artist explains, “One of my earliest memories as a child was the way death and religion played an important role in my family’s life. My parents were born in Mexico with traditional beliefs, and their beliefs made their way into my subconscious. The fact that many of those beliefs seemed to render no logical explanation has also influenced me. These unanswered questions find a home in my work, which evokes the mystery, fear and irony of those vivid memories of my past. I do not claim to understand these questions. I just paint and let them reveal themselves to me.” Beneath the stained-glass-look and tortured faces lies a depth and richness of an otherworldly spiritual dimension. A classically trained pianist and composer, Diaz began sketching and painting between recording sessions. The self-taught artist‘s eight- year career has spawned a deluge of success and notoriety in several artistic genres. His passionate creations have been commissioned for the PBS Documentary, The Forgetting: A Portrait of Alzheimer’s, the entire CD artwork for the Atlantic Records multi-platinum band, P.O.D., and two large altar pieces for San Antonio de Padua Catholic Church in Guaymas, Mexico. In 2001, he exhibited with controversial artist, Joel Peter Witkin in Tucson, Arizona. His work has been exhibited in major cities throughout the United States and in Mexico, Austria, Italy and Australia, and has appeared in numerous art and religious magazines.
Featured Artists
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opening photos |
Daniel Diaz |
See the Daniel Martin Diaz: Death Unto Life Exhibit
Ray Caesar: Hidden Doors and Secret Rooms
Solo Exhibit
Jonathan LeVine Gallery
March 19, 2005 through April 16, 2005Ray Caesar: Hidden Doors and Secret RoomsOn view March 19th - April 16, 2005Opening reception: Saturday, March 19th, 2005 from 6 p.m. – 9 p.m. Jonathan LeVine Gallery is pleased to present Hidden Doors and Secret Rooms, a solo exhibition of giclee prints of digital paintings created by London born, and Toronto based artist Ray Caesar. Prior to developing his unique creations, Caesar spent 17 years working in the Art and Photography Department of The Hospital For Sick Children in Toronto documenting child abuse, surgical reconstruction, psychology and animal research. The artist explains, “I often awake in the middle of the night and realize I have been wondering the hallways and corridors of the giant hospital. It is clear to me that this is the birthplace of all my imagery.” These experiences continually haunt and present themselves in his dreamy images, which draw inspiration from the works of Frida Kahlo, Salvador Dali, and Paul Cadmus. Brazilian fashion designer, Karlla Girotto found inspiration in Caesar’s images. His influence is exhibited in the garments themselves as well as the manner in which they were presented. In order to call attention to her artistic influence, Girotto showed her collection outside the Museum of Modern Art in Sao Paolo. Caesar creates his images using three-dimensional modeling software (MAYA). After creating a skeleton model, he then covers these models with painted and manipulated photographic textures he collects. These constructions allow the artist to pose and position the figure in a three dimensional environment. Digital lights and cameras are added with shadows and reflections simulating that of a mysterious and strange “real” world.
Featured Artists
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opening photos |
Ray Caesar |
See the Ray Caesar: Hidden Doors and Secret Rooms Exhibit
Donovan Crosby and Jonathan Weiner: Finders Keepers, Losers Weepers
A Two Person Show
Jonathan LeVine Gallery
March 19, 2005 through April 16, 2005Donovan Crosby and Jonathan Weiner:Finders Keepers Losers WeepersOn view March 19th - April 16, 2005Opening reception: Saturday, March 19th, 2005 from 6 p.m. – 9 p.m. Jonathan Levine Gallery is proud to present: “Finders Keepers Losers Weepers” paintings by Donovan Crosby and Jonathan Weiner. Both artists will be showing new oil and acrylic paintings. Los Angeles artist Donovan Crosby’s use of acrylic paint on textured wood surfaces creates hauntingly, beautiful, and whimsical imagery. Her work explores themes of voodoo mysticism and fairy tale whimsy. By combining both appealing and often disturbing images, Crosby creates a new world in which we are allowed to visit. Painter and illustrator, Jonathan Weiner employs the traditional tools and methods of oil painting to create a body of work that explores the state of man in the 21st century. Through allegory, surrealism, and stylization, his images confront significant themes facing contemporary society, such as rapid change, violence, alienation, morality and power. His subjects exist as worlds of their own at once making them timely, and timeless. These mysterious characters express a myriad of emotions; among them we find paranoia, malaise, and ennui. Weiner uses layers of symbolism, both conscious and sub-conscious, to construct somewhat ambiguous narratives that invite and challenge the viewer to be an active participant in the viewing experience. His images combine both portraiture and narrative alluding to his influences Velasquez, Carravaggio, and Sargent among others.
