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Daniel Levine



1983 MFA, State University of New York at Buffalo, New York
1981 BA, State University of New York at Buffalo, New York



2014 The Way Around, Churner and Churner, New York
2012 Marker, Some Walls, Oakland, California
2010 Gallery Sonja Roesch, Houston, Texas
1995 Apex Gallery, New York
1990 Julian Pretto Gallery, New York
1989 Julian Pretto Gallery, New York
1988 Jeffrey Neale Gallery, New York
1984 White Columns, New York



2013 Outside the Lines: Unlikely Iterations of the Abstract, Contemporary Arts Museum, Houston, Texas
Julian Pretto Gallery, Minus Space, New York
2012 30/30: Image Archive Project, Le Moinsun, Paris
2011 Faction, University of Dayton, Dayton, Ohio
In The Flat Field, Flanders Gallery, Raleigh, North Carolina
2010 In Substantiality, Theodore:Art, New York
Mostly Monochrome, McKenzie Fine Art, New York
2009 Blue, curated by John Zinsser, James Graham and Sons, New York
Accrochage, Gallery Sonja Roesch, Houston, Texas
Monochrome Utopia, 532 Gallery, New York
In Good Company: Figurative Drawings from the Collection, Albright-Knox Art Gallery, Buffalo, New York
2008 Minus Space, PS1 Contemporary Art Center, New York
2007 Escape From New York, Sydney Non Objective, Sydney, Australia (traveled to Curtin University of Technology, Perth [2008], Project Space Spare Room, RMIT University, Melbourne [2009] and The Engine Room, Massey University, Wellington, New Zealand)
2006 Matthew Deleget, Daniel Levine, & Tilman, Gallery Sonja Roesch, Houston, Texas
2004 Toys in the Attic, Lennon Weinberg, New York
2002 7 Greys, curated by Dan Walsh, Paula Cooper Gallery, New York
1995 La Donazione Panza di Biumo, Museo Cantonale d’Arte, Lugano, Switzerland
Art At The Edge: Tampering–Artists and Abstraction Today, High Museum of Art, Atlanta
Alternatives: 20 Years of Hallwalls 1975-1995, Burchfield-Penny Art Center, Buffalo, New York
1993 Echo, Lipton/Owens Gallery, New York
Painting as Paradigm, Stark Gallery, New York
1992 Contemporary Surfaces, Pamela Auchincloss Gallery, New York
Stephanie Theodore Gallery, New York
Contemporary Drawings Part I, Arena Gallery, New York

1991 The Vertical Flatbed Picture Plane, Turner and Byrne Gallery, Dallas
The Process of Looking, Stark Gallery, New York
Issues (Drawing), Ruggiero Gallery, New York
1990  A Question Of Paint, HALLWALLS, Buffalo, New York
 Total Metal, curated by Richard Phillips, Simon Watson Gallery, New York
 Process and Material, Julian Pretto Gallery, New York
 No Trends, curated by Robert Morgan, Nahan Contemporary, New York
1989  Compounded, Lang & O’Hara, New York
 Amerikarma, HALLWALLS, Buffalo, New York
 Disappearances, curated by Robert Morgan, Nahan Contemporary, New York
1988  Michael Kohn Gallery, Los Angeles
 Reconciling Modes: Painting Between Poesies and Process, Jayne Baum Gallery, New York
 Small-Scale, Frank Bernaducci Gallery, New York
1987 The Castle, Documenta 8, Kassel, Germany
 The Glittering Prize, curated by Bill Arning, Stux Gallery, New York
 Poetic Injury, The Alternative Museum, New York
 Floating Values, HALLWALLS, Buffalo, New York
 Image-Less-Image, 303 Gallery, New York
 Mind-Matter, Bess Cutler Gallery, New York
1986  When Attitude Becomes Form, curated by Bob Nickas, Bess Cutler Gallery, New York
 Photography, 303 Gallery, New York
 Picture This, HALLWALLS, Buffalo, New York
 Trans-Lux, Mission Gallery, New York
1985  Land, CASH/Newhouse Gallery, New York
 A Brave New World, A New Generation, Exhibition Hall at Charlottesburg, Copenhagen, Denmark
 Mass, The New Museum, New York
 303 Gallery, New York
1984  The New Capital, curated by Collins and Millazo, White Columns, New York
1983  In Western New York, The Albright-Knox Art Gallery, Buffalo, New York
 Picture Perfect, HALLWALLS, Buffalo, New York
1982  In Western New York, The Albright-Knox Art Gallery, Buffalo, New York



