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Todd Levin🔸Levin Art Group  All Artworks pictured below were placed by Levin Art Group. Born Detroit, lives NYC. Art advisor + curator. APAA board member. MOCAD advisory board.

Bruce NAUMAN, "One Hundred Fish Fountain," 2005, 97 bronze fish of seven different forms suspended with stainless steel wire from a metal grid, 180 x 300 x 336 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Perhaps the single most important Artwork created thus far in the twenty-first century, "One Hundred Fish Fountain" comprises 97 bronze fish cast from nature and suspended in air, as if swimming in deep water. The sound of hundreds of rivulets of water cascading from the perforated bronze fish into the sunken pool below impart the humid force of a natural waterfall. This environmentally scaled sculpture is designed to fit into a specifically constructed room, allowing only a narrow track for the viewer to edge around the perimeter, in the same manner as Nauman's early corridor works. This installation also recalls Nauman's seminal "Self-Portrait as a Fountain," his riposte to Duchamp's readymade - but here, Nauman has re-visited and transferred that youthful gesture into a monumental sculpture and ecological metaphor… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #brucenauman #nauman #sperone #speronewestwater @speronewestwater

Edvard MUNCH, ”Madonna,” 1902-1913, color lithograph, 23-3/8 x 17-9/16 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 “Madonna” is the singular masterpiece of Munch's graphic oeuvre, and amongst the most haunting female icons in European Art history. Conceived as a series of paintings in 1893/1894, and then as a series of prints in 1895, Munch's “Madonna” stands at the crossroads between symbolist Art of the late nineteenth century and modernism of the early twentieth century. The earliest versions of “Madonna” were monochromatic, but by 1902 Munch was applying copious color. Impressions exhibited at the New York 1913 Armory Show cost $200 - at that price, lithographs of “Madonna” were amongst the most valuable prints of the early twentieth century, a status which this evocative image retains a century later. Munch represented his lover at the moment of conception, and described that moment in his own words “…The interval when the whole world stopped in its course…Now life shakes the hand of death…The chain is forged which binds the thousand generations that are dead to the thousand generations yet to come…” #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #edvardmunch

Rebecca WARREN, "Paris," 2003, unfired clay, mdf, and caster wheels, 75-1/4 x 30-1/4 x 30-1/4 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 When approaching the female body, Rebecca Warren indulges in its multivalent history of sexual guises from ancient fertility goddess to misogynistic comic character with pliable materials that evince her hand. She works with an eye towards extremes - monstrous excess, alarming paucity - creating a sculptural language that exists somewhere on the continuum between corporeal fleshiness and hyperbolic cartoonishness. The seemingly unfinished state of much of Warren's work and its deceptive crudity is analogous to the Artist’s underlying conceptual and thematic slipperiness… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #rebeccawarren #matthewmarks #matthewmarksgallery @matthewmarksgallery @mikodavo

(…from my personal collection, and I don’t share very often…) Joseph CORNELL, “Custodian II (Silent Dedication to M.M. [Marilyn Monroe]),” 1962-63, mixed media box construction, 18 x 12 x 5 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 On 5 August 1962, the public was shocked to learn of the death of Marilyn Monroe. Among those was Joseph Cornell, who began compiling a thick clipping dossier on the actress in the mid-1950’s, now held in the Joseph Cornell Study Center in The Smithsonian. Within days of her death, he was already intent on creating a memorial object (from his diary 11 August 1962 “…extraordinary ‘working out’ of so called M.M. box…”). A week after her funeral, this box had further jelled in his diary notes (“…image of the ‘the Custodian’ add ASTRON. Chart…”). Unlike Warhol, who focused on the garish and destructive aspects on Monroe’s fame, Cornell imagined her as a fallen star, and he chose the (no longer recognized) constellation Custos Messium as protector of the actress’ spirit as she passed from this life to the next. Within his cosmology of a suspended golden metal ring and chain, an independent red sphere, an incised constellation chart, white wire mesh, a seashell, and driftwood, Cornell envisioned a miniature universe to shelter the celestial spirit of the film star. Overlooking this box is a wooden cylinder on which the constellation Aquila the Eagle perches. Cornell stellified Marilyn Monroe in this visual prayer, shrinking her entire world into a souvenir small enough for us to tenderly hold in our hands… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #josephcornell #marilynmonroe

Bruce NAUMAN, "Double Poke in the Eye II," 1985, neon tubing mounted on aluminum monolith, 24 x 36 x 9 inches, edition of 40, placed by Levin Art Group, all Artworks © the Artist 🔸 Fingers belonging to two disembodied heads extend and then retract, generating a cycle of violence that neither escalates nor stops; such is the spectacle created by "Double Poke in the Eye II." Often employing alliterations, anagrams, puns, palindromes, rebuses, inversions, and rhymes, Nauman's early neons were among the first works of art to utilize light and language as materials. His later neons, by contrast, include figurative elements. Almost without fail, they all address the antinomies of the human condition - sex and death, love and cruelty, humor and tragedy - as well as politically inflected current events… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #brucenauman #nauman #sperone #speronewestwater @speronewestwater

Günther UECKER, “Fluß,” 1984, nails and white paint on canvas on wood, 35-3/8 × 35-3/8 × 5 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Uecker’s structures consist of nails hammered into a slab of wood on which a primed canvas has been stretched. The swarming nails, and their interplay of light and shade, create a unique dynamic. The Artist executed his first ‘nail painting’ in 1956/57; “Fluß” (“Flow”) is an ongoing series since the 1970’s. Opening up the pictorial surface, extending the picture plane into the third dimension, assigning the changing light a major role in the perception of the constantly recreated imagistic relief: these were all issues that interested the Düsseldorf Artists’ group “ZERO”, founded in 1957 by Mack and Piene. ZERO considered physical and optical conditions - and thus perception itself - to be an essential component of Art… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #uecker #guntheruecker #güntheruecker #zerogroup #gruppozero #artinformel @grisebach_

