Guide to the Dwan Gallery Archives MSS.002 Finding Aid Prepared by Lydia Aikenhead and Ann Butler
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Smithsonian Hirshhorn Museum and Sculpture Garden
Smithsonian News Hirshhorn Museum and Sculpture Garden Media only: Chris Wailoo (202) 633-2833; [email protected] May 29, 2014 Glenn Dixon (202) 633-2807; [email protected] Media website: http://www.hirshhorn.si.edu/press/ Hirshhorn Presents “Salvatore Scarpitta: Traveler” Focus Exhibition Surveys Work of American Artist Who Linked Worlds of Racing and Art “Art has no particular resting place…it travels where it is needed,” said Salvatore Scarpitta (American, b. New York City, 1919–2007), describing a career that spanned the Atlantic Ocean and more than half a century, moving from the avant-garde cultural circles of postwar Rome to the banked dirt oval speedways of rural Maryland and Pennsylvania. “Salvatore Scarpitta: Traveler,” on view at the Smithsonian’s Hirshhorn Museum and Sculpture Garden July 17, 2014 through January 11, 2015, is a focus exhibition of 19 works that surveys the wide-ranging oeuvre of an artist who escapes easy categorization and who endeavored to “introduce into the art experience the life experience.” Although he is at times viewed as a figure linking American Pop and Italian Arte Povera, Scarpitta cut his own trail through the 20th century, as seen in his four main bodies of work: the so- called Extramurals, the car-part paintings, the racecars and the sleds. Part of a series of exhibitions that in the Hirshhorn’s 40th anniversary year highlight strengths of the museum’s collection, including its in-depth holdings of works by key art-historical figures, “Salvatore Scarpitta: Traveler” is built on the recent acquisition of five major works—including the only two examples of the full-size racecars outside Europe—augmented by a number of loans. -
Margit Koller: Expansion in Sculpture – Site-Specific Installation, Environment and the Non-Autonomous Artwork
Margit Koller: Expansion in Sculpture – Site-specific Installation, Environment and the Non-autonomous Artwork Report about my research program in New York, supported by the Peter and Irene Ludwig Foundation, 2018 September Expansion in Sculpture – Site-specific Installation, Environment and the Non- autonomous Artwork Virginia Dwan and the Dwan Gallery. Dia Art Foundation. MoMA PS1. Dan Flavin Institute and The Donald Judd Foundation. Do Ho Suh: Rubbing/Loving Project. House as Art - Arthouse 1. Introduction I spent one month in New York in September 2018, thanks to the researcher scholarship of Peter and Irene Ludwig Foundation. In my workplan my focus was tended onto monumental sculpture, site-specific installation and environmental art, as well as the public sculpture, with the connection between the financial possibilities and artistic freedom. In addition, I always examine the spatial art in the relation of the artwork with its surrounding space and the perceptual skills and possibilities of the viewer. During my stay in New York I was visiting museums, collections, galleries and public parks inside the city and around and in Washington DC, which support site-specific and monumental spatial art in temporary exhibitions or permanent collections (open for the public). I visited loads of colossal and inspiring places, but because of the limit of the report I only write about my most important experiences which are directly connect to both of my research and creative process. (My experiences about the public sculpture could fill another 10-page long report1). As I’m writing my report three weeks after my arriving, the language may mirror my relation to my fresh discoveries, experiences and spontaneous recognitions. -
Michael Heizer Selected Bibliography
G A G O S I A N Michael Heizer Selected Bibliography Selected Books and Catalogues: 2019 Fox, William. Michael Heizer: The Once and Future Monuments. New York: Monacelli Press. 2017 Voorhies, James. Beyond Objecthood: The Exhibition as a Critical Form since 1968. Boston: MIT Press. Celant, Germano and Chiara Costa. Virginia Dwan: Dwan Gallery. Lausanne: Skira. 2015 Fine, Ruth E., Kara Vander Weg and Michael Heizer. Michael Heizer: Altars. New York: Gagosian Gallery. 2014 Cameron, Dan. The Avant-Garde Collection. Newport Beach, CA: Orange County Museum of Art. Kaz, Leonel, ed. Inusitada Coleção De Sylvio Perlstein. São Paolo: Museu de Arte de São Paolo Assis Chateaubriand. 2013 Allen, Gwen L., Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, et al. When Attitudes Become Form: Bern 1969/Venice 2013. Milan: Fondazione Prada. 2012 Lippard, Lucy R. and Jeff Khonsary. 4,492,040 (1969–74). Vancouver: New Documents 2010 Jensen, Susanne, Susanne Lenze, and Reinhard Onnasch. “Michael Heizer: Untitled.” In Nineteen Artists. Berlin: El Sourdog Hex; Bielefeld, Germany: Kerber Verlag. 2011 Reifenscheid, Beate. Die Letzte Freiheit: Von den Pionieren der Land-Art der 1960er Jahre bis zur Natur im Cyberspace. Milan: Silvana. 2010 Goldman, Judith. Robert & Ethel Scull: Portrait of a Collection. New York: Acquavella Gallery. Marcoci, Roxana, ed. The Original Copy: Photography of Sculpture, 1839 to Today. New York: Museum Of Modern Art. 2009 Grabner, Roman, Thomas Kellein, and Felicitas von Richthofen. 1968: Die Große Unschuld. Cologne: DuMont. 2008 Semff, Michael. Künstler Zeichnen. Sammler Stiften, 250 Jahre Staatliche Graphische Sammlung München. Ostfildern, Germany: Hatje Cantz. Lara, Cathy, ed. -
