Comments on: “Some of the paintings are smarter than me”: Daniel Levine Talks Monochrome

By: Noah Dillon

Noah Dillon — Mon, 24 Nov 2014 02:45:58 +0000

In reply to Andy Patton. No way, man. You should check these out in person. They're actually the exact opposite of what you've posited. First: all of the paintings have reserved edges. Second, they're all monochromes. Third, they're deeply invested in surface, construction, perspective, etc. Fourth, as I said explicitly in the essay, it's basically lazy to just stick Levine underneath Robert Ryman just because these are white monochromes. There are a lot of other white monochromes made through the ages, both before and after Ryman. And what each of those painters is doing, including Ryman and Levine, is absolutely unique, with its own politics, facture, and perceptual process.

By: Andy Patton

Andy Patton — Thu, 20 Feb 2014 22:50:35 +0000

I’m glad to see Ryman addressed. It’s always hard to tell from an online image, but the white monochrome with reserved edge so immediately brings up Ryman that it seems it might be difficult for Levine to get to his own subjects or relation to the viewer with Ryman so clearly in view. Has anyone seen these works? I get the impression that they could be representations of monochromes rather than monochromes, i.e. because they refer to Ryman rather than to their own surface, matter, mode of view, type of attention they elicit etc.

By: Carl Gliko

Carl Gliko — Fri, 31 Jan 2014 22:11:27 +0000

When you are talking monochrome ptg.s you have to put Joseph Marioni at the top of the list.

By: Jeffrey Collins

Jeffrey Collins — Fri, 31 Jan 2014 02:38:08 +0000

Right on Daniel. Seriously? Yes, Seriously.

I was going to go off on the dork who wrote seriously but I chose to take “The Way Around”.

Cheers.