Object Lessons: The Panza Collection Initiative Symposium Object Lessons: The Panza Collection Initiative Symposium is produced and funded by the Solomon R. Guggenheim Museum, New York, and the Getty Conservation Institute, Los Angeles.

The Panza Collection Initiative is generously funded by The Andrew W. Mellon Foundation. The Panza Collection Initiative (PCI) is a of individual works. Chief considerations long-running study project devoted to the are the object’s materials and means of technical history of Minimal, Post-Minimal, fabrication; its replication—authorized and/ and Conceptual art. Organized around a large or unauthorized—over time; the changing repository of works acquired from collectors parameters for its installation, from site to site; Giovanna and Giuseppe Panza di Biumo by and the proliferation of contracts, certificates, the Solomon R. Guggenheim Museum from working drawings, and other documents 1990 to 1992, the project was conceived to devised to support its authenticity through strict support a systematic collaboration between rules of ownership, fabrication, and display. the disciplines of art conservation and history. An ethical imperative frames the work It addresses questions occasioned by the rise of the PCI: to weigh the impact of these of “delegated fabrication” in art after 1960: the considerations on the legal and/or moral rights production of the art object—using materials and responsibilities of artists, collectors, and from industry and commercial manufacture—by institutions. Our goal is to apply the PCI’s assistants and professional fabricators or shops. concerns to the museum’s stewardship of art According to this practice, the artwork can be from this period. Finally, beyond application of realized multiple times and in a variety of forms. the project’s findings at the Guggenheim, our The PCI’s methodology relies on an exhaustive hope is that the dissemination of the results of investigation of the terms and conditions that the PCI will serve the art community at large. govern the production, ownership, and display Program Schedule Tuesday, April 9

9–10:15 am Coffee Reception and Self-Guided Tour of Related Art and Documents from the Panza Collection

10:15– Welcome Remarks

10:30 am Tom Learner Head of Science, Getty Conservation Institute Lena Stringari Chief Conservator and Deputy Director, Guggenheim Museum

10:30–11:30 am Introduction: Orientation and Overview

Francesca Esmay Conservator, Panza Collection, Guggenheim Museum Jeffrey Weiss Independent curator and art historian, and former Senior Curator, Guggenheim Museum

11:30 am–1 pm “Works on Paper”: Certificates, Instructions, Contracts

Martha Buskirk Professor of Art History and Criticism, Montserrat College of Art Christophe Cherix Robert Lehman Foundation Chief Curator of Drawings and Prints, Museum of Carol Mancusi-Ungaro Melva Bucksbaum Associate Director of Conservation and Research, Whitney Museum of American Art Ted Mann Associate Curator, Panza Collection, Guggenheim Museum

Moderated by Francesca Esmay and Jeffrey Weiss Program Schedule Tuesday, April 9

1–2:30 pm Lunch and Self-Guided Tour of Related Art and Documents from the Panza Collection

2:30–4 pm The Autonomous Object: Robert Morris

Caroline A. Jones Professor of Art History in the History, Theory, and Criticism of Architecture and Art program, Massachusetts Institute of Technology James Meyer Curator of Art, 1945–75, National Gallery of Art Jill Sterrett Deputy Director for Museum Affairs and Strategic Impact, Smart Museum of Art

Moderated by Francesca Esmay and Jeffrey Weiss

4–5:30 pm Preservation through Display: Doug Wheeler, PSAD Synthetic Desert III, 1971

Artist Doug Wheeler in conversation with: Francesca Esmay Raj Patel Fellow, Arup Melanie Taylor Director, Exhibition Design, Whitney Museum of American Art, and former Director, Exhibition Design, Guggenheim Museum Jeffrey Weiss

5:30–8 pm Self-Guided Tour of Related Art and Documents from the Panza Collection Program Schedule Wednesday, April 10

9–10 am Coffee Reception and Self-Guided Tour of Related Art and Documents from the Panza Collection

10–11:15 am Precedent and Site: Dan Flavin, an artificial barrier of blue, red and blue fluorescent light (to Flavin Starbuck Judd), 1968

Tiffany Bell Editor of Agnes Martin Catalogue Raisonné, and former Director, Dan Flavin Catalogue Raisonné project IJsbrand Hummelen Senior Researcher, Netherlands Institute for Cultural Heritage

