Dwan Retrospective
At the National Gallery of Art in Washington
Above: Made in Japan (1964), by Martial Raysse. Photomechanical reproductions and wallpaper with airbrush ink, gouache, ink, tacks, peacock feathers and plastic flies on paper mounted on fiberboard, 51.125 x 96.25 inches. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC. Home page/Art page: Sleeper II (1959), by Philip Guston. Oil on canvas, 68 x 65 inches. Jeanne and Richard Levitt, Des Moines, Iowa. © Estate of Philip Guston. Courtesy Hauser.
Sleeper II (1959), by Philip Guston. Oil on canvas, 68 x 65 inches. Jeanne and Richard Levitt, Des Moines, Iowa. © Estate of Philip Guston. Courtesy Hauser & Wirth. 
Coexistence (1961), by Robert Rauschenberg. Oil, fabric, wood and other found materials on canvas, 66.75 x 49.125 x 14.25 inches. Virginia Museum of Fine Arts. Photo: Katherine Wetzel. © Virginia Museum of Fine Arts. 
Maquette for Larry Rivers Exhibition at Dwan Gallery (1961), by Larry Rivers. Collage of cut-out text, paint and tape on gelatin silver print mounted on paper board; mount (irregular): 14.0625 x 12.1875 inches. Collection of Virginia Dwan. 
Virginia Dwan (1963), by Larry Rivers. Graphite on paper sheet, 14.9375 x 17.9375 inches. Collection of Virginia Dwan. 
Untitled Blue Monochrome (IKB 187) (1960), by Yves Klein. Dry pigment and synthetic resin on canvas mounted on board, 15.75 x 14 inches. Collection of Virginia Dwan. © Yves Klein, ADAGP, Paris/ARS, New York, 2016. 
Transfer of “Zone de sensibilité picturale immaterielle” to Michael Blankfort, Pont au Double, Paris, February 10, 1962 (1962), by Yves Klein. Gelatin silver print; image: 15.9375 x 19.5 inches. Los Angeles County Museum of Art. © Yves Klein, ADAGP, Paris/ARS, New York, 2016. Photo © Gian Carlo Botti. Digital Image © 2016 Museum Associates/LACMA. Licensed by Art Resource, NY. 
Brillo Box (c. 1964), by Andy Warhol. House paint and silkscreen ink on plywood; each unit: 13.125 x 16 x 11.5 inches. Whitney Museum of American Art, New York. © 2016 Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Photography by Jerry L. Thompson. 
Pittston (1958), by Franz Kline. Oil on canvas, 77.75 x 71 inches. Collection of Lynn and Allen Turner. 
Study for Announcement for One-Man Show at Dwan Gallery—Mickey Mouse with Red Heart (1963), by Claes Oldenburg. Wax crayon and watercolor on paper, 16.625 x 13.75 inches. Whitney Museum of American Art, New York. © 1963 Claes Oldenburg. Digital Image © Whitney Museum, NY. 
The Cliff (1967), by Agnes Martin. Acrylic and graphite on canvas, 72 x 72 inches. Collection of Virginia Dwan. 
2-Dimensional Information (Contour Lines) Transferred from Point A to Location B Lines scribed on swamp grid with sickle-mower Cuts filled with aluminum filings (residue from aluminum borings) Piece completely submerged in waterat high tide 12:00 noon Size: 175′ X 200′ Photo: Infrared aero-film (1969), by Dennis Oppenheim. Chromogenic color prints, map, typewritten text on paper, 28.25 x 22.375 x .9375 inches. Museum of Modern Art, New York. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. 
Solar Burn 1/29/77 (1977), by Charles Ross. Painted wooden panel burned by the sun, 14.25 x 16.25 inches. Collection of Virginia Dwan. 
Ultimate Painting (1963), by Ad Reinhardt. Oil on canvas, 60 x 60 inches. Collection of Virginia Dwan. 
