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

Robert RYMAN, "Untitled," 1966, oil on canvas, 18 x 18 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Originally trained as a jazz saxophonist, Robert Ryman began working as a guard at MoMA where he met Sol LeWitt and Dan Flavin, who inspired him to begin painting in 1953. He received little formal Artistic training aside from classes at MoMA’s department of education, instead devoting himself to studying painting through hands-on experimentation. Ryman chose an extremely restricted vocabulary - the square format and the color white. He permutated these constants by manipulating scale and structure, creating endless optical and compositional variations by means of adjustments to primer, medium, and support. Ryman's work is distinguished from Minimal Art by the importance he gave to the painter's touch and surface, using these essential elements in his rigorous formal investigation of the material properties of monochromatic painting. “There is never any question of what to paint…” the Artist famously declared “…but how to paint.” #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #robertryman

Mary CORSE, “White Light 3 Inner Bands”, 2001, acrylic and microspheres on canvas, 48 x 48 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Mary Corse is one of the few pioneering female Artists of the 1960s Southern California Light and Space Movement. Corse has experimented throughout her career with the legacy of modernist painting, physically imbuing her paintings with light utilizing different techniques. The Artist’s multivalent approach foregrounds her use of decidedly unconventional materials, such as electric light, ceramic tile, and (in this Artwork) glass microspheres, which Corse uses to create geometric configurations that give structure to the luminescent volume of her paintings. These Artworks open themselves up to a perceptual encounter grounded in both vision and movement, exposing modernism’s often-hermetic surfaces to light, time, and possibility… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #marycorse #lissongallery #lisson @lisson_gallery @alexlogsdail

Jan Jansz. VAN DE VELDE, "A Still Life with a Peeled Lemon…,” 1641, oil on panel, 22 x 22 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 A subtle and inventive master of still life, Jan van de Velde distinguished himself amongst mid-seventeenth century banketje painters such as Pieter Claesz and Willem Claesz Heda who pioneered the tradition of depicting simple Dutch meals monochromatically. Van de Velde's still lifes are sparser than those of his fellow Haarlem monochrome painters, and he was not afraid to leave large areas of subtly textured, empty, neutral background. His sophisticated, elegant compositions concentrate the eye on the concise arrangement comprised of a few carefully chosen objects - here, a lemon, roemer, and pewter plates with nuts and olives. Paintings by van de Velde are extremely rare - a little over 40 authenticated still lifes are known today… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #oldmaster #oldmasters #dutchgoldenage

Cindy SHERMAN, "Untitled Film Still 36," 1979, gelatin silver print, 10 x 8 inches, edition of 10, placed by Levin Art Group, all Artworks © the Artist 🔸 Cindy Sherman’s ‘Untitled Film Stills’ cast a significant challenge to Artists and theorists interpreting contemporary staged photography and self-representation. Is “Untitled Film Still 36” a photograph of an actress changing on set, or are we peering further into the rabbit hole, a movie-still featuring the actress in character? Depicting the Artist in the guise of cliché B-movie heroine, the back-lit curtain granting Sherman's character anonymity simultaneously exposes her sexualized silhouette like an x-ray. Amid debates surrounding authorship, originality, and commodification of Art, Sherman’s ‘Untitled Film Stills’ investigate representation and construction of female archetypes as perpetuated by the film industry, and framed within a contemporary feminist critique of patriarchy... #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #cindysherman #metropictures #spruethmagers #spruthmagers @cindysherman @metro_pictures @spruethmagers

Bob THOMPSON, “Cathedral”, 1963, oil on canvas, 86-7/8 x 63 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 For his monumental masterpiece “Cathedral” Bob Thompson drew on the classical imagery, vertiginous height, and circular arrangement of Renaissance church frescoes and stained glass windows. “Cathedral” also alludes to distinct parallels in El Greco (whose Mannerist compositions similarly combine mythological and religious themes in crowded virtuosic displays of color and space) as well as the chromatic power of Gauguin and Munch. With a studio in the notorious Beat Hotel on Rue Gît-le-Coeur, Thompson became close friends with Allen Ginsberg who said “…I dug his new candy-bright colored style making Poussin-esque space flat color surface amorphisms delineating 3-D figures. I thought him the most original visionary painter of his day, a first natural American psychedelic colorist…”. Yet Thompson's narrative remains intensely personal - as an African American, his color palette allows him to allegorically wrestle with the racial bias he saw within Art history and everyday life… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #bobthompson

Damien HIRST, “Tenet”, 2017, butterflies and household gloss on canvas, 66-5/16 x 66-5/16 x 5-5/16 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 In Victorian times, butterfly collecting was a mainstream pursuit. Enthusiastic collectors descended on butterfly hotspots during flight season, and proudly displayed rare and expensive specimens in their mahogany paneled drawing rooms. Damien Hirst's kaleidoscopic butterfly collages directly relate to that nineteenth century Pre-Raphaelite heritage with their icy perfection, preoccupation with death, and cool Northern palette, and he joins a long line of Artists from ancient Egyptians through Salvador Dalí to Op Art’s fizzy psychedelic buzz inspired by shimmering, iridescent butterfly wings. For Hirst, the butterfly’s fragile beauty and ephemeral existence are analogies for the mandala-like cycle of life, death, and Art’s eternal bloom into a new sublime… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #damienhirst #hirst #whitecube #whitecubegallery #gagosian #gagosiangallery @damienhirst @whitecubeofficial @gagosian @danigareh @msbelindabee

