Provenance

Virginia Dwan

Dwan Gallery

American, 1931 - 2022

Explore selected works

See all 45 works of art
The sculpture is made of fluorescent light tubes arranged in a symmetrical pattern that forms vertical lines extending up in tiers. The overall shape is similar to the top of a skyscraper, with shorter tubes leading upward on the left and right to the longest tube in the center. The design is against a neutral background, with the illumination casting a white glow on the wall.
Dan Flavin, "monument" for V. Tatlin, 1966, cool white fluorescent light, Gift of Virginia Dwan, 2015.179.1

"monument" for V. Tatlin

Dan Flavin · 1966 · cool white fluorescent light ·  Accession ID  2015.179.1

The image shows a collage with abstract shapes and lines made of various paper fragments. Rectangular and torn shapes create a patchwork of patterns and colors. The background displays dotted textures arranged irregularly, resembling a vintage newspaper surface. Bold colored panels in blue and red contrast with a bright yellow rectangle featuring a red dollar sign. The words "J" and "TIE" are stamped across different areas, accompanied by abstract symbols like a star shape and an uneven hook structure. The components of the collage are fastened with large screws and staples, giving it an assembled quality.
Robert Rauschenberg, Untitled (For Virginia with Hook), 1965, torn and cut-and-stapled printed papers on canvas with plexiglass, screws, washers, hook, and nail, Gift of Virginia Dwan, 2021.100.6

Untitled (For Virginia with Hook)

Robert Rauschenberg · 1965 · torn and cut-and-stapled printed papers on canvas with plexiglass, screws, washers, hook, and nail ·  Accession ID  2021.100.6

The image depicts a partial view of an abstract rendering of a person. It shows the head and a portion of the torso in profile against a background split into two vertical halves: one green and one beige. The person faces left with simple outlined facial features, light blue sunglasses, short hair, and a hand raised towards the mouth area. The individual is wearing what appears to be a collared shirt. The background shows mirror-like upside-down sketches on both sides, adding to the abstract nature of the portrayal.
Martial Raysse, C'est Moi, 1964, transfer, paint, and sunglasses on canvas, Gift of Virginia Dwan, 2019.165.1

C'est Moi

Martial Raysse · 1964 · transfer, paint, and sunglasses on canvas ·  Accession ID  2019.165.1

The installation is a vertical sculpture on a wooden floor aligned with the wall. At the bottom, there is a textured cluster. The sculpture is predominantly silver with a slightly reflective surface. It has a linear design contrasting with the smooth white wall behind it, while the bottom has an organic, irregular form. The setting is minimalist, accentuating the sculpture's verticality and texture.
William Anastasi, Issue, conceived 1966, displaced wall plaster, Gift of Virginia Dwan, 2018.190.2

Issue

William Anastasi · conceived 1966 · displaced wall plaster ·  Accession ID  2018.190.2

The image shows vertical rectangular shapes filled with diagonal lines of varying colors and directions, creating a pattern across the surface. The composition uses pastel colors with intersecting lines, resembling fabric texture or woven tapestry strokes. The arrangement and color palette suggest an organized system or barcode-like structure.
Sol LeWitt, Horizontal Composite, 1970, color screenprint on wove paper, Gift of Virginia Dwan, 1992.70.1

Horizontal Composite

Sol LeWitt · 1970 · color screenprint on wove paper ·  Accession ID  1992.70.1

The sculpture consists of four identical geometric forms resembling truncated rectangular prisms with sloping sides. They are placed on the floor in a sparse setting. The sculpture is light gray and made of a smooth, matte material. Each form has clean, sharp edges and flat tops. The arrangement creates a visual display, drawing the viewer's eye. The overall effect is one of simplicity and clarity, with each form maintaining a static and stable presence in the space.
Robert Morris, Untitled (Battered Cubes), 1966, painted fiberglass, Gift of Virginia Dwan, 2016.182.1

Untitled (Battered Cubes)

Robert Morris · 1966 · painted fiberglass ·  Accession ID  2016.182.1

Thirty-seven thin sheets of green-tinged glass are stacked on a white pedestal base to create this freestanding sculpture. One end of the sheets is tidily lined up. The sheet of glass on the bottom is the longest, and each piece stacked on it is slightly shorter so it recedes like stairs as it climbs. In this photograph, we look slightly down on the piece with the longest sheet angled down into the left corner. The floor beneath is pale pink marble.
Robert Smithson, Glass Stratum, conceived 1967, refabricated 2014, glass, Gift of Virginia Dwan, 2013.19.1

Glass Stratum

Robert Smithson · conceived 1967, refabricated 2014 · glass ·  Accession ID  2013.19.1

The sculpture is an assemblage of various materials forming a humanoid figure. The main body of the sculpture is a tall rectangular block in a weathered white color with rusty brown patches. At the top, there is a glass or transparent panel framed with a rusty-looking metal framework, inside of which is a bulbous, dark metallic object resembling a head. The sculpture stands on a white base supported by four wooden elements suggesting feet. Two metal wires extend upwards from each side of the glass box and arch over the top. The overall appearance of the sculpture is industrial and vintage, created from recycled materials.
Edward Kienholz, Portrait of Virginia, 1963, metal, wood, glass, bottle, lightbulb, battery, plaster, and polyester resin, Gift of Virginia Dwan, 2021.100.2

Portrait of Virginia

Edward Kienholz · 1963 · metal, wood, glass, bottle, lightbulb, battery, plaster, and polyester resin ·  Accession ID  2021.100.2

The image shows parallel horizontal bands of color with intersecting lines creating a layered appearance. The composition consists of horizontal stripes in shades of yellow, blue, red, green, orange, and purple. The lines within each band resemble woven fabric or the texture of cloth.
Sol LeWitt, Composite Series III, published 1970, color screenprint on wove paper, Gift of Virginia Dwan, 1992.70.2.3

Composite Series III

Sol LeWitt · published 1970 · color screenprint on wove paper ·  Accession ID  1992.70.2.3

Long prisms hang in rows within a nickel-gray room in this installation. The prisms come toward us in this view. A row of long prisms hang closely together to our right, and shorter prisms are hung in groups farther away from us. They cast long silvery-gray and black shadows on the ground, and hints of rainbows stripe the walls.
Charles Ross, Hanging Islands, conceived 1966, refabricated 2015, acrylic and metal (36 prisms), Gift of Virginia Dwan, 2016.19.1

Hanging Islands

Charles Ross · conceived 1966, refabricated 2015 · acrylic and metal (36 prisms) ·  Accession ID  2016.19.1