A Land Art Pioneer's Adventures in Time and Space
A Land Art Pioneer’s Adventures in Time and Space Nearly 50 years after Charles Ross began working on “Star Axis,” the artist’s gargantuan work in the New Mexico desert is nearing completion. By Nancy Hass July 21, 2020, 1:00 p.m. ET THROUGH THE WINTER months, Charles Ross’s existence befits an established New York multimedia artist of a certain vintage: whitewashed SoHo loft with a comfortable studio in the back; a pair of sweet, shaggy dogs that he and his wife, the painter Jill O’Bryan, walk up Wooster Street in the chill, past the wrought iron storefronts that were little more than scrap metal when he first came to the city in the mid- 1960s after studying math and sculpture at the University of California, Berkeley, but now are outposts of Chanel and Dior. Evenings, they may drop into a Chelsea gallery opening or two, then linger over dinner at Omen, the Japanese restaurant that’s been on Thompson Street since the ’80s, nodding to the fellow stalwarts of a downtown scene that long ago ate its young: the 92-year-old portraitist Alex Katz sharing a sake with the Abstract Expressionist David Salle, 67; the musician Laurie Anderson, 73, at the bar, her spiky hair stippled with gray. But come dawn on an April day, when the weather has started to break, such trappings abruptly fall away. A long flight and a bumpy three-hour ride later in the bruised, red-clay encrusted 2004 Dodge Dakota that they usually keep in long-term parking at the Albuquerque airport, Ross and O’Bryan are halfway up a craggy mesa, at the base of “Star Axis,” the 11-story naked-eye observatory made of sandstone, bronze, earth, granite and stainless steel that Ross, one of the last men standing of the generation of so-called earthworks artists, has labored on continuously since he conceived of it in 1971. -
Charles Ross B
Charles Ross b. 1937, Philadelphia, PA Lives and Works in New York, NY and Las Vegas, NM Education 1962 M.A. Sculpture, University of California, Berkley, CA 1960 B.A. Mathematics, University of California, Berkley, CA Solo Exhibitions 2019 Prisms, RULE Gallery, Marfa, TX 2018 Hanging Islands, National Gallery of Art, Smithsonian Institution, Washington, DC 2017 Charles Ross: Solar Burns, Prisms and Explosion Drawings, Parrasch Heijnen Gallery, Los Angeles, CA 2015 Charles Ross + James Case-Leal, Franklin Parrasch Gallery, New York, NY 2013 Charles Ross, Substance of Light, Salon 94, New York, NY 2012 Charles Ross, Gerald Peters Gallery, Santa Fe, NM 2007 Solar Burns and Dynamite Drawings, Braunstein-Quay Gallery, San Francisco, CA 2004-5 Solar Burns, Harwood Museum of Art, Taos, New Mexico 1996 Relaciones, Museo de Arte y Diseno Contemporaneo, San Jose, Costa Rica 1995 Projects with Light, Time, and Planetary Motion, Richard Humphrey Gallery, New York, NY 1992 Star Axis, Johnson Gallery, University of New Mexico, Albuquerque, NM 1991 Particle Light, Sena Galleries, Sante Fe, NM 1985 Plaza of the Americas Gallery, Dallas, TX 1982 Prisms and the Exploded Spectrum, Heydt-Bair Gallery, Santa Fe, NM 1981 Portland Center for the Visual Arts, Portland, OR 1981 John Weber Gallery, New York, NY 1979 The Colors of Light, The Colors in Shadow, John Weber Gallery, New York, NY 1977 The Substance of Light, Institute of Contemporary Art, Philadelphia, PA 1977 Point Source/Star Space, John Weber Gallery and Susan Caldwell Gallery, New York, NY 1977 -
Oral History Interview with Virginia Dwan
Oral history interview with Virginia Dwan Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Virginia Dwan AAA.dwan84 Collection Overview Repository: Archives of American Art Title: Oral history interview with Virginia Dwan Identifier: AAA.dwan84 -
WORKS of ART in EDITIONS to Be Held in the Members1 Penthouse at The
