The Dwan Gallery records measure 2.3 linear feet and consist primarily of files of exhibitions curated by Virginia Dwan at Dwan Galleries in Los Angeles (1959-1967) and New York (1965-1971). Found within this nearly comprehensive set of exhibition files may be lists of exhibited works, price lists, photographs, slides or color transparencies of installations, invitations, full-size posters, magazine and newspaper clippings and exhibition catalogs.
Scope and Contents:
The Dwan Gallery records measure 2.3 linear feet and consist primarily of files of exhibitions curated by Virginia Dwan at Dwan Galleries in Los Angeles (1959-1967) and New York (1965-1971). Found within this nearly comprehensive set of exhibition files may be lists of exhibited works, price lists, photographs, slides or color transparencies of installations, invitations, full-size posters, magazine and newspaper clippings and exhibition catalogs.
Artists that held exhibitions at the Dwan Gallery in New York and Los Angeles include: Robert Goodnough, Robert Richenburg, Larry Rivers, Philip Guston, Yves Klein, Salvatore Scarpitta, Arakawa, Martial Raysse, Ad Reinhardt, Arman, Franz Kline, Edward Kienholz, Claes Oldenburg, Niki de Sainte Phalle, Joan Mitchell, Robert Rauschenberg, Robert Morris, Dan Flavin, Raymond Parker, Kenneth Snelson, Carl Andre, Sol LeWitt, Robert Smithson, and Anastasi. Also, the exhibition files are nearly comprehensive and include: Language to be Looked at and/or Things to be Read annual series (1967-1970), Boxes (1964), Earth Works (1968), My Country 'tis of Thee (1962) and 10 (1967 and 1968). Many of the multiple artist shows were created and organized by gallery director John Weber and/or Virginia Dwan. Many of these exhibition files include full-sized posters and panoramic photos showing installations.
Also found are records created by a consulting firm hired by the Dwan Gallery to inventory the exhibition files prior to donation to the Archives of American Art. These guides appear at the beginning of each series and outline a chronology of exhibitions held at each branch.
Arrangement:
The collection is arranged into two series:
Series 1: Los Angeles Exhibition Files, 1959-1967, after 1981 (Box 1-2, 5, OV6, OV8; 1.3 linear feet)
Series 2: New York Exhibition Files, 1965-1971, after 1982 (Box 2-4, OV7; 1.0 linear feet)
Biographical / Historical:
In 1959, Virginia Dwan opened her first gallery on 1091 Broxton Avenue in the Westwood Village neighborhood of Los Angeles, California. Her independent wealth allowed her to open a gallery without worrying about business and sales. Three years after opening, the Dwan Gallery moved into a new Westwood Village space especially designed to express the gallery's contemporary aesthetic. In 1965, Virginia Dwan moved to New York City and founded an east coast branch of the Dwan Gallery at 29 West 57th Street.
Early exhibitions at the Dwan Gallery showed Abstract Expressionist artists and works of art from New York which Dwan consigned from other galleries. After traveling to New York and France, Virginia Dwan's interests and tastes manifested in exhibitions by 1961 with Yves Klein. Through Klein, Dwan made connections to other Nouveaux Réalistes artists that the gallery featured in solo and group shows. Later exhibitions featured Land and Minimilist artists. Dwan recognized that many of her shows were not considered salable but continued to show the avant-garde. She saw the gallery as an opportunity to expose the public to different styles of art.
Virginia Dwan maintained a close and personal relationship with many of her artists. She allowed large stipends to gallery artists and invited them to spend time at her home in Malibu, California. When working with artists concentrating on found objects, Dwan would accompany them on scavenger hunts and shopping trips. In the case of Robert Smithson and other Land Art artists, she traveled to offsite locations to visit works of art in progress. Dwan relied on her longtime gallery director, John Weber to interact with collectors as she preferred to maintain her connection with the artists.
The Dwan Gallery Los Angeles closed in mid-1967 but the New York branch remained open. By 1971, Virginia Dwan felt pressure to support her thirteen artists through a period of economic insecurity. She decided to close the gallery secretly and only informed her artists at the last minute. The final exhibition at Dwan Gallery New York closed in June of 1971.