Moderated by Francesca Esmay and Jeffrey Weiss

11:15 am– Authority and Authenticity: , 12:30 pm untitled, 1974

Jamie Dearing Former studio assistant to Donald Judd Caitlin Murray Director of Marfa Programs and Archivist, Judd Foundation Ann Temkin Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, Museum of Modern Art

Moderated by Francesca Esmay and Jeffrey Weiss

12:30–2 pm Lunch and Self-Guided Tour of Related Art and Documents from the Panza Collection Program Schedule Wednesday, April 10

2–3:30 pm Decommission: Rights, Responsibility, and the Status of the Work

Martha Buskirk Francesca Esmay Marianna Horton Senior Associate Counsel, Mermin Guggenheim Museum Virginia Rutledge Art lawyer and art historian Jeffrey Weiss

Moderated by Lena Stringari

3:30–4:30 pm Collecting Collections

Michael Govan CEO and Wallis Annenberg Director, Los Angeles County Museum of Art Richard Koshalek Architecture consultant, and former Director, Museum of Contemporary Art, Los Angeles (1980–99)

Moderated by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator, Guggenheim Museum

4:30–5:30 pm Roundtable

Panza Collection Initiative team: Francesca Esmay Lena Stringari Ted Mann Jeffrey Weiss Nancy Spector

Moderated by Ivan Gaskell, Professor of Cultural History and Museum Studies, Bard Graduate Center Floor Plan

Elevators

1

Entrance

1

2

1 Donald Judd, untitled, 1974 2 , None Sing Neon Sign, 1970 3 Robert Morris, Untitled (Door Stop), 1965 4 Dan Flavin, untitled (to Henri Matisse), 1964

*An ID badge for the symposium is required to access this display on Tower Level 7. Floor Plan

4 3 Donald Judd 1 b. 1928, Excelsior Springs, Missouri; d. 1994, New York untitled 1974 Plywood Solomon R. Guggenheim Museum, New York Panza Collection 91.3773

1983 fabrication by Peter Ballantine, sections 3–5

1988 fabrication for Panza by Sala Luigi di Pietro, (not authorized by Judd), fragment

Donald Judd exhibited the first iteration of this Panza produced a third iteration of the work plywood work at Lisson Gallery, London, in in 1988 for an exhibition at the Musée Rath, 1974. Although narrower than the related object Geneva. In this case, he did not seek Judd’s on view here, it was similarly contained end-to- authorization, nor did he inform the artist of the end along one wall, its length determined by iteration’s existence or planned public display. available space. At the close of the exhibition, The object was fabricated by a firm in Milan and the object was dismantled and discarded. made to fit a hall-like space roughly 60 feet in Later that year, Judd sent Panza a group of length—far longer than prior iterations. Notably, drawings showing “possibilities for large indoor a large gap was left between the piece and the pieces,” including proposals for artworks “like wall, presumably to facilitate installation. This the two at Lisson.” Panza soon purchased the fabrication was built from a grade of plywood work, unrealized, from Gallery in never used for Judd’s work, and veneers were New York, with the understanding that it could applied to all visible edges of the panels, a be produced under Judd’s direction. (See technique also unrelated to the artist’s practice. related sales agreements, correspondence, and photographs in the vitrine.) In 2016, possessing only Panza’s incorrect version, the Guggenheim reclassified the In 1983, Panza loaned the still-unrealized work work as decommissioned: inauthentic and no to the Museum of Contemporary Art, Los longer considered viable for display. Later Angeles (MOCA). There, Judd’s plywood that year, MOCA rediscovered the 1983 fabricator, Peter Ballantine, produced and fabrication, which was promptly shipped to installed a second iteration scaled to fit between New York for exhaustive inspection, and, with two walls in MOCA’s Temporary Contemporary the help of Ballantine, assembled for review by gallery. At the close of the show, the piece was Guggenheim staff and representatives from dismantled and parts were retained; over time, the Judd Foundation. With the rediscovery of however, because of a lapse in record keeping, this lifetime fabrication, the work was deemed this fabrication was presumed lost. intact and authentic—and it was reclassified once again, as a viable work in the museum’s holdings, in 2017. Bruce Nauman 2 b. 1941, Fort Wayne, Indiana

None Sing Neon Sign 1970 Ruby-red and cool-white neon Edition 6/6 Solomon R. Guggenheim Museum, New York Panza Collection 91.3825

1970 fabrication, original fabricator unknown; 2013 exhibition copy, with 2018 repair, "neon sign" (bottom section) refabricated by fabricated by Jacob Fishman Jacob Fishman, 2013

2005 exhibition copy, fabricated by Jacob Fishman All iterations were produced with the permission of the 2006 exhibition copy, fabricated by Jacob Fishman Nauman studio.

