Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative
Edited with text by Francesca Esmay, Ted Mann, Jeffrey Weiss. Preface by Nancy Spector, Lena Stringari. Text by Martha Buskirk, Virginia Rutledge.
A deep dive into the Guggenheim Museum’s vast collection of Minimal art from the visionary Italian collectors Giovanna and Giuseppe Panza di Biumo
Based upon the research of the Panza Collection Initiative, an ambitious, 10-year study project, Object Lessons focuses on four works by key figures of 1960s Minimalism and Conceptual art: Dan Flavin, Donald Judd, Robert Morris and Lawrence Weiner. Authors Francesca Esmay, Ted Mann and Jeffrey Weiss present each work from several vantages: an exhaustive chronological account conveys the surprisingly complicated history of the work’s realization, acquisition, ownership and display. An overview addresses the broad practical and conceptual implications of this information for the historical identity of the work and its consequences for the work’s future. A conservation narrative establishes the role of fabricators and the material and technical standards for the production of the object. Together, the authors explore how a previously unaddressed history of production, ownership and display has deeply influenced the life and legacy of the radical objects of Minimal art.
A separate section, with contributions by Martha Buskirk and Virginia Rutledge, examines the topic of decommission, a new category of collection classification for works that are contested or compromised and are therefore no longer viable for display. Throughout, the book is copiously illustrated with photographs of the works, the exhibitions in which they appeared, and related drawings and proposals. Rounding out this volume are extensive excerpts of new interviews with artists and fabricators, key historical documents and previously unpublished correspondence.
Featured image is reproduced from ‘Object Lessons'.
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Featured image—the Certificate of authenticity for Dan Flavin’s “untitled (to Henri Matisse),” edition 2/3, ca. 1970—is reproduced from the Guggenheim Museum’s stunning, almost astonishing new release, Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative. A deep study of the Museum’s unparalleled collection of Minimal art from the visionary Italian collectors Giovanna and Giuseppe Panza di Biumo, this volume is not only gorgeous (it practically glows), but a must-have for any serious twentieth-century art library, taking the laser-focused approach of investigating Minimalism and Conceptualism (as well as the art of collecting itself) by studying four works, in-depth, in particular, by Donald Judd, Robert Morris, Lawrence Weiner and Flavin, whose work is also featured on the book’s cover. continue to blog
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FORMAT: Hbk, 8 x 10.75 in. / 324 pgs / 202 color / 55 b&w. LIST PRICE: U.S. $55.00 LIST PRICE: CANADA $77 GBP £48.00 ISBN: 9780892075560 PUBLISHER: Guggenheim Museum AVAILABLE: 7/6/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Object Lessons Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative
A deep dive into the Guggenheim Museum’s vast collection of Minimal art from the visionary Italian collectors Giovanna and Giuseppe Panza di Biumo
Published by Guggenheim Museum. Edited with text by Francesca Esmay, Ted Mann, Jeffrey Weiss. Preface by Nancy Spector, Lena Stringari. Text by Martha Buskirk, Virginia Rutledge.
Based upon the research of the Panza Collection Initiative, an ambitious, 10-year study project, Object Lessons focuses on four works by key figures of 1960s Minimalism and Conceptual art: Dan Flavin, Donald Judd, Robert Morris and Lawrence Weiner. Authors Francesca Esmay, Ted Mann and Jeffrey Weiss present each work from several vantages: an exhaustive chronological account conveys the surprisingly complicated history of the work’s realization, acquisition, ownership and display. An overview addresses the broad practical and conceptual implications of this information for the historical identity of the work and its consequences for the work’s future. A conservation narrative establishes the role of fabricators and the material and technical standards for the production of the object. Together, the authors explore how a previously unaddressed history of production, ownership and display has deeply influenced the life and legacy of the radical objects of Minimal art.
A separate section, with contributions by Martha Buskirk and Virginia Rutledge, examines the topic of decommission, a new category of collection classification for works that are contested or compromised and are therefore no longer viable for display. Throughout, the book is copiously illustrated with photographs of the works, the exhibitions in which they appeared, and related drawings and proposals. Rounding out this volume are extensive excerpts of new interviews with artists and fabricators, key historical documents and previously unpublished correspondence.
