Dia 2.0: Facing the Future
Jessica Morgan moves the art foundation beyond the sometimes swaggering heart of its Minimalist collection.
Dan Flavin, “the diagonal of May 25, 1963 (to Constantin Brancusi),” a fluorescent light work at the newly renovated Dia Chelsea.Credit.Stephen Flavin/Artists Rights Society (ARS), New York; Elizabeth Felicella
April 23, 2021, 5:00 a.m. ET
In 1988, the Dia Art Foundation hosted one of the most momentous readings in postwar art history the reclusive poet James Schuyler appeared before an audience for the first time in memory, occasioning a line down Mercer Street to the foundation’s SoHo headquarters. One particularly lovely turn in Schuyler’s poem “Empathy and New Year” elicited a hum of admiration from the crowd: “Not knowing a name for something proves nothing.”
Germany
Mexico
New-york
United-states
Puerto-rico
Arizona
Manhattan
Colombia
Bangalore
Karnataka
India
New-mexico
Apollo. Preview and subscribe here.
Once upon a time, you could stand on the roof of 548 West 22nd Street, up among the water towers of Manhattan, with views out over the Hudson to New Jersey, and watch the city shimmer and reflect on the surfaces of one of Dan Graham’s glass pavilions. It was a New York moment. You could go downstairs, following the blue and green glow of a Dan Flavin light sculpture lining the stairwell, and see shows by leaders in contemporary European and American art reaching back to the 1960s. The galleries here, at Dia Center for the Arts, were some of the first to display Richard Serra’s
New-york
United-states
Nevada
Munich
Bayern
Germany
United-kingdom
Texas
Cuba
Boston
Massachusetts
New-mexico