Tag Archives: Dwan Gallery

SOL LEWITT — BOOK AS SYSTEM

Printed Matter and editor and curator Emanuele De Donno present BOOK AS SYSTEM—THE ARTISTS’ BOOKS OF SOL LEWITT, an exhibition of over seventy-five book works—including octavo paperbacks, staple-bound booklets, and folio sets—lending “insight into LeWitt’s interests across conceptual, minimal and post-minimal art, and his return to series and systems across various material forms.”*

“Known primarily as an installation artist and sculptor, LeWitt also produced many dozens of artists’ books starting in the late 1960s—often in association with gallery shows—until his death in 2007. LeWitt was among the first wave of conceptual artists who helped to establish a new radical framework for the publication-as-artwork, and his exemplary approach was instrumental in charting out the reaches of the medium.”*

Work includes LeWitt’s collaborations with Seth Siegelaub (Xerox Book), Art & Project, Amsterdam, and Aspen magazine. On the occasion of the exhibition, Printed Matter and Primary Information will co-publish a facsimile reprint of LeWitt’s FOUR BASIC KINDS OF LINES & COLOUR (1977). 

BOOK AS SYSTEM—THE ARTISTS’ BOOKS OF SOL LEWITT

Opening night: Friday, June 28, from 6 pm.

Roundtable discussion: Saturday, June 29, from 5 pm.

Exhibition runs through September 29.

Printed Matter

231 Eleventh Avenue (at 26th Street), New York City.S

Sol LeWitt, from top: Plate from Untitled (Xerox Book) , 1968, offset lithograph, published by Wendler, New York, and Seth Siegelaub, New York, © 2019 Sol LeWitt and Artists Rights Society (ARS), New York; Serial Project #1, 1966 (2), Aspen magazine, no. 5 + 6; Art & Project, Bulletin 43, and LeWitt proposal, 1971 (2); Four Basic Kinds of Lines & Colour, 1971, offset on paper, staple bound, 36 pages, collection Museum of Contemporary Art Chicago, photograph by Nathan Keay, © MCA Chicago; works in the exhibition Book as System (4). Images courtesy and the estate of Sol LeWitt and Printed Matter.

THE GESTALT OF VIRGINIA DWAN

There were a number of “fine art” galleries in Los Angeles in the late 1950s, but when it came to contemporary art with a future, “there were really only two”: Irving Blum’s Ferus (on the La Cienega corridor), and Virginia Dwan’s storefront in Westwood, the DWAN GALLERY.*

Dwan and Blum had the instinct and the wherewithal—a lucky combination (Dwan happens to be one of eighteen heirs to the 3M fortune)—and they led the way at a time when there were literally only a dozen collectors of contemporary art in the city.**

LOS ANGELES TO NEW YORK: DWAN GALLERY, 1959–1971, a long-overdue exhibition devoted to Dwan’s gallery years in the two cities, was organized by the National Gallery of Art, Washington, D.C., and is curated by James Meyer. (Stephanie Barron, senior curator of modern art at LACMA, is the coordinating curator of the Los Angeles presentation.)

 

Franz Kline’s Torres, Warhol’s Brillo Box, and Ed Kienholz’s Back Seat Dodge ’38—works that Los Angeles saw for the first time at Dwan Gallery—are among the 120 works by fifty-two artists in the show.

The exhibition also showcases Dwan’s monumental third act: her direct personal and material support of land art and its artists, including such earthworks as Robert Smithson’s Spiral Jetty, Walter De Maria’s The Lightning Field, and Michael Heizer’s Double Negative—for which Dwan purchased the necessary acreage at $125. per.

LOS ANGELES TO NEW YORK: DWAN GALLERY, 1959–1971, through September 10, 2017.

LACMA, RESNICK PAVILION, Los Angeles.

lacma.org/art/exhibition/dwan-gallery

See:

James Meyer, with Paige Rozanski and Virginia Dwan, Los Angeles to New York: Dwan Gallery, 1959–1971 (Washington DC: National Gallery of Art/Chicago: Univ. of Chicago Press, 2016).

Germano Celant, Virginia Dwan and Dwan Gallery (Milan: Skira, 2016).

Robert Polsky, “Virginia Dwan and Earthworks,” in The Art Prophets: The Artists, Dealers, and Tastemakers Who Shook the Art World (New York: Other Press, 2011).

*Quote: Virginia Dwan, from March 14, 2017 talk at LACMA’s Bing Theater with Dwan, Meyer, and Barron.

**Among the twelve local collectors were the subjects of David Hockney’s iconic 1968 painting American Collectors (Fred and Marcia Weisman), and Walter Hopps, the eccentric director of the Pasadema Art Museum.

Robert Smithson, Spiral Jetty, 1970, Rozel Point, Great Salt Lake, Utah, © HoltSmithson Foundation/Licensed by VAGA, New York, NY. Photograph by Gianfranco Gorgoni © Gianfranco Gorgoni, 1970. Image courtesy of LACMA.

Robert Smithson, Spiral Jetty, 1970, Rozel Point, Great Salt Lake, Utah, © HoltSmithson
Foundation/Licensed by VAGA, New York, NY.
Photograph by Gianfranco Gorgoni © Gianfranco
Gorgoni, 1970.
Image courtesy of LACMA.