Museum of Modern Art No. 6k 53 street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Tuesday June 22 1965 FOR IMMEDIATE RELEASE exhibit ion WORKS OF ART IN EDITIONS to be held in the Members1 Penthouse at The tfuseum of Modern Art from June 23 to August 1 draws attention to new kinds of creative methods in a selection of 33 multiple-original works of art by 22 con temporary artists from Europe and America. It is presented under the auspices of the Art Lending Service of the Museum^ Junior Council. Multiple-original art has long been familiar both as bronze sculpture, cast in editions, or in the various graphic media such as lithography or etching. In the current exhibition new materials and techniques have been used by the artist with similar intention - to produce a work of art in editions of many, or multiple, ori ginals rather than as a unique object. Most of the works, though not all, have been produced in signed and numbered limited editions. Among the artists included are Arman, Hans Arp, Roy Lichtenstein, Reginald Neal, Man Ray, Larry Rivers, Soto, Ernest Trova, Victor Vasarely and Andy Warhol. Materi als and techniques include acrylic on vacuum form plastic, anodized aluminum, enamel on steel, felt banners and silkscreen on acetate and canvas. The Art Lending Service, under the direction of its Selections Adviser, Campbell Wylly, each year prepares a series of exhibitions for the Members* Pent house, with the majority of the works included available for purchase and rental. The Art Lending Service was organized by the Museum's Junior Council in the Fall of 1950 to encourage the appreciation and purchase of contemporary art. -
European Journal of American Studies, 7-2 | 2012 Washington Crossing the Media: American Presidential Rhetoric and Cultural Ic
European journal of American studies 7-2 | 2012 Special Issue: Wars and New Beginnings in American History Washington Crossing the Media: American Presidential Rhetoric and Cultural Iconography Jutta Ernst Édition électronique URL : https://journals.openedition.org/ejas/9527 DOI : 10.4000/ejas.9527 ISSN : 1991-9336 Éditeur European Association for American Studies Référence électronique Jutta Ernst, « Washington Crossing the Media: American Presidential Rhetoric and Cultural Iconography », European journal of American studies [En ligne], 7-2 | 2012, mis en ligne le 03 avril 2012, consulté le 08 juillet 2021. URL : http://journals.openedition.org/ejas/9527 ; DOI : https://doi.org/ 10.4000/ejas.9527 Ce document a été généré automatiquement le 8 juillet 2021. Creative Commons License Washington Crossing the Media: American Presidential Rhetoric and Cultural Ic... 1 Washington Crossing the Media: American Presidential Rhetoric and Cultural Iconography Jutta Ernst 1 In American history, the Revolutionary War holds a central position. As a foundational moment it includes a strong mythical dimension and thus has been of prime importance to American self-perceptions and to the formation of its national identity. The war which, in due course, cut the ties with the British mother country and led to independence is deeply rooted in American cultural memory in the sense of shared experience and common knowledge about the people and its past.1 As acts of remembrance do not solely pertain to times gone by, but rather link an event from the past to the present, ultimately reconstructing the historical moment from a later perspective2 in order to achieve “a usable past,” 3the outcome is a proliferation of different views giving us varying stories of the nation’s beginning. -
^ Exhibition Advisory
^ Exhibition advisory Exhibition: Los Angeles to New York: Dwan Gallery, 1959–1971 On View: March 19–September 10, 2017 Location: Resnick Pavilion (Image credits on page 6) (Los Angeles—March 6, 2017) The Los Angeles County Museum of Art (LACMA) presents Los Angeles to New York: Dwan Gallery, 1959–1971, an examination of the storied history of Dwan Gallery, one of the most important galleries of the postwar period in the United States. Virginia Dwan (b. 1931), gallery owner, art patron, and collector, was one of the greatest champions of avant-garde art and artists of the mid-20th century. During her more than 11 years as a gallerist, Dwan’s Los Angeles and New York galleries were among the first bicoastal spaces dedicated to showcasing contemporary art in America. As an arts patron, Dwan was a pivotal figure in the Los Angeles art scene, often providing artists with stipends, studio space, and housing, in addition to giving many artists their first solo shows. At the time, the exhibitions presented at Dwan Gallery were at the forefront of postwar avant-garde art. Dwan organized one of the first Pop art exhibitions in the United States, My Country ’Tis of Thee (1962), and she was one of the earliest and most ardent supporters of Minimal Art and Earthworks. Founded in 1959, Dwan Gallery first opened in a storefront in Westwood, Los Angeles. The gallery presented groundbreaking exhibitions of New York artists such as Philip Guston, Franz Kline, Claes Oldenburg, Robert Rauschenberg, Ad Reinhardt, and Larry Rivers as well as the Los Angeles-based artist Edward Kienholz. -
