Amor Mundi
The Collection of Marguerite Steed Hoffman Published by Ridinghouse.
Edited with text by Gavin Delahunty. Preface by Marguerite Steed Hoffman. Text by Martin Jay, Renée Green, Susan Aberth, Sarah C. Bancroft, Renate Bertlmann, Anna Katherine Brodbeck, Susan Davidson, TR Ericsson, Tamar Garb, Robert Gober, Rachel Haidu, Merlin James, Wyatt Kahn, Ragnar Kjartansson, Anna Lovatt, Leora Maltz-Leca, Nic Nicosia, Charles Ray, Mark Rosenthal, Dana Schutz, Barry Schwabsky, Richard Shiff, Raphaela Simon, Michelle Stuart, Kirsten Swenson, Mary Weatherford, Terry Winters. Interviews by Martin Jay, Marguerite Steed Hoffman, Gavin Delahunty, Isabelle Graw. This two-volume publication delves deep into a remarkable Dallas art collection This slipcased, clothbound publication presents a selection of over 400 works of modern and contemporary art from the Marguerite Steed Hoffman Collection in Dallas, Texas. The books feature the pieces brought together by Marguerite Steed and her late husband Robert Hoffman (1947–2006), including Philip Guston’s Studio Landscape (1975), Jasper Johns’ Water Freezes (1961) and Cy Twombly’s Sunset Rome (1957), along with more recent outstanding acquisitions such as Peter Doig’s Red Man (Sings Calypso) (2017), Maria Lassnig’s Self-Portrait with Hare (2000) and Steve McQueen’s Weight (2016). Around 30 authors—artists and art historians—explore this fascinating collection, addressing specific artworks as well as the motivations behind the collection’s creation and ongoing evolution.
Created over the course of a two-year period, great care has been taken to reflect the collection's key artists, canonical works, and the issues and debates that have helped shape its direction for more than a quarter of a century. By highlighting the art and artists as well as the ideological principles underlying the collection, it is hoped that Amor Mundi will shed some light on how to interpret this extraordinary collection of modern and contemporary art as well as communicating something about the personality and even the soul of the woman who assembled it.
|
