City and State OR ZIP Code Showing 1 to 6 of Stores See a listing of all stores > are trademarks of Gregg Appliances, Inc. Levin Furniture Jobs: Overview Working here feels like home Our retail business is fast-paced and exciting, but we take pride in our beautiful showrooms and family-owned business. You’re not just an associate, you’re part of the Levin Family. Our vision is to be a place where people are happy to come to work and are proud of the company they work for. Are you friendly, enthusiastic and passionate about giving customers the best experience possible? Join our team today! What makes us different We have worked hard over more than 90 years to be a company all our team members are proud to work for. Levin Furniture is about so much more than furniture. We strive to be active in our communities, and encourage our associates to share their passions with us and donate time to great causes. We source the best quality furniture and build the same positive relationships with furniture manufacturers that we do with our customers.
This gives us confidence to say we are providing the absolute best quality to our customers at the best possible value. We believe that our purpose is not just to sell furniture, but also to help people in our communities furnish their homes and live their dreams. We are in the business of providing solutions for home furnishings, and build relationships with everyone who comes through our door. Even more than that, we are privileged to partner in our local communities, investing time through events, volunteer projects, and sponsoring community initiatives. Levin Furniture is proud to be green! Our stores attempt to conserve energy and be an environmentally responsible partner in each of our communities. Our goal is to minimize solid waste materials sent to landfills and to maximize recycling of our usable materials. At our distribution center, each year we recycle over 800 tons of material including all packaging materials, supplies and even garbage. Our corporate office leads our “green” initiative for Levin’s in attempting to recycle, reuse and conserve wherever possible.
It is a way of life for Levin’s, where no opportunity to be environmentally conscious is too small.Five artists, all Pittsburgh based, unveiled installations at the Mattress Factory on Friday night at an opening reception for the museum’s ongoing Artists in Residence exhibit. Diaspora by Ryder Henry, damn everything but the circus by Benjamin Sota, Word Balloons by John Peña, and Is Always, What Does It Mean?, Again and Again. by Danny Bracken will all be on display in the main Mattress Factory gallery, with Body Memory Architecture by Kathleen Montgomery on display at the museum’s off-site gallery through May 31, 2015. There are four installations in the main gallery, each filling an entire room. Diaspora, by Ryder Henry, is an immensely detailed futuristic city made from cardboard boxes. The city is at once both familiar and alien. Rather than opting for a concrete jungle, Henry creates a grassy suburbia, punctuated by foreign objects, black in color with asymmetric outlines and visually challenging structures.
Elements of both dystopian and idealistic science fiction are present. Red colored retro-futuristic rockets and circular skyscrapers pulled out from a Jetsons cartoon reside less than a block away from modern housing developments and heavy industrial machines, which look more like the burned out carcasses of spaceships than a traditional factory. Outside the city are floating islands that represent isolated memories from the creator’s life. From a Chinese restaurant to a school and more, Henry seems devoted to inciting feelings of nostalgia and personal recognition from viewers. There’s also a larger grid of isolated apartment buildings, each on a small platform rising up from the ground. The isolated buildings are spread across an entire room, giving the viewer a sense of scale and isolation. The manner in which Henry experiments with space was one of my favorite sensations in the museum. There exists yet another part of the exhibit, the wildest yet, composed of fantastical rounded circular starships adorned with Arabic symbols and incisions taken straight from a mosque.
Afro-futurism is a relatively well-known and interesting art form, but this may be the first time I’ve seen an attempt at Arabic futurism pulled off. The exhibit ends with a model of the starship Enterprise, again adorned with Arabic patterns and surrounded by a web of magazine clippings from Henry’s life, once more demonstrating his willingness to straddle the boundaries between fantastical abstraction and deeply personal expression. In contrast, Benjamin Sota’s damn everything but the circus, was unfortunately not as engaging. The cleverly-placed turnstile at the installation’s entrance into a room-sized red tent is exciting, but what awaits inside is a rather uninspired simulation of a circus. The first noticeable thing about the tent is the oddly chosen jazz music (does circus music often feature live saxophone?) and shifting lighting. It fluctuates between “daytime” (overly red-orange glow) to bluish nightclub lighting. Finally, the physical exhibits — a trapeze, a wire, and a strongman’s ball — were very uninspired.
A little more visual challenge and abstraction could have been used here. Word Balloons by John Peña fared a little better. The exhibit consisted of two huge comic word balloons and translates a pop culture icon from a 2-D to a 3-D medium. However, the word balloons themselves distract from the other aspects of the exhibit. The smaller balloon says “Sometimes I just don’t know how to feel in the world”, while the larger one reads “So I talk and talk and work to fill the emptiness.” While the concept of literally using a physical manifestation of speech to fill “emptiness” is an interesting use of the size of the balloons, I found myself to be rather mesmerized by the smooth curves and dimensionality of the speech balloon itself. Instead of feeling the awkwardness of what Pena was trying to convey, I actually found myself being inexplicably calmed by the shape and smoothness of the speech bubble. Finally, Danny Bracken’s exhibit: Is Always, What Does it Mean?, Again and Again.
is actually three different components in one room, tied together by a common atmosphere. This exhibit is the best of the bunch. The light in the room is completely dimmed, save for spotlights illuminating each component. Bracken also uses music effectively to create a serene and calming environment. In seeking to make his viewer contemplate the essence of nature and man-made simulation, Bracken is successful. In the first third of the room, Bracken has two pods, one of actual dirt and grass, and a separate one consisting of a digital projection of dirt and grass on a curved surface. Using the music as an emotional baseline of sorts, Bracken seems to ask whether the projection of grass and dirt can match the emotional response of the real thing. The next component reinforces this idea, a screen showing shifting, rounded, cool blue shapes. Looking at the screen, and the blue patterns moving across it coupled with the ambient music, it is easy to recreate the emotional response from the natural scene it emulates.