virginia dwan // earthworks gallery€¦ · virginia dwan virginia dwan at el mirage dry lake, 1970...
TRANSCRIPT
EARTHWORKS //
VIRGINIA DWAN GALLERY
VIRGINIA DWAN
VIRGINIA DWAN AT EL MIRAGE DRY LAKE, 1970
EXTERIOR OF THE FIRST DWAN GALLERY,
BROXTON AVENUE, WESTWOOD, LOS
ANGELES, 1961
EARTHWORKS EXHIBITION AT DWAN GALLERY, NEW YORK, NEW YORK, 1968
VIRGINIA DWAN
VIRGINIA DWAN // EARTHWORKS
MICHAEL HEIZER
WALTER DE MARIA
DENNIS OPPENHEIM
STEPHEN KALTENBACH
ROBERT MORRIS
ROBERT SMITHSON
SOL LEWITT
CLAES OLDENBURG
CARL ANDRE
HERBERT BAYER
MICHAEL HEIZER
MICHAEL HEIZER'S CIRCULAR SURFACE, PLANAR DISPLACEMENT DRAWING, EL MIRAGE DRY LAKE, 1969
MICHAEL HEIZER, DOUBLE NEGATIVE, 1969
MICHAEL HEIZER
WALTER DE MARIA
DWAN GALLERY ADVERTISEMENT FOR WALTER DE MARIA's EXHIBITION "BED OF SPIKES," FEATURING DE MARIA'S MILE LONG DRAWING, 1968
WALTER DE MARIA IN HAMBURG, 1968
WALTER DE MARIA
WALTER DE MARIA'S DESERT CROSS, EL MIRAGE DRY LAKE, 1969.
QUESTIONS
• In what ways can Dwan Gallery be seen as an East coast parallel of, and / or counterpoint to, Ferus Gallery? Do land artists engage with the mythological identity of the frontiersman with the same degree of consciousness as did the Ferus artists with the equally mythological identity of the macho man?
• Is there more or less room for the presence of female artists in the earthworks movement than there was in the Ferus gallery?
• How does land art’s straddling of east and west coasts trouble notions of geographic affiliation/ specificity?
• How does the tension between the rejection of the traditional commercial New York art world and the contradictory need or desire for its attention and interest plague the work of the land artists? Is this tension ever reconciled?