Featured Artists
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opening photos Donovan Crosby |
Jonathan Viner |
See the Donovan Crosby and Jonathan Weiner: Finders Keepers, Losers Weepers Exhibit
Pop Pluralism
Grand Opening for NYC debut of Jonathan LeVine Gallery
Jonathan LeVine Gallery
February 5, 2005 through March 5, 2005The Jonathan LeVine Gallery opens with “Pop Pluralism,” a group exhibition featuring a selection of gallery favorites, and giving an excellent overview of the exciting work to be revealed in future shows. The opening reception for “Pop Pluralism” is Saturday, February 5, 2005 from 6 to 9 pm. The show runs through March 7, 2005 and includes new work by:
Featured Artists
Ultra-Murder Death Squad
Tim Biskup and Andrew Brandou
Jonathan LeVine Gallery
November 20, 2004 through December 24, 2004INTERCEPTED GOVERNMENT COMMUNIQUE—TOP SECRET:It has come to our attention that a sinister organization known as the Ultra-Murder Death Squad has infiltrated the vast network of zoos, national parks and nature preserves throughout the western continental United States. This crack team of killers has liberated and trained various species of animals and mutants how to carry out insurgent attacks, sabotage and assassinations, spreading fear and mayhem in their considerable wake.The propaganda wing of the UMDS is under the iron fists of two men: one Tim Biskup, (AKA: “Father T”) and one Andrew Brandou (AKA: “The Newt of God”). No photographs of these two men exists, only the striking results of their diabolical works have been seen, depicting gun-toting animals and sharp-spined armies of mutant beasts--doubtlessly a result of Father T’s genetic experiments--gamboling across fields of maniacal colors and bizarre shape-scapes. Not since the great “Japanese Monster Scare” of the 1960’s have we seen such an impending menace.Our surveillance operatives have intercepted transmissions that speak of an upcoming meeting with East Coast kingpin, Jonathan LeVine, at his Philadelphia headquarters known surreptitiously as Tin Man Alley. Surely, this is evidence of the UMDS’ efforts to consolidate and expand their influence. Those involved in animal husbandry (zoos, parks farms, are being alerted to the impending threat). Show runs from Saturday, Nov. 20th until Friday Dec. 24th. Opening Reception on Nov. 20th 6pm-10pm.
Featured Artists
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Andrew Brandou |
Tim Biskup |
See the Ultra-Murder Death Squad Exhibit
Ghost Town
A group show of over 30 artists of work inspired by Halloween
Jonathan LeVine Gallery
October 2, 2004 through November 14, 2004The trees have gone bare, the crickets are silent; nothing but the moon and the howling wind to keep you company. But hark! What bulky shape is rustling in the leaves over in yon graveyard? Could it be…… no……impossible, merely your mind playing tricks on you. But what is that red stuff on your shoe……AAAUGGH! Tin Man Alley’s mad scientist, Jonathan LeVine, has unleashed his unspeakable, shambling monstrosity, GHOST TOWN upon the unsuspecting townsfolk of Philadelphia! It’s a best terrifying to behold, cobbled together and given life by over 30 of today’s most brilliant underground talents. SEE images that leap off of the walls! THRILL to the otherworldly chops of these artists! GASP IN AWE at the vast array of creatures ever brought together under one roof! LEER at the sexy she-vampires! PANT over the green biceps! RECOIL IN HORROR from the putrefying flesh and freaks of nature forsaken by both God and man!OPENING RECEPTION is Saturday, October 2nd, 6pm-10pm. Come in costume……candy and goodies will be given to those who have the Halloween spirit!
Featured Artists
Pretty Ain't Pretty
Ron English & Van Arno
Jonathan LeVine Gallery
August 21, 2004 through September 26, 2004Tin Man Alley invites you to the nightmare island laboratory of Ron English and Van Arno, where tribes of cannibal smurfs dine upon the unsuspecting castaway, donuts are hunted for their fur, and squeak toys and innocuous cartoons from childhood mutate into jarring grotesques.
Featured Artists
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Ron English |
Van Arno |
See the Pretty Ain't Pretty Exhibit
Flip, Flop 'n Fly
Mike Burnett, Daniel Peacock & Chris Ryniak
Jonathan LeVine Gallery
July 3, 2004 through August 15, 2004The Tin Man Alley places a big, juicy lemon in your iced tea this summer with "Flip, Flop and Fly", a three-person show featuring the work of Mike Burnett, Daniel Peacock and Chris Ryniak.