The Guggenheim holds four individual museum to reexamine the accuracy of these two fabrications of this work in varying states, exhibition copies. The color and diameter of produced over a span of nearly fifty years. What their red glass tubing significantly departs from is believed to be the original 1970 fabrication the 1970 example; indeed, the red colors in the was shipped to the museum at the time of the later versions derive, in part, from a phosphor Panza Collection acquisition, in 1991. During a coating on the glass tubes’ interior. In contrast, 1999 Guggenheim exhibition, the word “neon” the 1970 fabrication utilizes a transparent and in the white section of the object was damaged, uncoated red glass, resulting in a distinctly triggering the first in a series of repairs and different appearance when illuminated. Fishman demonstrating the inherent vulnerability of neon helped to identify the old glass: a discontinued as a medium when on public view. In time, the tubing called American Ruby. 1970 version ceased to illuminate. As a result, two exhibition copies were produced by Bruce In 2013, Fishman repaired the 1970 version and Nauman’s approved fabricator for works in produced a third exhibition copy after sourcing neon, Jacob Fishman, in 2005 and 2006. a rare stockpile of American Ruby with the correct diameter. Today, the Guggenheim is Extensive research during the Panza Collection once again able to display the 1970 fabrication, Initiative, as well as lengthy exchanges with while the 2013 exhibition copy can be used Fishman and the Nauman studio, led the when the work must travel on loan. Robert Morris 3 b. 1931, Kansas City, Missouri; d. 2018, Kingston, New York

Untitled (Door Stop) 1965 Fiberglass or painted plywood Solomon R. Guggenheim Museum, New York Panza Collection 91.3794

1965 fiberglass fabrication

2018 artist-supervised, museum-made plywood fabrication

The early works of Robert Morris include a of the artist’s hand. Instead, over time, works of body of what the artist called “large-form” this kind were routinely subject to refabrication, constructions in plywood or fiberglass, all often multiple times and in various materials— painted or pigmented gray. These constructions such as plywood, fiberglass, or steel—as needed were originally presented in two respective for exhibition or sale. Moreover, Morris pursued exhibitions: a show of plywood objects at the periodic production, or reproduction, of early Green Gallery, New York, in 1965, and a show objects according to inconsistent standards. of fiberglass objects at Dwan Gallery, Los Angeles, the following year. The former works As a fiberglass object,Untitled (Door Stop) were destroyed after the close of the Green cannot be adequately restored without a Gallery show, while some of the latter objects significant intervention that might include were sold and therefore still exist. recoating the surface. In close consultation with the Guggenheim, Morris asked, instead, In 1966, Panza acquired several works from this that the work—among others by the artist in period, including Untitled (Door Stop), which the museum’s holdings—be refabricated, now he received in the form of the fiberglass object in plywood. Differences in construction and originally presented at Dwan Gallery, and which appearance between plywood and fiberglass, is on view here. The object was received as part while subtle, are clear, raising two critical of the Guggenheim’s Panza acquisition, in 1991, concerns: the precise criteria according to which and, by that time, it had developed many signs of any early object can be preserved rather than wear: soiling, abrasions, losses, and discoloration. replaced and the reception of Morris’s early Since Morris’s early objects were conceived to be oeuvre by artists, critics, and historians, given sharply formed and neutral in surface appearance, that one work is often represented by a variety of deleterious conditions compromise display. objects. Finally, the artist’s approach to replication not only challenges the material conventions of According to the artist, first versions should not be authenticity: it also demands consideration of valued as originals. Some objects from this period, how conflicting production standards impact including Untitled (Door Stop), were made by the choices that collectors and museums make Morris, but he dismissed the aesthetic significance regarding acquisition, preservation, and display. Dan Flavin 4 b. 1933, Jamaica, New York; d. 1996, Riverhead, New York untitled (to Henri Matisse) 1964 Pink, yellow, blue, and green fluorescent light Edition 2/3 Solomon R. Guggenheim Museum, New York Panza Collection, Gift, 92.4113

