Dwan Virginia (24 results)

Hardcover. Condition: Very Good. Bound in publisher's cloth. Hardcover. Good binding and cover. Edge wear. Offsetting to end pages. This is an oversized or heavy book, which requires additional postage for international delivery outside the US.

Condition: New.

Hardcover. Condition: new. Hardcover. Known primarily for her visionary art collecting, Virginia Dwan (born 1931) showed artists such as Robert Rauschenberg, Yves Klein, Ad Reinhardt, Joan Mitchell and more at her Los Angeles gallery in the 1960s. But Dwan has her own artistic practice, and has dedicated the last three and a half years to documenting military graves in cemeteries across the United States. This collection of photographs, accompanying an exhibition that will travel to the National Gallery of Art in Washington, DC, and the LACMA in Los Angeles, serves as striking evidence of the ever-growing number of lives lost as a consequence of war. Though the work is political, the volume is purely visual, without commentjust page after page of headstones. The only text in the book is the late Pete Seegers question, Where have all the flowers gone? The images speak for themselves. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Condition: Used - Very Good. Copublished with the National Gallery of Art in celebration of Virginia Dwan s gift to the Gallery of her extraordinary personal collection, Dwan Gallery explores her remarkable career. Dwan is one of the most influential figures in the history of twentieth-century American art. Her eponymously named galleries, the first established in a Los Angeles storefront in 1959, followed by a second in New York in 1965, became a beacon for influential postwar American and European artists. She sponsored the debut show for Yves Klein in the United States, and she championed such artists as Franz Kline, Robert Rauschenberg, Claes Oldenburg, Sol LeWitt, and Ad Reinhardt. Her Los Angeles gallery featured abstract expressionism, neo-Dada, and pop, while the New York branch became associated with the emerging movements of minimalism and conceptualism. At the same time, the gallery s influence expanded to remote locations in Nevada, Utah, and Arizona, where Dwan sponsored such iconic earthworks as Robert Smithson s Spiral Jetty, Michael Heizer s Double Negative, and Walter De Maria s Lightning Field. Though Dwan was a major force in the art world of the sixties and seventies, her story and the history of her gallery have been largely unexplored until now. Alongside lush full-color images of one hundred leading artworks, the book deepens our understanding of the artistic exchanges Dwan facilitated during this age of mobility, when air travel and the interstate highway system linked the two coasts and transformed the making of art and the sites of its exhibition. James Meyer, the curator of the exhibition and the foremost authority on minimal art, contributes an essay that is a sophisticated and broad-ranging analysis of Dwan s legacy. Honoring Dwan s significant influence and impact on postwar art, Dwan Gallery is a rich and informative collection that will be treasured by fans of contemporary art.' This is the catalogue for an exhibition organized by the National Gallery of Art in Washington, DC, which explores the considerable contributions of Virginia Dwan and her legendary gallery to post-WWII American art.It is being carefully curated by Press author James Meyer. Founded by Virginia Dwan in 1959, the Dwan Gallery was a leading avant-garde space with locations in Los Angeles and New York, presenting the art of Franz Kline, Robert Rauschenberg, Claes Oldenburg, Sol LeWitt, and Robert Smithson, among others. Where the Los Angeles gallery featured abstract expressionism, neo-dada, and Pop, the New York branch reflected the emerging movements of minimalism, conceptualism, and land art. The activities of the Dwan Gallery transpired not just in and between Los Angeles, New York, and Paris, but also in the wilderness of the American West, where Dwan fostered a new genre of art known as earthworks (land art). A keen follower of the Parisian art scene, Dwan also gave many nouveaux realistes such as Yves Klein their debut shows in the United States.' wrapped in complimentary Brodart dust jacket protector. Very nice clean, tight copy free of any marks.…

Hardcover. Condition: VG+/VG+. Hardcover, gray cloth with color dustjacket with 408 pp generously illustrated with BW and color reproductions. Virginia Dwan, founder of leading avant-garde galleries in Los Angeles and New York between 1959 and 1971, was a major force in an art world made increasingly mobile by commercial jets and the interstate highway system. New York artists Franz Kline, Philip Guston, Ad Reinhardt, Robert Rauschenberg, and Claes Oldenburg, along with the Los Angeles-based Edward Kienholz, were among those who had shows in Dwan's Westwood gallery. A keen follower of the Parisian art scene, Dwan also gave Yves Klein and Martial Raysse their American debuts. Her 1962 group show My Country 'Tis of Thee is among the earliest exhibitions of pop art. Dwan supported artists who challenged the limits of art's status as both object and commodity and who eventually developed an art sited outside the gallery in remote locations in the American West. If the Los Angeles gallery featured abstract expressionism, neo-Dada, and pop, the New York branch broke ground with brilliant presentations of minimalism (10, 1966), conceptual art (Language II-IV, 1968-1970), and land art featuring the work of Carl Andre, Sol LeWitt, Robert Morris, and others (Earthworks, 1968). Dwan sponsored iconic earthworks such as Robert Smithson's Spiral Jetty, Michael Heizer's Double Negative, Walter De Maria's 35-Pole Lightning Field, and Charles Ross's Star Axis. This is the storied history of the Dwan Gallery told by an astute scholar of modern art, the gallerist herself, and a meticulous researcher.…

Condition: As New. Unread book in perfect condition.

