EARTHWORKS // VIRGINIA DWAN GALLERY VIRGINIA DWAN VIRGINIA DWAN - PowerPoint PPT Presentation

EARTHWORKS // VIRGINIA DWAN GALLERY

VIRGINIA DWAN VIRGINIA DWAN AT EL MIRAGE EXTERIOR OF THE FIRST DWAN GALLERY, DRY LAKE, 1970 BROXTON AVENUE, WESTWOOD, LOS ANGELES, 1961

VIRGINIA DWAN EARTHWORKS EXHIBITION AT DWAN GALLERY, NEW YORK, NEW YORK, 1968

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 MICHAEL HEIZER, DOUBLE DISPLACEMENT DRAWING, EL MIRAGE DRY LAKE, NEGATIVE, 1969 1969

MICHAEL HEIZER

WALTER DE MARIA DWAN GALLERY ADVERTISEMENT WALTER DE MARIA IN FOR WALTER DE MARIA's HAMBURG, 1968 EXHIBITION "BED OF SPIKES," FEATURING DE MARIA'S MILE LONG DRAWING, 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?