Somewhere between sculpture stand and Donald Judd, Alon Levin makes his pitch. He’s an impersonator, and his work is his wisecrack. It appears to be waiting to launch, but the launch doesn’t come. The jokes are on the tip of his tongue. His installations look like storage, but the pieces inside each one don’t quite make it as pedestals. What art would want to stand on the snappy splendor of such glory hogs?
Once upon a time, a sculpture stand woke up as a painting. (Little lamb, if you are able, turn yourself into a table.)
Levin’s backsides cue storage or even construction, the crew on its lunch break.
The artist thrusts the bit players of the museum experience into starring roles. They puff up into primary structures but trail a history of their servitude.
They are also fun forests for purists.
Levin’s Art for the Masses at Ambach & Rice through March 21. (Related: Roy McMakin, also at Ambach & Rice.)
Seriously boring. Looks like Utrecht Art Store on shipment day. uninspiring
Hi Mike. Remember that you’re seeing this show online. I do my best to mitigate the flattening effects of reproduction, but…..Also, Levine intends it to look like packaging. Thanks for commenting.
well he succeeded a looking like packaging. congradulations. thanx 4 the review
I kind of like them but think that they just miss due to the fact that they all have their backs to the wall. I’d like to see them developed out in the open in 3 dimensions so that they can be walked around and viewed the way sculpture is supposed to be seen. Having their backs to the wall makes them seem like wall reliefs and I think that sculpture needs to reclaim it’s space on the floor. A sculpture should “work” from all views and the different facets should lead the eye around the work. At least that’s how I was taught.