Related Materials:
Also found within the Archives of American Art is an interview with Virginia Dwan conducted March 21 through June 1, 1984 by Charles Stuckey.
Separated Materials:
Dwan Gallery exhibition catalogs that were donated to the Archives in 1989 were transferred to the Smithsonian Institution American Art and National Portrait Gallery Library.
Bard College's Center for Curatorial Studies and Art in Contemporary Culture holds Dwan Gallery materials related to exhibitions in the Library and Archives.
Provenance:
The Dwan Gallery records were donated in 1996 by Virginia Dwan, the former owner of the gallery.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Dwan Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- New York (State) -- New York -- Exhibitions Search this
Art -- California -- Los Angeles -- Exhibitions Search this
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California "light and space" artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Scope and Contents:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California Light and Space artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Wortz's biographical material includes annotated appointment books and calendars, resumes, and some family, financial, and legal records.
Correspondence files document Wortz's activities beyond her work at UCI, including scattered correspondence with artists such as Eleanor Antin, Daniel Barber, Christo, Craig Kauffman, Cork Marchesi, Martha Rosler, Eve Sonneman, Hap Tivey, and Elsa Warner. Correspondence also relates to arrangements for lectures, juries, panels, symposiums, and other professional activities in which Wortz participated.
Interviews include transcripts of four interviews conducted by Wortz with subjects including Peter Lodato and Dewain Valentine, and a sound recording of an interview with Nina Wiener.
Writings and notes include drafts, and some published copies, of articles and essays written for journals, magazines, and exhibition catalogs; Wortz's dissertation and thesis; notes; student essays and class notes; and scattered writings by others. Included in the published works are copies of Artweek containing articles by Wortz, and drafts and published copies of essays on Larry Bell, Robert Irwin, Jasper Johns, Jay McCafferty, Isamu Noguchi, Robert Rauschenberg, Klaus Rinke, Beth Ames Schwartz, and James Turrell.
Diaries document five separate overseas trips to locations including Asia in 1977, Paris in 1978, and the U.S.S.R., where Wortz delivered a paper on Robert Irwin, in 1989.
University of California, Irvine, records include Wortz's administrative files documenting her work on various committees, her directorship of the Fine Arts Gallery, including budget and exhibition records, her work as Chair of Studio Art, and her collaborations with other faculty, including Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small. Wortz's dossier files provide a thorough record of her accomplishments from the late 1970s-1990, and her UCI teaching files document the content of core art courses which she taught at UCI in the 1970s and 1980s.
Subject files provide additional documentation of Wortz's interest in particular artists and subjects, and include scattered correspondence with artists, as well as additional correspondence, reports, printed material, index card files, sound cassettes, and photographs, documenting her interests in art and politics, feminism, religion and spirituality, museum management and training, and other subjects.
Printed material includes announcements, catalogs, journals, newsletters, and material specifically documenting Wortz's activities.
Artwork includes a piece of floor covering from a Jim Dine exhibition, a booklet by Daniel Barber, Flams by Rena Livkin, and several pieces of unidentified artwork.
Photographs include photos of Wortz with her family and with UCI faculty including Tony DeLap, Craig Kauffman, and Ed Moses; photos of events with friends and family, including Hap Tivey's wedding to Liza Todd with Elizabeth Taylor in attendance; photos of artists including Frederick Eversley, Bill Harding, Jack Ox, and Stephen Zaimo; and photos of artwork by artists including Tony DeLap, Barbara Smith, Marc Van Der Marck, and others.
Arrangement:
The collection is arranged as ten series.
