David X. Levine: The Beatles are Dull and Ordinary
January 20 – March 27, 2015Boston University's Sherman Gallery
The Beatles are Dull and Ordinary is a ten-year journey through the expressive and vibrant large-scale colored pencil drawings of New York-based artist David X. Levine. Levine’s drawings are spiritually subtle: slow to build, emerging through the lenses of pop culture and postmodernism. Stirring the mind, they thrive with shape, composition, and above all, vivid color.
Beginning as a poet in the 1980s, by 1990 Levine morphed into a visual artist with his poetry informing his visual art with subtlety, sensitivity and lyricism. Often taking his practice to physical extremes, Levine’s vivid, labor-intensive colored pencil drawings range in scale from the intimate to the monumental (10” to 10’). Incorporating abstract forms and patterns as well as collage relating to popular and high culture, Levine creates an illusory formal vocabulary that inhabits lushly optical spaces, generating rich associations that reach out beyond their compositional spaces. Levine’s drawings are very slow: slow to vision and thought, but they intensify with repeated viewing. All of the work has some kind of humor mixed in with its profound seriousness. The paradox of the slow but very exciting simultaneity is funny; the way life can seem mostly funny and deter complete understanding. Levine’s unfailingly optimistic drawings seem to have as their aim profound joy.
The exhibition is accompanied by a fully illustrated color catalogue with an essay by Carl Belz, director emeritus of the Rose Art Museum, Brandeis University.
The Sherman Gallery is located at 775 Commonwealth Avenue on the 2nd floor of the George Sherman Union. The gallery is located on the Boston University campus (BU Central T stop on the “B” Green Line.) Gallery hours are Tuesday–Friday from 11am–5pm, and Saturday and Sunday from 1pm–5pm.
December 14th - January 26th, 2012
Reception: Friday, January 4th, 5:30 pm
White’s hard-won paintings arrive from the artist’s rigorous engagement with painting’s most basic elements: color, shape and composition. In her recent work, White has moved towards eliminating value contrast. The resulting paintings are nearly monochrome, yet, paradoxically, the move has led to images that have a more ambiguous and deeper space. Also new to this body of work is the introduction of curved forms into White’s traditionally hard-edged pictorial vocabulary. As White states:
“Through wrangling with simple abstract forms and color, I am finding a new complexity and different emotive range. I am continuing to try to understand and to develop the contradiction of a painting as nearly depicting a pictorial space while remaining entirely abstract.”
Allowing for viewers to have an immediate relationship with her work has always been of paramount importance to White. The twelve paintings that comprise New Work are among the largest White has made to date, yet, at an average of 10 x 8 inches, they are still extraordinarily intimate works that set up a personal conversation with the viewer.
White’s work has been exhibited extensively since the late-1990s. Solo exhibitions include a 2011 show at Jancar Jones Gallery in Los Angeles; the gallery will present her work again in 2013. Group exhibitions include shows at the San Jose Institute of Contemporary Art and The Art Museum of Los Gatos. This is White’s first exhibition at Steven Zevitas Gallery.
The artist will be in attendance for an opening reception on Friday, January 4th from 5:30 – 8:00 PM. For additional information, please contact Steven Zevitas at 617.778.5265 (ext. 22). Gallery hours are Tuesday through Saturday, 11AM – 5 PM.
Now on view at the Steven Zevitas Gallery...
Fluorescent West brings together six new works on paper, the largest Krueger has executed to date, as well as his first animation for a gallery exhibition. (Krueger recently contributed fifteen animations to the documentary, Drop City.) There are two notable changes with this body of work: firstly, unlike much of his earlier work, the human figure is now absent, thus making the landscape the sole bearer of content; secondly, while colored pencil continues to be Krueger’s dominant medium, his newest work also utilizes watercolor and acrylic paint.
In Fluorescent West, Krueger reexamines 19th-Century depictions of the American West through a contemporary lens. The West – its vast physical spaces and mythologized psychological openness - has long been Krueger’s primary subject, along with themes of utopianism, escapism, and hippie culture. In the late 19th-Century, artists such as Thomas Moran and Albert Bierstadt created work that actively sought to glorify the West, and, in many ways, their conception of the West’s wild and wonder continues to inform our innate sense of the region. Krueger simultaneously embraces and questions the myth of the West, and, in doing so, opens up new avenues for understanding it.
Color has always been an integral part of Krueger’s work. The drawings and animation in Fluorescent West employ the use of unnatural colors and caustic color combinations, which have more in common with contemporary industrial design than nature. If Moran and Bierstadt made use of light to evoke glory and wonder, then, by contrast, Krueger conjures an almost artificial light in his work that, like fluorescent light, can evoke detachment and disorientation. As Krueger states:
“This use of color and light will create a quick reading of unreality in the works but also, as vivid bright colors do, suggest optimism and a fresh reconsideration of the vistas depicted.”