Featured Artists
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Daniel Peacock Chris Ryniak |
Mike Burnett |
See the Flip, Flop 'n Fly Exhibit
(un)Natural Selection: New Works by Jeff Soto and Mitch O'Connell
May 22 until June 27, 2004. Opening Reception- Saturday, May 22nd, 6pm to 10pm
Jonathan LeVine Gallery
May 22, 2004 through June 27, 2004Eyeballs and tendrils. Rabbits and screaming mobs. This is the world of artists Jeff Soto and Mitch O' Connell. Both are artists whose work is known for inverting the world around us, although by very different means.
Featured Artists
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Mitch O'Connell |
Jeff Soto |
See the (un)Natural Selection: New Works by Jeff Soto and Mitch O'Connell Exhibit
Up Far Too Close
Featuring artists, AJ Fosik, Joseph Hart, Keren Richter, KGBE Rotgut, Louie Cordero, and Ryan Wallace. Opening Reception - Saturday April 3rd from 6pm to 10pm
Jonathan LeVine Gallery
April 3, 2004 through May 16, 2004Tin Man Alley is pleased to present Up Far Too Close, a group show featuring six exciting young artists. Curated by painter and illustrator Jordin Isip, the exhibit was inspired by his interaction with students from several northeastern art schools. Out of the hundreds of students that Mr. Isip has taught since 1999, he has chosen five of the most promising: Joseph Hart, AJ Fosik, Keren Richter, KGBE Rotgut, and Ryan Wallace. He met the sixth, Filipino artist Louie Cordero, through a mutual acquaintance. Each of them has cultivated a vibrant, unique style. Hart specializes in jagged, enigmatic narratives, while Richter's appealing cityscapes combine childlike rendering with a masterful use of bright colors. The sharply-rendered work of Fosik, Wallace, and Cordero stands in contrast to Rotgut's bold metal collages, which find rugged beauty in the scrapheap. Although their styles may vary greatly, the artists' relationships with their former professor is not all that connects the six. The restless energy and uniqueness of vision apparent in their work is the important common ground that they share. It is this rare quality that will make Up Far Too Close a memorable snapshot of a young group whose talents ensure that they will be with us for years to come.
Featured Artists
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Keren Richter KGBE Rotgut AJ Fosik |
Joseph Hart Louie Cordero Ryan Wallace |
See the Up Far Too Close Exhibit
A Complex Conspiracy - Schemes within Schemes
Ray Caesar and Jonathan Weiner
Jonathan LeVine Gallery
February 21, 2004 through March 28, 2004At home in the shadowed world of suspicion and fear, the art of Ray Caesar and Jonathan Weiner resides within an intricate web of lies whose trajectories sometimes point towards truth, but never trust. In A Complex Conspiracy, the new gallery show at Tin Man Alley, Ray Caesar and Jonathan Weiner create immaculate fragments of personal mythologies that are not just pictures, but are puzzle pieces that never completely fit with any other. In Weiner's rich oil paintings and Caesar's astonishing digital prints, narratives are layered and intertwined to create works that are remarkable in their depth and purity of vision.
Featured Artists
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Ray Caesar |
Jonathan Viner |
See the A Complex Conspiracy - Schemes within Schemes Exhibit
Big Men in Little Cars
A group show of artwork inspired by Shriner's iconography.
Jonathan LeVine Gallery
January 10, 2004 through February 15, 2004The Shriners began as a playful offshoot of the Freemasons in the late 1800's, but it has become a well-known order in its own right, boasting over a half million members and almost 200 chapters, or "shrines", ranging from Alaska to Panama. They have come to be known for their wild conventions, irreverent parades, and, of course, the unmistakable Moroccan fez that perches upon the head of every proud Shriner. Any group with a devotion to "fun and fellowship" is bound to cultivate a following, and the Shriners are no exception. For the past few generations, the guys who fought in world wars, held down jobs, raised kids, nursed ulcers and paid off mortgages needed a pyramid to call their own, and the Shriners have provided this while also contributing to numerous civic charities, most notably for children.
Featured Artists
See the Big Men in Little Cars Exhibit
Beneath the Surface
New paintings by Chris Mars and Daniel Martin Diaz
Jonathan LeVine Gallery
November 1, 2003 through December 28, 2003In "Beneath the Surface," the new show at Tin Man Alley, visionary painters Chris Mars and Daniel Martin Diaz don't simply peek under the false mask of our culture; they tear it off and cast it aside. What lies underneath isn't beautiful in the comfortable sense of landscapes and prom queens; in the hands of Mars and Diaz, it's a grim beauty of psychological enlightenment, and its darkness is completely alluring.
Featured Artists
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Chris Mars |
Daniel Diaz |
See the Beneath the Surface Exhibit