Series 1: Biographical Materials, 1966-1988 (0.25 linear feet; Boxes 1, 19)
Series 2: Correspondence, 1967-1992 (1.25 linear feet; Boxes 1-2, 18)
Series 3: Interviews, 1971-circa 1980s (6 folders; Boxes 2, 18)
Series 4: Writings and Notes, 1958-circa 1990 (4.25 linear feet; Boxes 2-6, 19)
Series 5: Diaries, 1977-1989 (6 folders; Box 6)
Series 6: University of California, Irvine, 1960-1991 (4.8 linear feet; Boxes 6-11, OV 20)
Series 7: Subject Files, circa 1960-1990 (4.25 linear feet; Boxes 11-15, 18)
Series 8: Printed Material, 1960s-1980s (1.8 linear feet; Boxes 15-16, 19)
Series 9: Artwork, circa 1960s-circa 1980s (3 folders; Boxes 17, 19)
Series 10: Photographs, 1960s-1980s (0.6 linear feet; Boxes 17, 19)
Biographical / Historical:
California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002), taught at the University of California, Irvine, from 1975, serving as Director of UCI's Fine Arts Gallery and Chair of the Department of Studio Art. Wortz's special area of interest was the work of the California "light and space" artists emerging in Los Angeles in the 1970s.
After attending Stanford University and graduating from Radcliffe College with a bachelors degree in art history, Wortz received her masters degree in art history from the University of California, Los Angeles, and her doctorate in theology and the arts from the Graduate Theological Union at Berkeley. Wortz taught at California State University and the University of California Extension in the early 1970s. At UCI her colleagues included Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small.
Wortz married Edward C. Wortz in the early 1970s, following her divorce from her first husband, Thomas G. Terbell, Jr. Edward Wortz's first career was as a research scientist working on NASA contracts in the air research industry in Colorado and California. Later he was involved in the arts and participated in collaborations with artists including Robert Irwin, Coy Howard, and James Turrell. He worked with Melinda Wortz to develop their personal collection of contemporary art.
Melinda Wortz was a prolific writer who wrote extensively for national art periodicals, including Arts Magazine, and Art News. She also wrote, and served as editor, for the California periodical Artweek from the 1960s to 1990s. She wrote numerous catalogs for artists including Larry Bell, Cork Marchesi, Doug Moran, Beth Ames Schwartz, and James Turrell; and published articles on Dan Flavin, Robert Irwin, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, Frank Stella, and others. She lectured at Brown University, the Center for Art, Salt Lake City, Contemporary Art Museum, La Jolla, the Massachusetts Institute of Technology, the San Diego Museum, Wellesley College, the Whitney Museum of American Art, and many other institutions. In 1989 she traveled to the U.S.S.R. to deliver a paper on Robert Irwin at the International Art Critics Association annual meeting.
In addition to her curatorial work at the UCI Fine Arts Gallery, where she organized exhibitions for artists including Alice Aycock, Jonathan Borofsky, Audrey Flack, Jack Ox, and Dennis Oppenheim, Wortz curated exhibitions for University of California sister colleges, Pasadena Art Museum, and others.
Wortz received UCI and National Endowment for the Arts grants in support of her writing, and served on advisory boards of the Contemporary Arts Forum, Los Angeles Institute of Contemporary Art, Santa Barbara, Robert Rauschenberg's foundation, Advisory Board of Change, Inc., the Pasadena Art Museum, and others.
Wortz was diagnosed with Alzheimers disease at the age of 50 and died in 2002.
Provenance:
The collection was donated by Edward C. Wortz, Melinda Wortz's husband, in 1994.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Melinda Wortz papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
An interview of Esther Robles conducted 1981 August 24-31, by Ruth Bowman, for the Archives of American Art.
Robles speaks of her family background; early art training; opening her own gallery in the 1940s; exhibitions at the gallery and artists who exhibited; the art community in Los Angeles and some of the problems in being a dealer there; her dedication to showing a variety of artists; working on the U.S. Treasury Department's Art Advisory Panel; and the closing of her gallery. She recalls Stanton Macdonald-Wright. Also present is Robles' husband, Robert.
Biographical / Historical:
Ester Robles (1907-2001) was a gallery director from Los Angeles, Calif.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 13 digital wav files. Duration is 6 hr., 13 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Use requires an appointment.
Topic:
Gallery directors -- California -- Los Angeles -- Interviews Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Arnold, Florence M. (Florence Millner), 1900-1994 Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Sketchbooks
Date:
1900-1994
Scope and Contents:
Biographical documents, correspondence, notes, scattered business records, art work, photographs, video interviews, and printed material.