Toaster (1963), by James Rosenquist. Oil on vinyl, chromed barbed wire, metal saw blades, plastic and wood, with dripped paint, 11.75 x 9.25 x 12.5 inches. Frederick R. Weisman Art Foundation, Los Angeles. Art © James Rosenquist/Licensed by VAGA, New York, NY. 
Gyrostasis (1967), by Robert Smithson. Painted steel, 41.5 x 30 x 24 inches. Collection of Virginia Dwan. Art © Holt-Smithson Foundation/Licensed by VAGA, New York, NY. 
Serial Project, 1 (ABCD) (1966), by Sol LeWitt. Baked enamel on steel units over baked enamel on aluminum, 20 x 163 x 163 inches. Museum of Modern Art, New York. © 2016 LeWitt Estate/Artists Rights Society (ARS), New York. Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY. 
Language Is Not Transparent (1970), by Mel Bochner. Chalk on paint and wall
template, 36 x 48.25 inches; installed: 72 x 48.25 inches. Los Angeles County Museum of Art. 
“monument” for V. Tatlin (1966), by Dan Flavin. Cool white fluorescent light; height: 144 inches. National Gallery of Art, Gift of Virginia Dwan. 
Tyrannousaurus Rex etranglé par un cobra (c. 1963), by Niki de Saint Phalle. Colored markers, ballpoint pen and graphite on paper sheet, 14.1875 x 19.3125 inches. Collection of Virginia Dwan. 
Card File (1962), by Robert Morris. Metal, wood and paper, 26.9375 x 10.625 x 1.5625 inches. Centre Pompidou, Paris. © 2016 Robert Morris/Artists Rights Society (ARS), New York. © CNAC/MNAM/Dist. RMN-Grand Palais/Art Resource, NY. 
Untitled (Battered Cubes) (1966), Robert Morris. Painted fiberglass; 4 units, each unit: 24 x 36 x 36 inches; installed: 108 x 108 inches. Collection of Virginia Dwan. © 2016 Robert Morris/Artists Rights Society (ARS), New York. 
Blood of a Poet Box (1965–68), by Eleanor Antin. Wood box containing 94 glass slides of blood specimens and specimen list, 11.5 x 7.75 x 1.5 inches. Lent by the American Fund for the Tate Gallery 2009. © Tate, London 2016. 
Alarm Clocks (Reveils) (1960), by Arman. Alarm clocks in painted wood box, 23.5 x 47.3125 x 5 inches. Collection Museum of Contemporary Art Chicago. 
Portrait of Virginia (1963), by Edward Kienholz. Metal, wood, glass, bottle, lightbulb, battery, plaster and polyester resin, 43.5 x 19.5 x 11.5 inches. Collection of Virginia Dwan. © Kienholz. Courtesy of L.A. Louver, Venice, CA. 
Back Seat Dodge ’38 (1964), by Edward Kienholz. Paint, fiberglass and flock, 1938 Dodge, recorded music and player, chicken wire, beer bottles, artificial grass and cast plaster figures, 66 x 120 x 156 inches; installed: 120 x 145 inches. Los Angeles County Museum of Art. © Kienholz. Courtesy of L.A. Louver, Venice, CA. Digital Image © 2016 Museum Associates/LACMA. Licensed by Art Resource, NY.
The remarkably astute gallerist and collector Virginia Dwan, who had galleries in Los Angeles and New York, has been honored with a show at the National Gallery of Art in Washington, D.C., through January 29. It’s called “Los Angeles to New York: Dwan Gallery, 1959–1971,” and PROVOKR has assembled a remarkable portfolio of the work on view, from Sol LeWitt to Robert Rauschenberg, Claes Oldenburg to Franz Kline, Agnes Martin to Yves Klein. Enjoy!
template, 36 x 48.25 inches; installed: 72 x 48.25 inches. Los Angeles County Museum of Art.
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