Paperback. Condition: Very Good. Text and images are unmarked; pages are bright. Binding is tight and square. Covers are age toned and lightly edge worn; there are two tiny coffee drip stains on the front cover. Text is in French.

Softcover, unpaginated, in French; very good condition except yellowing to covers with small bump at top of spine; no internal marks. Foreign shipping may be extra.

Condition: As New. Unread book in perfect condition.

Hardcover with dustjacket, 408 pages; as new condition, clean and crisp; no internal marks. Foreign shipping may be extra.

Soft cover. Condition: Good. No jacket. French edition. Catalog published in conjunction with the exhibition "Virginia Dwan et les nouveaux réalistes: Los Angeles, les années 60" at the Galerie Montaigne in Paris, France from October 23 to December 29, 1990. Cover is tanned and lightly worn along edges. Pages are slightly yellowed along edges, but otherwise clean and unmarked.…

Condition: New.

Hardcover. Condition: new. Hardcover. Known primarily for her visionary art collecting, Virginia Dwan (born 1931) showed artists such as Robert Rauschenberg, Yves Klein, Ad Reinhardt, Joan Mitchell and more at her Los Angeles gallery in the 1960s. But Dwan has her own artistic practice, and has dedicated the last three and a half years to documenting military graves in cemeteries across the United States. This collection of photographs, accompanying an exhibition that will travel to the National Gallery of Art in Washington, DC, and the LACMA in Los Angeles, serves as striking evidence of the ever-growing number of lives lost as a consequence of war. Though the work is political, the volume is purely visual, without commentjust page after page of headstones. The only text in the book is the late Pete Seegers question, Where have all the flowers gone? The images speak for themselves. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardcover. Condition: Brand New. 144 pages. 12.00x9.25x1.50 inches. In Stock.

Buch. Condition: Neu. Neuware - Known primarily for her visionary art collecting, Virginia Dwan (born 1931) showed artists such as Robert Rauschenberg, Yves Klein, Ad Reinhardt, Joan Mitchell and more at her Los Angeles gallery in the 1960s. But Dwan has her own artistic practice, and has dedicated the last three and a half years to documenting military graves in cemeteries across the United States. This collection of photographs, accompanying an exhibition that will travel to the National Gallery of Art in Washington, DC, and the LACMA in Los Angeles, serves as striking evidence of the ever-growing number of lives lost as a consequence of war. Though the work is political, the volume is purely visual, without comment-just page after page of headstones. The only text in the book is the late Pete Seeger's question, 'Where have all the flowers gone ' The images speak for themselves.…

Hardcover. Condition: Brand New. 408 pages. 12.00x10.50x1.50 inches. In Stock.

Condition: Near Fine. First printing. First edition of this comprehensive visual history of the legendary and highly influential gallery. 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. These ephemeral publications are documented in this book, as is the the history and impact of the gallery. A necessary reference. 10.75'' x 9.25''. Original full grey cloth boards. In original pictorial jacket. Decorative endpapers. Illustrated throughout. 408 pages. Small remainder dot to lower edge. Bit of edgewear here and there. Old price sticker to rear jacket planel. Overall, clean and sound. Near fine in a near fine jacket.…

Hardcover. Condition: New.

Condition: Fine. First Edition. Exhibition announcement. Card size: 10 x 15 cm. Front: b/w photograph. Fine. Ephemera.

Hardcover. Condition: Very Good. No Jacket. 1st Edition. SIGNED "Thank you for so much help Best Virginia Dwan." Large hardcover, no jacket as issued; thick, solid boards with spine that is designed to accommodate pages that open accordion style (entire book). National, military cemetery photographs throughout. Condition: very light rubbing to the boards. Minor reference wear. Very nice. Signed by Author.…

in-4, broché, 424 pages. Bon état. Isbn : 2858501890.

Vintage reference photograph of Virginia Mayo and Allan Dwan on the set of the 1955 film. Rita (Mayo) and Bully (David Farrar) convince her ex, Dan (Dennis Morgan), to join them in an expedition to steal rare black pearls from the natives of a South Pacific island. Shot on location in Hawaii. 8 x 10 inches. Light edgewear and small crease on upper right edge, else Near Fine.…

Ottmann, Klaus. CHARLES ROSS: The Substance of Light. 354 pages. 4to, boards. Santa Fe, Radius Books, 2012. Inscribed by the artist.

A l'état de neuf. [6461].