New York

Daniel Levine

Jeffrey Neale Gallery

If there’s anything more powerful than seduction or revulsion in art, it is ambivalence. It has been a frequent strategy among 20th-century avant-garde artists, who have generally used it as an aggressive perceptual gambit and/or a mannerist affectation. In Daniel Levine’s art, ambiguity is expressed as something poetically sublime. His is an art looking at art, a culture looking at culture to a point of reflection psychically split between self-identification and critical distance. It is a reflexivity magnified beyond its conditional terms, brought to a level of distraction. Like mirrors facing mirrors, the subject—the object in question—is dissolved in its excess.

Form, function, and meaning in Levine’s ambiguous images are multiplied and collapsed into each other at the same time. The artist expresses himself with impenetrably mixed feelings toward beauty, history, and the excesses of

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