REELS 3979-3980: Four resumes; award certificates; correspondence; notes, 1954-1975; receipts and certificates of authenticity for Arnold's silkscreens; miscellaneous business records; 45 preliminary drawings for paintings and prints in ink, pencil, crayon & watercolor on paper, mostly signed (28 x 21.6 cm. or smaller), 1960-1970; two spiral sketchbooks (17.4 x 12.3 cm.), 1947-1950, with charcoal, ink & pencil sketches of landscapes and still lifes, signed; newsletters; clippings, 1923-1980; press releases; exhibition announcements and catalogs, 1954-1980; programs; miscellaneous printed material; photographs and slides, undated and 1948-1980, of Arnold, her works of art, an exhibition in Rome, 1962, and two photographs of awards. Also included are two transcripts, and one videotape of interviews of Arnold conducted by D. M. Hackbarth and Dona Berkhimer, 1970, and by Anne Riley, 1974, and a videotaped interview with Lyn Gamwell, gallery director, Fullerton College, California, 1975.
ADDITION: Correspondence, photographs, exhibition announcements and catalogs, and clippings.
Biographical / Historical:
Serigrapher, painter; Fullerton, Calif. Died 1994. Arnold turned to painting and printmaking after 3 decades of teaching music. Her work is in the Hard-Edge tradition, and has been exhibited in the U.S., and in Madrid, Copenhagen, Florence, Rome, Milan and Venice. She is a charter member of the Los Angeles Museum of Art, and was involved in the Orange County (Calif.) Art Association.
Provenance:
Videos and material on reels 3979-80 donated 1975-1980 by Florence Arnold. Unmicrofilmed material donated 1994 by Arnold's daughter, Adrienne Chakerian.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
An interview of Peter Goulds conducted 2008 Mar. 24 and July 28, by Susan Ford Morgan, for the Archives of American Art at L.A. Louver Gallery, in Venice, Calif.
Goulds discusses growing up in Islington, London U.K. and the influence of his family; his work as a youth in the London theater world and interest in jazz; his time studying at the Walthamstow School of Art, the Coventry School of Art and the Manchester School of Art; his interest in typographic art and introduction to structuralism; his interest in the fields of communication design, experimental video and film; his time teaching an introductory art and design class at UCLA; his wife Liz and the opening of his gallery L. A. Louver in Venice, California, as well as the origin of the gallery's name. Goulds also describes the growth of his gallery in Venice and subsequent expansions and renovations; the Louver Gallery in New York City and its closing in 1993; the many challenges of running a gallery in Venice in the '70s; his opinions about art fairs and the current state of the art business as contrasted with when he began along with the gallery's "Rogue Wave" program for new artists. Goulds also recalls David Hockney, Mitsuru Kataoka, Morris Zaslavsky, Jake Zeitlin, Kate Steinitz, and Lili Lakich along with Ron Kitaj, Ken Price, Mark di Suvero, Ed and Nancy Kienholz, Kimberly Davis, Chris Pate, Fred Fisher, and Sean Kelly among others.
Biographical / Historical:
Peter Goulds (1948- ) is the founding director of Louver Gallery and L.A. Louver Gallery in Venice, Calif. Susan Ford Morgan is a writer in Los Angeles, Calif.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Gallery directors -- California -- Los Angeles -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Art Dealers Association of America.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview of Tobey C. Moss, conducted 2013 September 12, by Hunter Drohojowska-Philp, for the Archives of American Art at Moss' Gallery in Los Angeles, California.
Moss speaks of growing up in Chicago and moving to Los Angeles to attend UCLA; meeting and marrying her husband, Allen; serving as docent at the LA County Museum of Art; working for Zeitlin & Ver Brugge and then later Stephen White Gallery of Photography; opening her art gallery, Tobey C. Moss Gallery in 1979; her connection and relationships to many of the artists she displayed in her gallery.
