Dan Levenson's first San Francisco show presents a multimedia collection characterized by absurdity, irony, and heartfelt expressions, unusual for postmodern art which often lacks affect. His pseudo-artifacts, reminiscent of a defunct Swiss art school, demonstrate a deep thematic obsession. The imperfections in his oil paintings reflect a historical homage to geometric abstraction, with intentional wear that evokes emotion. Levenson’s innovative techniques to replicate aged effects resonate with art history, drawing parallels to past artists. This collection captivates skeptics and enthusiasts alike, merging narrative with high-concept artistry in memorable ways.
Levenson's simulated artifacts, unrestored, show the imperfections of wear and negligence that we would expect from student work left unfinished or abandoned at the end of a semester.
His obsessive fascination with the theme is total, making his work memorable even to skeptics wary of high-concept but marketable art strategies.
Levenson achieves the aged-paint craquelure not by using contemporary art material but by alternately soaking and baking his canvases to reach a state of partial dilapidation.
The oil paintings follow pure geometric abstraction popular in Europe between the wars and in America in the 1960s, presenting a mute pathos in their imperfections.
Collection
[
|
...
]