Krueger has been an Associate Professor at the University of Kansas, Lawrence, since 2000. Recent solo exhibitions include shows at Packer/Schopf in Chicago (2011), Bennington College (2008), Sunday L.E.S. in New York City (2007) and the Beach Museum of Art in Manhattan, KS (2007). Recent group exhibitions include shows at The Drawing Center in New York City and the Kala Art Institute, both in 2012. Krueger’s work is held in numerous museum collections, including those of the Boston Museum of Fine Arts; the Fogg Art Museum, Harvard University; the Kansas City Art Institute; the Denver Museum of Art; and the Nelson-Atkins Museum.
This is Krueger’s third one-man exhibition at Steven Zevitas Gallery. The artist will be in attendance for an opening reception on Friday, November 2nd from 5:30 – 8:00 PM. For additional information, please contact Steven Zevitas at 617.778.5265 (ext. 22). Gallery hours are Tuesday through Saturday, 11AM – 5 PM.
September 7 - October 13, 2012
Reception: Friday, September 7, 5:30 pm
Boston –Steven Zevitas Gallery is pleased to present Chuck Webster, an exhibition of new paintings and works on paper by New York-based artist, Chuck Webster. The exhibition will be on view from Friday, September 7 through Saturday, October 13, 2012, with an opening reception Friday, September 7.
Since his 2010 show at the gallery, Webster’s painting practice has become ever more intertwined with his intuitive drawing process, and one result of this quickening is that the paintings have become significantly larger in scale. While earlier paintings tended to focus on a centralized “image,” his latest work boasts nuanced surfaces activated by bounding, quivering lines; while earlier paintings were often given titles alluding to vague and personal image sources, his recent paintings all remain untitled, a decision which underpins Webster’s interest in imbuing his work with a greater purity.
The beauty that Webster is able to conjure in his paintings is an unsettled one. Each painting is effectively a labored distillation of the visual phenomena that catch his attention. While original source material may be hinted at, his finished paintings speak more about process than image. It is only through many “ moves” that Webster eventually arrives at a final image. For Webster, these paintings are about:
“The joy of making and how things can change one’s view of the world. How one can look into them and see so far in the distance and so far into themselves at the same time. I like the way children look at paintings. I once had a child look at my work and say that it looks like the view from inside the heart going out through the ribcage. My work is about knowing and not knowing, about being a civilized innocent.”
Recent one–man exhibitions of Webster’s work include shows at ZieherSmith in New York City and ACME gallery in Los Angeles. His work has been included in numerous group exhibitions, including a 2011 show at Kirk Hopper Fine Art in Dallas that also featured the work of Chris Martin, Andrew Masullo and Forrest Bess. Webster is included in the collections of the Baltimore Museum of Art, the Dallas Museum of Art, the Museum of Fine Arts, Houston, and the Whitney Museum of American Art, among others. Webster’s work is included in the influential book “Painting Abstraction,” published by Phaidon in 2010. This is Webster’s third one-man exhibition at Steven Zevitas Gallery.
The artist will be in attendance for an opening reception on Friday, September 7th from 5:30 – 8:00 PM. For additional information, please contact Steven Zevitas at 617.778.5265 (ext. 22). Gallery hours are Tuesday through Saturday, 11AM – 5PM.
Alex unveiled his latest and largest piece for the show that opens this weekend. Check it out!
Alex Lukas | Untitled, 2012, Ink, acrylic, gouache, watercolor and silk screen on paper, 50 x 140 inches
Museum of Contemporary Art, Chicago
UBS 12 × 12: New Artists/New Work
October 7-30, 2011
Reception for the artist: October 11th, 5-8 pm, artist talk 6pm
DETAIL, The Doctor's Wife, Cut paper, paint, acetate, glue on paper, 6 x 10 feet
Toebbe's meticulously detailed paintings, collages, and drawings comprise a fascinating world of domestic interiors reconstructed from memory and depicted from multiple viewpoints. Her three new large-scale works made of painted paper—The Doctor's Wife, The Grocer's Wife, and The Photo Engraver's Wife—are based on conversations with her mother, mother-in-law, and step-mother-in-law that centered on fond memories of their childhood kitchens and the difficulties of being a wife and mother in the 1940s and 50s. With these works, the artist considers the role of women as homemakers and the ongoing centrality of the kitchen within domestic life. - Julie Rodrigues-Widholm
Originally from Cincinnati, Ohio, Toebbe received a BFA from the Cleveland Institute of Art and her MFA from Yale University, and now resides in Chicago. Toebbe’s work has been shown in solo and group exhibitions in Chicago, New York, Boston, Cincinnati, and San Francisco, among others.
JERED SPRECHER: Shadows of Friction
WAYNE SMITH: 1996
July 15 - August 31, 2011
Opening reception for the artists Friday, July 15, 6-9pm
Live music with Virgil Shaw band
Gallery 16 is pleased to present its first solo exhibition with Tennessee artist JERED SPRECHER, opening Friday July 15th. The gallery will also open a concurrent exhibition of new editions by San Francisco artist WAYNE SMITH. There will be an opening reception for the artists on Friday, July 15th, 6-9pm with live music by Virgil Shaw band. Both exhibitions will be on view through August 31, 2011.