Historical fabrication received from Panza

1995 fabrication produced in coordination with the Flavin studio

For more than thirty years, Dan Flavin produced In fact, at the artist’s behest, numerous objects works of art using standard fluorescent light were refabricated under the direction of his fixtures in 2-, 4-, 6-, and 8-foot lengths and a studio on the occasion of a 1995 exhibition at palette derived from the ten colors commercially the former Guggenheim Museum SoHo. Such available through the lighting industry. Despite fabrications were produced at a time when the apparent regularity of the artist’s medium, the appearance of Flavin’s work had become significant material variations still occur. Lamp increasingly regularized, with metal fixtures often colors often vary by manufacturer and date, having a consistent width and depth, receiving as do the shape, size, and color of the painted additional coats of paint, and lacking visible metal fixtures. In addition, over the course of union certification labels because the artist had many years, Flavin and his assistants shifted begun powder-coating them. Regularization their approach to fabrication in response to of appearance was motivated by aesthetic changes in the industry. As with any electric preference, along with the pressures imposed by light, fluorescent lamps must be replaced when increasing scarcity and looming obsolescence they burn out, and related electronic elements, of the equipment, and it was achieved through such as internal wiring, ballasts, or sockets, may custom production—a collaboration between also require replacement. Beyond these aspects the Flavin studio and suppliers of both lamps of routine maintenance, it’s crucial to note and fixtures. Consequently, the Guggenheim that the artist frequently preferred to replace holds two versions of untitled (to Henri Matisse) rather than repair metal fixtures if they became fabricated some thirty years apart. Distinct from rusted or dented, and this practice has had a one another in appearance, these two objects particular influence on works by Flavin in the pose questions about the relative status of Guggenheim’s Panza collection. multiple iterations of a single work with regard to display and historical identity. Biographies

Tiffany Bell Guggenheim from Dia Art Foundation, New York, where she served from 2006 to 2010 as the organization’s first Tiffany Bell is the Editor of the Agnes Martin Catalogue conservator. From 2001 to 2006, she worked in a similar Raisonné. Prior to her participation on the Martin capacity as the first conservator at the Chinati Foundation publication, Bell was the Director of the Dan Flavin in Marfa, Texas, overseeing conservation for the museum’s Catalogue Raisonné project, collaborating on Dan Flavin: permanent collection and temporary exhibitions. With The Complete Lights, 1961–1996 (2004) and contributing broad experience in the examination and treatment of to multiple museum and gallery exhibitions dedicated to modern and contemporary artworks, Esmay has pursued Flavin’s work. Bell has also served as an adjunct professor numerous conservation research projects and presented to in the art department at the Pratt Institute and as an audiences both within and beyond the conservation field. independent curator and art critic on a range of projects. Bell was a guest curator of Agnes Martin (2016–17) at the Solomon R. Guggenheim Museum. Ivan Gaskell

Ivan Gaskell is Professor of Cultural History and Martha Buskirk Museum Studies at Bard Graduate Center. As an interdisciplinary cultural historian, Gaskell’s interests range Martha Buskirk is Professor of Art History and Criticism from seventeenth-century Dutch and Flemish painting at Montserrat College of Art, and her research has to Congolese textiles, while his research centers on focused on the nature of objecthood in contemporary philosophical questions arising from writing history from art. Buskirk’s publications include The Contingent Object tangible things. He served on the faculties of the Warburg of Contemporary Art (2003) and Creative Enterprise: Institute, Cambridge University, and Harvard University Contemporary Art between Museum and Marketplace before moving to Bard Graduate Center in 2012. Gaskell is (2012), as well as numerous articles and catalogue essays. the author, coauthor, or editor of fourteen books, including She is currently completing a book that examines the Tangible Things: Making History through Objects (2015). interplay between artistic authorship and legal definitions In 2016 he was appointed a permanent fellow of the of intellectual property. Advanced Study Institute of the University of Göttingen.