Jeff KOONS, “New 100's Merit Ultralights,” 1981, two color duratrans in two fluorescent lightboxes, 84 x 63 x 8 inches overall, placed by Levin Art Group, all Artworks © the Artist 🔸 Jeff Koons made his mark in the NYC Art world at Artist Space in a 1982 group exhibition titled 'A Likely Story’ (with Gretchen Bender, David Cabrera, Ronald Jones, and David Robinson) which included this pair of early conceptual photo/lightboxes. This exhibition dealt with double entendres, in which a healthy skepticism prevalent amongst emerging Artists at that time towards visual information - particularly that of Art and advertisement - faltered under the influence of seductive imagery. ‘A Likely Story’ referred not only to those emerging Artist’s cynicism, but also to their ambiguous responses to that cynicism. “…I don’t seek to make consumer icons,” Koons explained, “but to decode why and how consumer objects are glorified…” #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #jeffkoons #koons #gagosian #gagosiangallery #davidzwirner #davidzwirnergallery #alminerech #alminerechgallery @jeffkoons @gagosiangallery @davidzwirner @alminerechgallery

Lucio FONTANA, "Concetto spaziale, attese," 1963, waterpaint on canvas, 35 x 45-3/4 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 "Concetto spaziale, attese" is an example of Lucio Fontana's iconic series, the tagli or cuts, which he first initiated in the autumn of 1958. Fontana continually explored the expressive potential of his radical Artistic gesture: the cut, which would become the most emblematic symbol of the Artist's practice and the encapsulation of his Spatialist theories. Against a red background, the cuts embody the cadenced rhythm of the Artist's hand, as he used a knife to tear through the canvas, and reveal chasms of the mysterious black space that lies beyond the surface… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #luciofontana #tornabuoniart #tornabuoniarte @tornabuoniart

Damien HIRST, “Cholesteryl Docosanoate,” 2016, household gloss on canvas, 7-7/8 x 3-15/16 inches, placed by Levin Art Group, all Artworks © the Artist (on the left is the painting, and on the right greatly magnified is the extreme upper left corner of the painting) 🔸 Damien Hirst created his first Spot painting in 1986. In that first work, the Artist wrestled with “…the coldness of Minimalism…” But Hirst soon realized he was wrong about Minimalism - “…the simplest, cleanest thing can provoke an emotional response…I wanted the Spots to look like they were painted by a human trying to paint like a machine…” The Spot paintings vary in size from a massive 40 foot wide canvas to this microscopic example measuring just under 8 x 4 inches with 5,000 one millimeter spots. This recent mutation towards microminiaturization in Hirst’s spot paintings pushes Warhol’s famous statement “…The reason I'm painting this way is that I want to be a machine…” to its ultima finis… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #damienhirst #hirst #gagosian #gagosiangallery #whitecube #whitecubegallery #christies @damienhirst @gagosiangallery @whitecubeofficial @samorlofsky

Kara WALKER, “Untitled,” 2013-14, charcoal on paper (collaged in three parts), 60-1/4 x 100-1/4 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 The first large-scale public project by Kara Walker, “A Subtlety - or the Marvelous Sugar Baby…” was sited in the sprawling industrial relic of Brooklyn’s Domino Sugar Factory. Walker’s physically and conceptually expansive installation - a 35 foot tall, 70 foot long hybrid sphinx/mammy made from resin and sugar that melted dramatically over time - responded to the building’s geopolitical history by focusing on its past economy predicated on exploitation: the Caribbean sugar-plantation model, and the transatlantic slave trade that sustained it. This massive collaged drawing is the largest and most fully finished representation of Walker’s thumping, epic, ephemeral project… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #karawalker #karawalkerdomino #asubtlety #sikkemajenkins @brentsikkema @megmalloymontclair @sikkemajenkins

🌅Every New Year morning I walk the entire 14.9 mile length of Manhattan from 225th Street to South Ferry - *except this year*! 🇫🇷 I’m in France for the New Year, so I’m walking the entire 15.4 mile (roundtrip) length of Paris along the Seine within the Boulevard Périphérique. I timed my walk to start in darkness two hours before sunrise, because two hours into my walk I'm at Place du Trocadero. It's the perfect place to admire the first sunrise of the New Year in The City of Lights! 🌞 #levinartgroup1 #levinartgroup #toddlevin #artadvisor #artadvisory #eiffeltower #eiffeltour #eiffel_tower #toureiffel #toureiffellparis @toureiffelofficielle

Mary WEATHERFORD, “Copenhagen,” 2017, flashe and neon on linen, 93 x 79 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Mary Weatherford creates a profound personal language juxtaposing painted canvas and delicate strands of crooked neon, drawing on both legacies of historical landscape painting and the Southern California Light & Space movement - as if J.M.W. Turner and Laddie John Dill had a love-child. Weatherford paints delicate color fields using vinyl-based flashe in layers alternating translucency with opacity. The inclusion of luminous ambient light produces a hybrid form collapsing the distinction between painting and installation… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #maryweatherford #gagosian #gagosiangallery #davidkordansky #davidkordanskygallery @maryweatherford @gagosiangallery @davidkordanskygallery @samorlofsky

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