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.

The foundation operates Dia:Beacon (est. 2003), the world's largest contemporary art museum, located in Beacon, N.Y. A converted factory, it contains unusually large unbroken spaces, ideal for exhibiting the frequently monumental and often minimalist (see minimalismminimalism,
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. For some time (1987–2004), it also maintained exhibition spaces in New York City. The foundation also funds and oversees massive land art and site-specific projects in various parts of the country, such as Robert SmithsonSmithson, Robert,
1938–73, American sculptor, b. Passaic, N.J. After first making modular, serial sculpture, Smithson began to design large-scale earthworks (see land art) in the 1960s.
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's Spiral Jetty in the Great Salt Lake, Utah; Donald JuddJudd, 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 as well as his New York Earth Room and Broken Kilometer, both in Manhattan (see land artland 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 equipment.
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). Dia's permanent collection includes pivotal works by such artists as Joseph BeuysBeuys, 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 BourgeoisBourgeois, Louise
, 1911–2010, 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,
1927–2011, American sculptor, b. Rochester, Ind. In the late 1950s, Chamberlain became known for his welded abstract assemblages of smashed automobile parts and colored scrap metal.
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Dan FlavinFlavin, 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 MartinMartin, Agnes
(Agnes Bernice Martin), 1912–2004, American painter, b. Macklin, Canada. She moved to the United States in 1931, began painting in 1942, became a U.S. citizen in 1950, and emerged as an important artist in the late 1950s and early 60s.
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, Gerhard RichterRichter, 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 where, cut off
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, Richard SerraSerra, Richard,
1939–, American sculptor, b. San Francisco; grad. Univ. of California, Santa Barbara (B.A., 1961), Yale (B.F.A., M.F.A., 1974). Many of his early works (1960s) are cast in rubber or lead.
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, and Andy WarholWarhol, 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., he is regarded by some as the most important artist of his era.
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TOP 10 US ARTS RECIPIENTS OF SACKLER FAMILY MONEY, 2001-17 New York Academy of Sciences $12.8 million Dia Art Foundation $10.3 million Guggenheim $2.5 million American Museum of Natural History $1.7 million Metropolitan Opera $1.4 million Brooklyn Museum $500,000 World Monuments Fund $451,000 New York City Ballet $435,000 Metropolitan Museum of Art $287,000 Global Citizen $256,000 Note: Includes donations from the Dr.
Dia Art Foundation, New York Sun Tunnels, 1973-76 Nancy Holt (1938-2014)
Quotations also made up part of her "Laments" exhibition at the Dia Art Foundation in 1989 during the height of the AIDS crisis.
Other highlights of the November auctions in this exhibition include works from The Dia Art Foundation to establish a fund for acquisitions.
Agnes Martin edited by Lynne Cooke, Karen Kelly, and Barbara Schroder Dia Art Foundation and Yale University Press, 2011
Michael Govan leaves the prestigious Dia Art Foundation in New York to become director of LACMA
In Barbara Bloom's Half-Full, Half-Empty, for instance, recently put online by the Dia Art Foundation, we see a typical still life tabletop, but in contemporary style, with objects appearing and disappearing to the accompaniment of an off-screen voice.
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.
"Jasper Johns: An Allegory of Painting, 1955-1965" is yet another of Jeffrey Weiss's finely thought-out and uncompromising presentations as head of the NGA's twentieth-century department, a tenure that began in 1999 and now ends with his move to New York as the new director of the Dia Art Foundation. Similar to the Picasso exhibit that Weiss organized in 2003, "Jasper Johns" focuses on a crucial segment of the career of this modern master.
The new Dia Art Foundation in Beacon, New York, comes to mind.
Some time ago, in one of the Dia Art Foundation publications, Barbara Kruger and Phil Mariani observed that the new historical writing at its best allows a chorus of voices to speak.