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Dia Art Foundation

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Dia Art Foundation, American foundation that supports contemporary art and artists, est. 1974 by art dealer Heiner Friedrich and his wife, art patron Philippa de Menil. The foundation, which commissions and purchases artworks, specializes in artists first recognized in the 1960s and 70s and younger artists working within the same aesthetic tradition, and has amassed a significant collection. Dia presents long-term exhibitions and site-specific installations and also funds such activities as lectures, poetry readings, and Web-based projects.

Dia operates two museums—Dia:Chelsea (est. 1987, formerly the Dia Center for the Arts) in New York City and Dia:Beacon (est. 2003), the world's largest contemporary art museum, in Beacon, N.Y. Both are large, but the Beacon site, where some galleries are devoted to a single artist, contain unusually huge unbroken spaces ideal for exhibiting the frequently monumental and often minimalist (see minimalism minimalism, schools of contemporary art and music, with their origins in the 1960s, that have emphasized simplicity and objectivity. Minimalism in the Visual Arts

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) art and large-scale installations Dia favors. The foundation also funds massive land art projects in other parts of the country, such as Donald Judd Judd, Donald Clarence, 1928–94, American artist, b. Excelsior Springs, Mo. His sculpture, allied with the minimalist school of the late 1960s (see minimalism; modern art), has the appearance of industrial fabrication.
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's installations at Marfa, Tex.; Michael Heizer's City in Nevada; James Turrell's Roden Crater in Arizona; and Walter De Maria's Lightning Field in New Mexico (see land art land art or earthworks, art form developed in the late 1960s and early 70s by Robert Smithson, Robert Morris, Michael Heizer, and others, in which the artist employs the elements of nature in situ or rearranges the landscape with earthmoving
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). Dia's permanent collection includes pivotal works by such artists as Joseph Beuys, Beuys, Joseph , 1921–86, German artist, b. Krefeld; one of the most influential of postmodern artists. Drafted into the Luftwaffe during World War II, he was wounded several times and in 1943 was shot down over Crimea.
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 Louise Bourgeois, Bourgeois, Louise , 1911–, French-American sculptor, b. Paris. She married the art historian Robert Goldwater in 1938, emigrated to the United States, and became a citizen.
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 John Chamberlain, Chamberlain, John, 1927–, American sculptor, b. Rochester, Ind. In the late 1950s, Chamberlain became known for his welded assemblages of smashed automobile parts and colored scrap metal.
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Dan Flavin, Flavin, Dan , 1933–96, American sculptor, b. New York City. In the early 1960s, Flavin experimented with fluorescent lights, bending them into complex, angular shapes.
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 Judd, Agnes Martin, Martin, Agnes (Agnes Bernice Martin), 1912–2004, American painter, b. Macklin, Canada. She moved to the United States in 1931, became a U.S. citizen in 1950, and emerged as an important artist in the late 50s and early 60s.
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 Gerhard Richter, Richter, Gerhard , 1932–, German painter, b. Dresden, studied Academy of Fine Arts, Dresden (1951–56) and Düsseldorf (1961–63). Widely considered one of the foremost painters of his generation, he lived for nearly 30 years in East Germany
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 Richard Serra, Serra, Richard, 1939–, American sculptor, b. San Francisco. He creates large-scale minimalist (see minimalism) works in metal, concrete, fiberglass, and other materials, usually intended for specific outdoor sites.
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 and Andy Warhol Warhol, Andy, 1928–87, American artist and filmmaker, b. Pittsburgh as Andrew Warhola. The leading exponent of the pop art movement and one of the most influential artists of the late 20th cent.
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The work was built in 1977 by a New Yorker named Walter de Maria, then 42, who got his patrons at the Dia Art Foundation to buy the land and commission its conversion into art.
Shields also administers The Lightning Field -- a site-specific land-art piece created by sculptor Walter De Maria in 1977 in Catron County for the Dia Art Foundation.
Ashford's lecture was organized around his own eclectic mix of images beginning with an eighteenth-century print depicting the art of conversation and moving to a discussion of Group Material's influential experiments in public art during the 1980s, including, most relevant to the matter at hand, the project "Democracy," sponsored by the DIA Art foundation in 1988.
 
 
 
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