Washington, DC

Charles Ross, Solar Burn 1/29/77, 1977, paint on burned wood, 14 1/4 × 16 1/4". From “Los Angeles to New York: Dwan Gallery, 1959–1971.”

Charles Ross, Solar Burn 1/29/77, 1977, paint on burned wood, 14 1/4 × 16 1/4". From “Los Angeles to New York: Dwan Gallery, 1959–1971.”

Washington, DC

“Los Angeles to New York: Dwan Gallery, 1959–1971”

National Gallery of Art
Sixth Street and Constitution Avenue, NW
September 30, 2016–January 29, 2017

Curated by James Meyer

Virginia Dwan is the stuff of legends: prescient dealer, visionary collector, generous benefactor. She’s Leo Castelli, Count Panza, and Andrew Mellon rolled into one. Featuring some hundred paintings, sculptures, works on paper, and photographs, the National Gallery of Art will highlight the art that Dwan, still a tall beauty at eighty-five, has donated or promised to the museum. Other institutions, including MoMA, LACMA, and the Pompidou, are lending additional works shown at her galleries in LA and New York. From 1959 to 1967, her SoCal space hosted American abstractionists (Guston, Reinhardt), Nouveau Réalistes (Klein, Tinguely), and Pop artists (Oldenburg, Warhol, Rosenquist). Besides championing Minimalists (Andre, Flavin, LeWitt) and Conceptualists (Bochner, Weiner) on Fifty-Seventh Street from 1966 to 1971, the dealer-cum-philanthropist financed Heizer’s Double Negative, 1969–70; Smithson’s Spiral Jetty, 1970; and the first version of De Maria’s Lightning Field, 1977. This exhibition and its catalogue, with an essay by Meyer, will showcase Dwan’s intrepid vision. Travels to the Los Angeles County Museum of Art, Mar. 19–Sept. 10, 2017.