Daniel Levine
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EDUCATION
1983 | MFA, State University of New York at Buffalo, New York |
1981 | BA, State University of New York at Buffalo, New York |
SELECTED SOLO EXHIBITIONS
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 |
SELECTED GROUP EXHIBITIONS
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 |
SELECTED BIBLIOGRAPHY
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 1988) | |
Curtis Carter, Photography on the Edge (gallery guide), Milwaukee: Haggerty Museum of Art at Marquette University, 1988 | |
Kathleen Mitchell, New Art Examiner (Summer 1988) | |
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 1987) | |
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 1986) | |
John Sturman, Art News (May 1986) | |
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 |
CURATORIAL PROJECTS
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 |
COLLECTIONS
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)