Quite honestly, even as a woman dealer, I really wasn't interested in masculinity or femininity as such. What was important to me… — Virginia Dwan Copy Share Image
I opened with Edward Kienholz's The Beanery, and that's such a controversial piece that I think that brought people right away. It was a… — Virginia Dwan Copy Share Image
Quite honestly, even as a woman dealer, I really wasn't interested in masculinity or femininity as such. What was important to me was the… — Virginia Dwan Copy Share Image
I think that Walter De Maria's Lightning Field, Michael Heizer's City, and Charles Ross's work in Star Axis New Mexico , all three will… — Virginia Dwan Copy Share Image
I remember when I went to a gallery in Paris at one point, they had drawings of earthworks set in different places. I asked… — Virginia Dwan Copy Share Image
The gallery closed its doors in 1971. I could no longer psychologically handle the needs of 12 artists. I cared about all of them,… — Virginia Dwan Copy Share Image
What's happening in the larger world always influences art. When I first started the gallery in 1959, one of the first things I learned… — Virginia Dwan Copy Share Image
I think the four land artists I showed all worked within a few years of each other. And they were standard bearers, I suppose,… — Virginia Dwan Copy Share Image
Art wasn't for selling. Actually, we once did have an offer on Double Negative. Things could be sold actually - everything could be for… — Virginia Dwan Copy Share Image
I think Michael Heizer and Walter De Maria had a love-hate relationship because they both had a lot in common. But inevitably one would… — Virginia Dwan Copy Share Image
I didn't know Michael Heizer until I was preparing for my "Earthworks" show in 1968, and somebody called and told me to look at… — Virginia Dwan Copy Share Image
I remember very vividly. I was here in New York. Nancy Holt called me and - I feel unhappy thinking about it - she… — Virginia Dwan Copy Share Image