2013 Andrew Russeth, “Julian Pretto Gallery at Minus Space,” Gallerist, October 1, 2013
2012 Carl Belz, “In And Around Monochrome,” Left Bank Art Blog, March 12, 2012
“In Conversation: John Zissner Interviews Daniel Levine,” NY Arts Magazine (Spring 2012)
2002 Grace Glueck, The New York Times, January 25, 2002
1997 Maddalena Disch, La Donazione Panza di Biumo al Museum Cantonale d’Arte (catalogue), Milan: Skira, 1997
1992 Daniel Levine, “Interview with Allen Rupperberg,” Journal of Contemporary Art (Fall 1992)
Tom Moody, Artforum (February 1992)
Holland Cotter, “Art in Review: Contemporary Surfaces,” New York Times, August 7, 1992
1990 Dena Shottenkirk, Artforum (February 1990)
1989 Roberta Smith, The New York Times, July 14, 1989
1988 Robert Mahoney, Arts Magazine (Summer 1988)
Carlo McCormick, Artforum (Summer
Curtis Carter, Photography on the Edge (gallery guide), Milwaukee: Haggerty Museum of Art at Marquette University, 1988
Kathleen Mitchell, New Art Examiner (Summer

1987 Gerard Roger Denson, Rosalind Krauss, and Suzaan Boettger, Poetic Injury: The Surrealist Legacy in Postmodern Photography (catalogue), New York: Alternative Museum, 1987
Dan Cameron, Flash Art (February

1986 Kim Levin, “Ultra-Vacant,” The Village Voice, October 7, 1986
M. Poirer, Art News (December 1986)
Robert Nickas and David Robbins, “Shrink Rap,” Arts Magazine (September
John Sturman, Art News (May

1985 Richard Martin, “Daniel Levine,” Arts Magazine (September 1985)
A Brave New World, A New Generation, catalogue
Beth Biegler, “The New Capital,” East Village Eye (February 1985)
Kate Linker, Artforum (March 1985)
Walter Robinson, Art in America (April 1985)
1984 Roberta Smith, “Group Therapy,” The Village Voice, December 25, 1984



1989 Amerikarma, HALLWALLS, Buffalo, New York, with John Currin, Jessica Diamond, Felix Gonzales-Torres, John Miller, Cady Noland, Steven Parrino, Raymond Pettibon, Donald Powley, Richard Prince, Allen Ruppersburg, and Jim Shaw
1985 World View, CEPA Gallery, Buffalo, New York, with Jennifer Bolande, Richard Prince, Peter Nagy, Meyer Vaisman, Ger Van Elk, and others



The Panza Collection, Italy
Museum Cantonale d’Arte, Lugano, Switzerland
Albright-Knox Art Gallery, Buffalo
Museum of Contemporary Art, Tucson
Private collections

“You may begin this quietly forceful exhibition of meticulously made white-on-white paintings thinking of Robert Ryman, but chances are he will have faded by the end. Mr. Levine applies a few thin coats of oil paint on fine cotton. He works in minute, nearly invisible brush strokes most of the time, and you can almost count the layers of paint. He seems almost to love the cotton as much as the paint, and their tenderly maintained balance is a palpable strength.”

Roberta Smith, Museum and Gallery Listings for Feb. 21–27, The New York Times (February 20, 2014)

“Daniel: Pursuing a program in monochrome for three decades did not start as a love of monochrome painting; it was more a way to learn how to paint (and what better way to start painting ‘seriously’?). What it became, however, once you fall deeper and deeper into the ascetic well, was a life-long endeavor, a hope for some small transcendence, an attempt to make paintings that work.”

Brent Hallard, “White Things: Daniel Levine” (interview) Visual Discrepancies (February 9, 2014)

“Levine regards the three rudimentary issues of his paintings as “structure, surface, and support”—the intellectual and emotional foundation, the paint, and the paint’s cotton and panel backing, respectively.”

Noah Dillon, “’Some of the paintings are smarter than me’: Daniel Levine Talks Monochrome” Artcritical (January 30, 2014)

“There is also a lot of strong monochromatic painting, by artists like Daniel Levine (another square, this one an ethereal, almost glowing, white).”

Andrew Russeth, “Julian Pretto Gallery at Minus Space,” Gallerist, October 1, 2013

“Daniel Levine’s “Soon” offers subtle, fabriclike modulations in texture from top to bottom.”

Holland Cotter, “Art in Review: Contemporary Surfaces,” New York Times, August 7, 1992

“The pleasures that accrue to Daniel Levine’s paintings are of a different order, they’re delicate, ethereal. Their rarefied atmosphere is circumscribed by rigorously defined and scrupulously observed parameters: Levine paints only with primary colors and white, each monochrome is contained by a razor-sharp border of raw canvas, all of the pictures are minimally off-square.”

Carl Belz, “In And Around Monochrome,” Left Bank Art Blog, March 12, 2012

“My paintings are inherently internalized. It’s one of the limitations of monochrome that I embrace. Yet outside influences become sources for my work, and provide a kind of ‘structure.'”

“In Conversation: John Zinsser Interviews Daniel Levine,” NY Arts Magazine (Spring 2012)