Rosemarie TROCKEL, “Grater 1”, 2006, platinum and ceramic, 102 x 77 x 2-1/2 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Rosemarie Trockel challenges established cultural notions about social identity, consistently defying expectations about what she and, by association, Art should do and be. Domestic objects associated with women’s work - such as kitchen utensils and knitted sweaters - are reformulated by Trockel to deconstruct feminine myths. “Grater 1” is monumental in size - a common, machine-made kitchen utensil transformed into a glossy, platinum, handcrafted clay wall relief, reflecting both the viewer and everything surrounding them. Trockel magnifies the female role in society by magnifying scale and linking the handmade object traditionally considered part of women's work to an object of the masculine industrial production. If there is a lesson for Artists today in Trockel’s practice, it is this: when all faith in Art’s historical mission has been exhausted, the anarchist’s maneuvers offer a rare kind of strength… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #spruethmagers #rosemarietrockel #trockel #spruthmagers @spruethmagers

George CONDO, “Autumn In Soho”, 2011, oil on canvas, 78 x 100 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 ‘Autumn In Soho’ engulfs the viewer: stretching over eight feet wide and life-sized in height, this epic painting in sombre black, nicotine brown, and muddy ochre depicts a compressed group of frenzied figures that churn and collide. The only clear form is that of a female - visible on the right facing the painting’s right edge - while distorted faces with bulging eyes and clenched teeth loom out of the darkness across the rest of canvas. Condo coined the phrase ‘Psychological Cubism’ to describe his process of translating visual cause into psychological effect, and this painting’s moody surface and hallucinatory imagery suggests an unstable psychosomatic state. The proliferation of disembodied heads infers these fragmentary figures have sprung from the dark recesses of the lone female's complex psychology… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #georgecondo #alminerech #alminerechgallery #spruethmagers #spruthmagers #skarstedt #skarstedtgallery @alminerechgallery @spruethmagers @skarstedtgallery @lam.jeanette

Christopher WOOL, "Untitled," 1988/89, alkyd and flashe on aluminum, 108 x 72 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Christopher Wool emerged in the 1980's when neo-expressionist painting achieved ascendancy. In reaction to this, Wool reinvented abstract painting by reinvigorating historical arguments against painterly expression. Although Wool engaged the lineage of conceptual and minimalist Art, it was Pollock's allover strategy that ultimately influenced Wool to use rubber wallpaper rollers to apply decorative patterns without beginning or end. These allover repetitive patterns of vines are interrupted by skips, scumbles, and glitches, forcing us to view these pattern imperfections through the lens we traditionally associate with abstract painting. Through process, technique, and imagery, Wool's paintings accentuate the contradictions in meaning between the construction of a picture, its physical attributes, and our visual experience of looking at it. As Wool has stated “…it’s easier to define things by what they're not, than by what they are…” #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #christopherwool #luhringaugustinegallery #luhringaugustine

Sarah LUCAS, “Titty Bunny”, 2018, chair, tights, kapok, and wire, 46-1/2 x 20-7/8 x 25-1/4 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Sarah Lucas’ practice consistently and conceptually cripples the status quo of sexuality and gender stereotypes. A study of identity without being autobiographical, this slumping misshapen female form is created with cotton wadding stuffed into flesh-colored pantyhose - passively lolling spread legs, a set of lop-sided breasts, and phallic stuffed ears - but the area where her head should be is empty and absent. The Artwork’s title reinforces this reading of disempowerment - focusing on the objectified female body parts of the malign, overbearing male gaze, providing Lucas' elegant lo-fi fuck-off manner with the means to critique the male gaze in its own language. Clamped to an office chair, “Titty Bunny” is an emblem of abject submissive femininity - but still contains an old, soulful logic all her own… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #sarahlucas #sadiecoles #sadiecoleshq @sadiecoleshq @darekgoodmanusa @goodygirls1

Glenn LIGON, "Warm Broad Glow," 2005, neon, 36 x 192 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 Glenn Ligon's first neon sign consists of the words 'negro sunshine' sixteen feet across and three feet high. The sign is rendered in antique typewriter font, dipped face first into black paint so that light escapes only from the behind the letters and casts a cool fluorescence on the back wall. Viewing these two words as an isolated fragment in a private/public Art collection is a very different experience than reading them in the context of Gertrude Stein’s first book ‘Three Lives’ (1909) - the story of a young, mixed-race woman whose pursuit of acceptance is a complex drama of hopes, dreams, and love. Ligon inverts the relationship between light and dark one expects from a neon sign; he eclipses Stein's phrase, but a paradoxically effulgent penumbra remains. Ligon navigates the interstice between seeing and reading, and the ways in which people see and read one another… #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #glennligon #ligon #luhringaugustine @luhringaugustine

Agnes MARTIN, “Untitled 19”, 2002, acrylic and graphite on canvas, 60 x 60 inches, placed by Levin Art Group, all Artworks © the Artist 🔸 One of the few female Artists to gain recognition in the male-dominated Art world of the 1950/60s, Agnes Martin was a pivotal, visionary figure between two reigning movements - her content related to the Abstract Expressionists (expression of essential emotions); her method was adopted by the Minimalists (compositions of repetitive geometrical grids). In 1967, at the height of her career, Martin abandoned painting and New York to live in isolation in New Mexico. Martin’s return to painting from 1974 onwards was marked by a gradual stylistic shift: no longer defined by the geometric grid, the Artist’s later paintings increasingly focused on the furthest possibilities of her restrained style. Employing delicate washes, Martin’s final paintings such as “Untitled 19” (created two years before her death) emphasize etherealness over structure, emanating light rather than reflecting it. The central horizontal line bounding the two gray washes gently insists infinite space. Martin’s ultimate distilled style was informed by her faith in the transformative power of Art - “…I would like my pictures to represent beauty, innocence, and happiness…Exaltation…” #levinartgroup #levinartgroup1 #toddlevin #artadvisor #artadvisory #agnesmartin #pacegallery #pacegallerynyc @pacegallery

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