dwan gallery (5 Ergebnisse)

Zustand: Good. 4to. [50 pp]. Soft Cover. Very Good. Scuff marks on Cover. BW Plates.Provenance: From the estate of Gerald Nordland (1927-2019). Nordland was a museum director, art critic, educator and author.Dean of the Chouinard Art Institute (1960-64), Director of the San Francisco Museum of Art (now SFMoMA) (1966-73), Milwaukee Art Museum (1977-85), and the UCLA Wight Art Gallery (1973-1977). He is the author of over 60 publications, including books on Lachaise, Nakian, Diebenkorn and Frank Lloyd Wright.

Zustand: Good. 8vo. 20 pp. Very Good. Soft cover. Illustrated paper wraps. Staple binding. Some shelf wear. Two B&W plates; portrait of artist; poetry by Goodnough about his war experiences; biographical information about the artist's career by B.H. Friedman. Extremely Scarce.Provenance: From the estate of Gerald Nordland (1927-2019). Nordland was a museum director, art critic, educator and author. Dean of the Chouinard Art Institute (1960-64), Director of the San Francisco Museum of Art (now SFMoMA (1966-73), Milwaukee Art Museum (1977-85), and the UCLA Wight Art Gallery (1973-77). He is the author of over 60 publications, including books on Lachaise, Nakian, Diebenkorn and Frank Lloyd Wright.

Zustand: Generally near fine. Extensive collection of printed material from Virginia Dwan's legendary gallery, central site of Minimalism, Conceptualism, and Land Art movements of the 1960s. When Virginia Dwan opened the storied Dwan Gallery in a Los Angeles storefront in 1959, she (together with Ferus Gallery) helped establish Los Angeles as a nexus of the art world to rival New York or Paris. While Dwan's earliest exhibitions focused on certain established artists and Abstract Expressionists, by the early 1960s the gallery was increasingly showing Pop and Neo-Dada artists like Robert Rauschenberg, Claes Oldenburg, Yves Klein, Jasper Johns, Andy Warhol, and James Rosenquist. By the middle of the decade, and especially after establishing a second location in NYC in 1965, Dwan focused increasingly on major minimalist and conceptual artists such as Sol LeWitt, Carl Andre, Arakawa, Robert Morris, Dan Flavin and others eventually becoming the most important gallery to support landscape and other Earthworks artists like Robert Smithson and Michael Heizer. Though the gallery would last little more than a decade, its impact was enormous. Dwan not only exhibited and promoted her artists, she also funded their projects and it is not an overstatement to say that without the support of Dwan such canonical works as Robert Smithson's "Spiral Jetty" and Michael Heizer's "Double Negative" (which the artist eventually gave to Dwan) would simply not exist. Dwan was also a pioneer in creating promotional materials that were themselves works of art, frequently designed by the artists for conceptual works that otherwise often lacked any other physical manifestation. Highlights of the collection include an exceptional unfolded example of Michael Heizer's monumental poster for "Double Negative / 1,000' x 42' x 30 / 40,000 Tons Displacement," as well as the rare poster for Yves Klein's "Le Monochrome," one of the few shows mounted during his brief life and one that marked a turning point in the gallery's history toward minimalism and conceptualism. Other major documents include a beautiful copy of the innovative catalogue BOXES, a complete set of postcards from Dwan's groundbreaking series of "Language" shows, as well as early and important pieces from Larry Rivers, Claes Oldenburg, Sol LeWitt, Carl Andre, Robert Rauschenberg, Kenneth Snelson, Dan Flavin, Ed Keinholz, James Rosenquist, Lucas Samaras, Robert Ryman, and numerous others. The collection is in remarkable condition overall, with many of the posters unfolded. At 74 items, it is one of the largest groups of Dwan material of which we're aware. The Smithsonian holds a nearly complete collection, as does Bard both donated by Virginia Dwan herself. The next largest grouping we've found is at the Getty (which consists of 57 items), and after that we locate only scattered individual items. As such, this collection represents nearly two-thirds of all Dwan exhibitions mounted during its twelve-year reign, and one of the largest to come to market. A major opportunity to acquire a dense and representative overview of this pioneering gallery and curator. 74 individual items (posters, catalogues, invitations, flyers, etc.) ranging from postcard size to 36'' x 60''. All housed in three archival boxes, most stored flat or folded in clear mylar sleeves, a handful rolled. A complete inventory is available.

Exhibition poster published in conjunction with the show held January 7 - February 1, 1967. Artists include Carl Andre, Richard Baringer, Ronald Bladen, Mel Bochner, Christo, Walter De Maria, Mark di Suvero, Dan Flavin, Robert Grosvenor, Don Judd, Edward Kienholz, Sol LeWitt, Robert Morris, Tony Smith, Robert Smithson, Kenneth Snelson and Michael Steiner. Despite the title of the exhibition being ?scale models?, many of the artists thought in terms of geographical scale for the exhibition: Michael Steiner?s Mountain Piece proposed that a huge, glistening rectangular solid be fitted into the first convenient mountainside; Robert Morris?s model conjured up a vision of a massive Indian Mound-like circle, to be raised out of grass and sod. Peter Hutchinson proposed an exhibition space in the form of a square-cruciform, whilst Walter De Maria imagined two walls, eight feet high, set four feet apart, that ran along a straight path for a quarter of a mile. Offset-printed poster, machine-folded twice.

Paper scrolls in card box. Zustand: Good. First Edition. Three photographically illustrated scrolls. Total measurement 17cm x 287cm comprising three scrolls glued together, one section of which has come unglued, which is common to this edition. The scrolls are otherwise fine, rolled up contained within a photographically illustrated box, measuring 11 x 18 x 8cm. The box itself is somewhat battered. Artists featured include: Andy Warhol, Marcel Duchamp, Kurt Schwitters, George Brecht.