Jonathan Levine Gallery Unverified Venue Portfolio
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IKON

NEW YORK, NY (June 10, 2016) — Jonathan LeVine Gallery is pleased to present IKON, a solo exhibition of new work by Austrian artist Nychos is what will be his debut solo exhibition at the gallery. Nychos is a street artist, illustrator and painter whose signature style blends themes of morbid corporeality with a colorful, outlandish aesthetic. Inspired by comics, heavy metal, graffiti and his upbringing in a traditional Viennese hunting family, his work reveals the skeletal and internal structure of cartoon-like characters. With impeccable attention to detail, Nychos implements methods of “dissection, cross-section, meltdown and translucence” to juxtapose the beauty and grotesque nature of the body. For IKON, Nychos created a portrait series of celebrities and fictional characters whose images have been burned into our minds and we’ve grown accustomed to perceiving superficially. With a particular focus on icons from the 1980s, this new body of work shows the profound influence that media had on the artist during his formative years. By dismantling their anatomy he explores the humanity that exists underneath the mask of celebrity and confronts viewers with the core elements we all have in common: flesh and bones. This new series of work explores the evolution of pop culture while also commenting on developments that have come to plague society over recent decades. Visitors will be confronted with images such as a rubber ducky liquefying into polluted water, a Barbie doll whose face has melted into a cancerous drip and other socio-ecological crises. Prior to the opening of IKON, Nychos will participate in Coney Art Walls, as well as unveil a ten-foot tall sculpture, The Dissection of Sigmund Freud, at Flatiron Plaza from June 16th to 18th in cooperation with the Tourist Board of Vienna. Following the opening, Nychos will create a large-scale mural at a building owned by Mana Contemporary located in Jersey City near the approach to the Holland Tunnel. Please contact the gallery for further details.

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Primitivo

Saner’s works are heavily influenced by traditional Mexican customs and folklore. For Primitivo, the artist created lively portraits of characters wearing Nahuale masks reminiscent of those found on the streets of Mexico and according to legend, have the power to transform human beings into animals. Drawing from the visual culture of his everyday life, his paintings are a celebration of the local environment they originate from. In Primitivo, Saner looks at our rapid urban development and questions the shift away from the natural world. Is modern wo/man really more sophisticated than our ancestors who were physically dependent on the environment? Saner asks the question: “We talk about primitive man as this tough guy, living in an elementary way only focused on basic needs. Modern man no longer has to hunt or provide in such a rudimentary way and yet more than ever we are faced with poverty and war. So are we really living in such a highly developed world?” He poses this question in brightly colored compositions on canvas, paper and wood, in hopes that they will generate change and guide viewers towards a mindset of oneness, as opposed to otherness.

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The Lost Mitten Society

The Lost Mitten Society presents a visually diverse mix of emerging and established artists, all suffering from the loss of a mitten. Despite their frozen appendages, this group of over twenty artists have created small to medium sized, multi-disciplinary works, including a strong selection of drawing, painting and sculpture. In the name of solidarity, The Lost Mitten Society will be displayed salon-style in the gallery to showcase the group’s goal of reuniting lost pairs of mittens everywhere.

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Yer So Bad

Yer So Bad showcases a continuation of Parra’s witty and salacious post-pop imagery. Titled after the Tom Petty song, Yer So Bad, which tells the story of a girl who marries a “yuppie” and takes him for all he’s worth, this exhibition features the artist’s signature hybrid figures and freeform typography in works on canvas and paper. With an aesthetic rooted in Pop Art and the experimental graphics of the 1960s, Parra’s multi-disciplinary work spans cohesively across drawing, painting and animation. Parra uses “the everyday and the awkward” as his source of inspiration, creating pieces that he describes as fast and freestyle. His flat compositions are accented with graphic lines and reminiscent of works by Keith Haring and Roy Lichtenstein, both of which attempted to challenge the traditional norms of painting through their depiction of popular culture. Similarly, Parra derives his content from the modern world and produces bawdy scenes that range from sarcastic and introspective, to daring and nonsensical. The esoteric characters Parra creates are curvaceous, nude subjects with bird-like features. Portrayed in a variety of suggestive circumstances, the artist creates this provocative species with a comic-like sensibility. For his works on canvas he uses a bold color palette of highly saturated red and blue while his ink on paper drawings reinforce the graphic quality of his compositions using black and white simplicity.

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Luminous Reverie

NEW 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.

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Machine Sabbath

NEW 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. 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.”

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Too Much For One Man

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.

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Midnight Reverie

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.”

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Decay and Overgrowth

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.”

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