“I've never been one like, "Oh, these are my songs" - that was done out of necessity, because there was no one to help. I have 90 percent of it written; that way, we can go on the road, be tight and have it ready to go for next year. I know I said I didn't have a grand design, but I think it's going to be like Marvin Gaye meets The Rocky Horror Picture Show.” ThinkingDoneHelpingSongDesignHorrorMarvin Author:Josh Jones
“Had opened a gallery I already had strong connections with New York, because I was taking work on consignment from New York dealers. So I already knew a great many of the dealers and the artists here. It wasn't cold for me.” ArtistStrongColdGreat MenDealer Author:Virginia Dwan
“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 room-size work that one walked into. It was a bar with Kienholz-type figures sitting and drinking and talking - all life-size characters in a life-size setting. The exhibition was covered in Time, Newsweek, and Life, so it had huge recognition right away.” PeopleThinkingCharacterDrinkingRecognitionControversial Author:Virginia Dwan
“A game is like a mirror that allows you to look at yourself.” LooksGamesMirrorsLook At Yourself Author:Robert Kiyosaki
“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 his work. Heizer had already made land art before any of the others and was deeply into it. But he was very young and working out West, so I wasn't aware of his work until he came and showed it to me.” ArtArt IsWork Out Author:Virginia Dwan
“I think the four land artists I showed all worked within a few years of each other. And they were standard bearers, I suppose, for land art. They each did very separate things. Apparently, later in California, a lot of artists started working in that medium and there was something of a rush of earthworks. But I wasn't involved with that.” ThinkingArtArtist Author:Virginia Dwan
“I enjoyed cross-country road trips. And I found the work challenging because it was art that existed on the land rather than mere concepts in a gallery or photographic documentation, or any of the paraphernalia that can be used to indicate that. The art was on the land.” ArtChallengesRoad Trip Author:Virginia Dwan
“I remember when I went to a gallery in Paris at one point, they had drawings of earthworks set in different places. I asked the person sitting at the gallery desk where these works were - where in France they could be found. She looked at me in horror as if I'd asked something completely insane. She said, "Well, of course, these works don't actually exist. They're concepts."” DifferentRememberHorrorInsaneRemember WhenDifferent Place Author:Virginia Dwan
“People should go to the works and experience them. Because just having an idea or picture in mind is absolutely not the experience that's necessary. Even just landing in Albuquerque or Salt Lake City or Las Vegas was immediately part of the experience. And then you'd get in a car from the airport and take these very long trips - in Michael Heizer's case, it was three hours by car to get to his work. And then there's walking around and into the piece and seeing it from different angles. The kinetic experience of being a part of it physically was very important for me.” PeopleMindLongImportantDifferentHoursCarWalking Author:Virginia Dwan
“Art wasn't for selling. Actually, we once did have an offer on Double Negative. Things could be sold actually - everything could be for sale. But we had very few buyers. I think it was Michael Heizer who said that the point was to have a bigger canvas, and I've used that expression quite a bit. But I was thinking today that a canvas has boundaries; it has limit to it. And for earthwork, it was the very openness and feeling that there were no boundaries that made it so exciting.” ThinkingArtFeelingsTodayNegativeExcitingBoundariesSellingOpennessCanvasNo Boundaries Author:Virginia Dwan