Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative features a cover with glowing pink, blue, and green vertical neon light tubes on a plain background, celebrating Minimalism.
The cover of Object Lessons: Case Studies in Minimal Art-The Guggenheim Panza Collection Initiative displays pink, blue, and green neon vertical light tubes on a pale background, referencing Minimalism and conceptual art.
An open book from Object Lessons: Case Studies in Minimal Art shows text on the left and a minimalist photo of Robert Morris’s Untitled (Corner Piece), 1964, against a white background on the right. The caption reads: “Figure 1.10.”.
An open copy of Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative reveals a left page with a grid of colored lines and text, and a right page featuring a black-and-white photo of Minimalist sculpture in a white-walled gallery.
An open book, "Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative," displays vertical line drawings on the left page and four glowing photos of conceptual light installations on the right.
An open book from Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative displays Mercury ads, art diagrams, and photos of illuminated vertical bars that evoke Minimalism and the Panza Collection themes.
An open magazine titled "Object Lessons: Case Studies in Minimal Art-The Guggenheim Panza Collection Initiative" displays wood textures on the left and a black-and-white portrait of a man in a suit on the right, showcasing minimalism.
An open book from "Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative" displays a signed document and two photos of a sleek wooden bench in a modern gallery, evoking Minimalism and Conceptual art.
In "Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative," an open book displays two pages of text with a black-and-white photo of a person in a tool-filled workshop, relating to Minimalism.
An open book, Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative, displays technical drawings, handwritten notes, and assembly diagrams for a minimalist box structure, reflecting the Panza Collection's conceptual art legacy.
An open book—Object Lessons: Case Studies in Minimal Art—reveals black-and-white photos of people viewing Conceptual and Minimalist art installations, including wall displays from the Guggenheim Panza Collection Initiative.
An open copy of "Object Lessons: Case Studies in Minimal Art-The Guggenheim Panza Collection Initiative" lies open, featuring hand-drawn geometric sketches and notes on graph paper that highlight minimalism and conceptual art influences.
Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative features a cover with glowing pink, blue, and green vertical neon light tubes on a plain background, celebrating Minimalism.
The cover of Object Lessons: Case Studies in Minimal Art-The Guggenheim Panza Collection Initiative displays pink, blue, and green neon vertical light tubes on a pale background, referencing Minimalism and conceptual art.
An open book from Object Lessons: Case Studies in Minimal Art shows text on the left and a minimalist photo of Robert Morris’s Untitled (Corner Piece), 1964, against a white background on the right. The caption reads: “Figure 1.10.”.
An open copy of Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative reveals a left page with a grid of colored lines and text, and a right page featuring a black-and-white photo of Minimalist sculpture in a white-walled gallery.
An open book, "Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative," displays vertical line drawings on the left page and four glowing photos of conceptual light installations on the right.
An open book from Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative displays Mercury ads, art diagrams, and photos of illuminated vertical bars that evoke Minimalism and the Panza Collection themes.
An open magazine titled "Object Lessons: Case Studies in Minimal Art-The Guggenheim Panza Collection Initiative" displays wood textures on the left and a black-and-white portrait of a man in a suit on the right, showcasing minimalism.
An open book from "Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative" displays a signed document and two photos of a sleek wooden bench in a modern gallery, evoking Minimalism and Conceptual art.
In "Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative," an open book displays two pages of text with a black-and-white photo of a person in a tool-filled workshop, relating to Minimalism.
An open book, Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative, displays technical drawings, handwritten notes, and assembly diagrams for a minimalist box structure, reflecting the Panza Collection's conceptual art legacy.
An open book—Object Lessons: Case Studies in Minimal Art—reveals black-and-white photos of people viewing Conceptual and Minimalist art installations, including wall displays from the Guggenheim Panza Collection Initiative.
An open copy of "Object Lessons: Case Studies in Minimal Art-The Guggenheim Panza Collection Initiative" lies open, featuring hand-drawn geometric sketches and notes on graph paper that highlight minimalism and conceptual art influences.

Object Lessons: Case Studies in Minimal Art-The Guggenheim Panza Collection Initiative

$50.00
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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, ten-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.

  • Hardcover
  • 8 x 10.75 in.
  • 324 pgs
  • 202 color

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