Biographical / Historical:
Interviewee Tobey C. Moss (1928- ) is an art dealer in Los Angeles, California. Interviewer Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Gallery directors -- California -- Los Angeles -- Interviews Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Women in the Arts in Southern California Oral History Project Search this
Extent:
2 Sound cassettes (Sound recordings (ca. 3 hrs.))
93 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1989 June 15
Scope and Contents:
An interview of Josine Ianco-Starrels conducted 1989 June 15, by Ruth Gurin Bowman for the Archives of American Art, Women in the Arts in Southern California Oral History Project. Ianco-Starrels recounts her youth in Bucharest, Romania; WWII and her family's fleeing to Palestine; her father Marcel Ianco's affiliation with the Dadaists in Zurich; her first marriage that brought her to New York in 1950; studying at the Art Students League; her second marriage to Herbert Kline, a documentary filmmaker; her involvement with the Lytton Center of the Visual Arts and the beginning of her curatorial career; working at California State University, Los Angeles as gallery director; her teaching career; her interest in Los Angeles artists including Jack Zajack, Lorser Feitelson, Helen Lundeberg, Felix Landau, Joyce Treiman, Betty Saar, Joan Brown, and others; curating and programs at the Municipal Art Gallery at Barnsdall Park and later at the Long Beach Museum; her views on community and access to local galleries; and her relationship with artists and the art community.
Biographical / Historical:
osine Ianco-Starrels (1926-2019) was a curator and gallery administrator in Los Angeles, California. Born 1926 in Bucharest, Romania. Josine Ianco-Starrels was curator of the Lytton Center of the Visual Arts (1961-1969), Associate Professor, Art Gallery Division at California State University, Los Angeles (1969-1975), Director of the Los Angeles Municipal Art Gallery at Barnsdall Park (1975-1984), and Senior Curator at the Long Beach Art Museum (1987-1990). Ianco-Starrels died at the age of 92 at her home in Rogue City, Oregon.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
Topic:
Women museum curators -- California -- Interviews Search this
Museum directors -- California -- Los Angeles -- Interviews Search this
Museum curators -- California -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Biographical material; personal and business correspondence; travel diaries; journals; a sketchbook and other works of art; writings, including an autobiography; photographs; motion picture film and a video recording; business and financial records; and printed material.
Family correspondence is with Gail, Lee and Alice, 1961-1986, regarding their respective careers and family matters (including 2 prints by Gail). Other correspondence, 1958-1990, relates to exhibitions, novels, finances and personal matters, with Ken Davidson, Phil Dike, Alan Kenward, and others. Travel diaries, 1974-1978, are from Mexico and Latin America. Journals, 1934 and 1986-1990, partly indexed, contain daily entries about activities, incoming mail, phone calls, notes, letters, business records and printed material. 8 engagement calenders, 1930 and 1976-1986, contain brief entries.
Art works include ca. 20 Christmas cards, 2 prints, sketches for pendants, and a sketchbook. Writings consist of notes on Millard Sheets, an essay about Diego Rivera and an essay illustrated with a print, typescripts of Interregnum, La Gringa, Sinaloa, with notes and promotional material, an untitled autobiography (518 p.) and eight journals, 1992-1994, containing Paradise's correspondence, phone calls, exhibition records and personal notes.. Interviews include a transcript of an interview conducted by Ted Williams, a video cassette of an interview regarding Paradise's interest in Latin America, and a 16mm color film transferred to VHS "Phil Paradise at Greystone Galleries and residence at Greystone Manor, 1971-1972" by Sunny Schofield.
Photographs, negatives and slides are mostly of art work, with a few personal photographs and one of Diego Rivera. Business and financial records, 1984-1985, include inventories of paintings and income tax records. Printed material, 1978-1989, consists of catalogs from the National Academy of Design, exhibition catalogs, 1978-1989, clippings, 1941-1978 and publications regarding Yasu Eguchi.
Biographical / Historical:
Painter, watercolorist, printmaker, sculptor, writer; Santa Barbara, Calif. b. 1905. d. 1997.
Provenance:
Donated by Phil Paradise, 1990-1995.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