Relational Accountability in the Art Business : a Study of Ethics
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2020 Relational Accountability in the Art Business : A study of ethics Theodore Soliman Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Business Law, Public Responsibility, and Ethics Commons, and the Other Business Commons Recommended Citation Soliman, Theodore, "Relational Accountability in the Art Business : A study of ethics" (2020). MA Theses. 83. https://digitalcommons.sia.edu/stu_theses/83 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. Relational Accountability in the Art Business: A Study on Ethics By Theodore Soliman A thesis submitted in conformity with the requirements for the Master's Degree in Art Business Sotheby's Institute of Art, New York 2021 Word Count: 13,240 ABSTRACT Relational Accountability in the Art Business: A Study on Ethics By: Theodore Soliman The artworld's unethical practices are ubiquitous amongst its stakeholders, with a lack of moral responsibility that allows for continuous sexual, emotional, and racial abuse. As an industry that is unregulated and resistant to change, these issues have been passed down from one generation to the next, forming a vicious cycle of predatory behavior. By investigating various stakeholders' roles, this study critiques the handling of these moral injustices and proposes relational accountability as a solution. -
Frank Bowling Make It New Frank Bowling: Make It New September 6 – October 13, 2018
Frank Bowling Bowling Frank It New Make Frank Bowling: Make It New Alexander Gray Associates Frank Bowling: Make It New September 6 – October 13, 2018 Alexander Gray Associates Spencer Richards in Conversation with Page Benkowski New York, NY, August 15, 2018 Page Benkowski: When you met Frank Bowling, it was the start of a long and rewarding friendship and professional relationship. Like Bowling, you grew up in Guyana, and you’ve been the artist’s studio manager for decades. How did you frst meet him? What initially attracted you to his practice? Spencer Richards: I frst met Frank in 1994–95. A friend of mine, Skoto Aghahowa, had a gallery on Prince Street, and he was planning a show of Frank’s work. Skoto and I were fast friends. We would spend a lot of time on Friday nights talking about how we were going to shake up art and the world, all that ambitious stuff. Anyway, Skoto was showing Frank alongside a Nigerian sculptor. When he was going to Frank’s to select works for the show, he invited me to come along. Up until that point, my conversations with Skoto had centered on Nigerian art. My interest in art was a string I was following in my personal labyrinth of identity—you know, being born in Guyana and now living in the United States? Anyway, I thought visiting Frank’s studio was a golden opportunity. I had heard of Frank. Before becoming involved in the art world, I spent my time photographing musicians. Those people would always ask me if I knew Frank when they heard my accent. -
E Museum of Modern Art No
e Museum of Modern Art No. 1J3 st53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart FOR RELEASE: Saturday, December 11, I965 PRESS PREVIEWS: Thursday, December 9 and Friday, December 10, 1965 11 a.m. - k p.m. Around the Automobile, an exhibition of 21 works of art, all from the Museum's own collections, will be on view from December 11 through February in gallery 19 on the second floor of The Museum of Modern Art. The exhibition which includes paintings, assemblages, sculpture and prints, was installed by Dorothy C. Miller, Curator of Collections* It is one of a series of special small shows drawn from the Museum's holdings and devoted to a particular theme, style or artist. Around the Automobile illustrates the wide variety of attitudes toward the motor-car expressed by artists from the mid-l890s to the present. Alfred H. Barr, Jr., Director of Collections, comments In the introductory wall label that "artists at first saw the automobile as a picturesque cult of the well-to-do with its own costume — goggles, cap, long white duster, and veils for the ladies." The elegant Automobilist drawn by Toulouse-Lautrec in 1896 is an example. MBy 1909," Mr* Barr continues, "the Futurist poet, Marinetti, was shouting 'A roaring racing car ... is more beautiful than the Winged Victory,1 and in 1912 the Futurist painter, Balla, offered his Speeding Automobile to the cult of the machine. "Curiously, for decades after Futurism, artists Ignored the automobile or showed it scant esteem. In Atherton's ironic Christmas Eve (I9I+I), the car is con spicuous but dead; in Hopper's nocturne, Gas (19^0), a pump and its attendant wait beside a lonesome road — in vain.