Christophe Cherix Michael Govan

Christophe Cherix is the Robert Lehman Foundation Michael Govan joined the Los Angeles County Museum Chief Curator of Drawings and Prints at the Museum of of Art (LACMA) as Chief Executive Officer and Wallis Modern Art, New York. Cherix specializes in modern and Annenberg Director in 2006. In this role, he oversees all contemporary art with a focus on the art of the 1960s activities of the museum, from art programming to the and ’70s. Cherix joined MoMA in 2007, after having expansion and upgrade of the institution’s 20-acre campus. previously acted as a curator at the Cabinet des estampes During his tenure, LACMA has acquired by donation at the Musée d’art et d’histoire, Geneva. While at MoMA, or purchase more than 32,000 works for the permanent Cherix has expanded the museum’s holdings and furthered collection, doubled gallery space and programs, and institutional research on Conceptual art through his more than doubled its average annual attendance to over leadership on strategic acquisitions and projects. 1.2 million. Currently the museum is in the process of building a new, state-of-the-art building for the permanent collection, designed by Pritzker Prize–winning architect Jamie Dearing Peter Zumthor.

Jamie Dearing was Donald Judd’s studio assistant from 1968 to 1983. Dearing is a painter currently working and IJsbrand Hummelen living in Manhattan and Blue Point, Long Island. IJsbrand Hummelen is a Senior Researcher at the Cultural Heritage Agency of the Netherlands. Hummelen was Francesca Esmay trained as a conservator-restorer of paintings and later became the Founding Director and Paintings Conservator Francesca Esmay joined the Solomon R. Guggenheim of the Stichting Kollektief Restauratie Atelier Amsterdam Museum in 2010 to colead the Panza Collection (1983–91). Hummelen coauthored Modern Art: Who Cares? Initiative with curator Jeffrey Weiss. Esmay came to the (2006), which investigates issues and questions surrounding Biographies

the conservation of contemporary art through ten case Carol Mancusi-Ungaro studies of work by Jean Tinguely, Piero Manzoni, Tony Cragg, and Mario Merz, among others. He was a member Carol Mancusi-Ungaro serves as the Melva Bucksbaum of the research group New Strategies for the Conservation Associate Director of Conservation and Research at the of Contemporary Art (2009–16), funded by the Netherlands Whitney Museum of American Art, New York. With a Organization for Scientific Research (NWO). focus on materiality and artistic technique, Mancusi- Ungaro has researched and published on the work of , Jackson Pollock, Cy Twombly, and Barnett Caroline A. Jones Newman, among others. In 1990 Mancusi-Ungaro founded the Artists Documentation Program, which records Caroline A. Jones is a Professor of Art History in the interviews between artists and conservators about the History, Theory, and Criticism of Architecture and Art future preservation of their art, and in 2009 she was elected program at Massachusetts Institute of Technology, where a fellow of the American Academy of Arts and Sciences, she studies modern and contemporary art with an emphasis marking its first recognition of an art conservator. on its interface with science and technology. Jones has been involved with curatorial projects at the Museum of Modern Art, New York (1977–83); Harvard Art Museums, Ted Mann Cambridge, Massachusetts (1985–85); and other venues. Her current research explores bio art and the invisibility of Ted Mann is Consulting Associate Curator for the the Anthropocene. Panza Collection Initiative (PCI) at the Solomon R. Guggenheim Museum. Mann joined the Guggenheim in 2001 and has worked on the PCI since its launch in 2010. Richard Koshalek Mann is currently based in the San Francisco Bay Area and, in addition to his work on the PCI, is involved with Richard Koshalek was the Director of the Museum of independent curatorial projects, such as Bruce Nauman: Contemporary Art, Los Angeles, from 1980 to 1999. Blue and Yellow Corridor (2018–19) and a forthcoming During his time there, Koshalek grew the institution from Stephen Kaltenbach survey, both at the new Jan Shrem the ground up and, in 1984, stewarded the acquisition of a and Maria Manetti Shrem Museum of Art, University of significant body of work from the Panza family. In 2009 he California, Davis. Mann received his MA and MPhil from became Director of the Hirshhorn Museum and Sculpture the Institute of Fine Arts, New York University. Garden, Washington, D.C., where until his departure in 2013, he collaborated with living artists, such as Barbara Kruger, to bring art into every corner of the museum. He Marianna Horton Mermin currently works as an architecture consultant. Marianna Horton Mermin is the Senior Associate Counsel for the Solomon R. Guggenheim Museum and Foundation. Tom Learner Mermin has been with the Guggenheim since 2008, and her practice areas include advising on matters related Tom Learner is Head of Science at the Getty Conservation to exhibitions, collections, educational programming, Institute (GCI), Los Angeles. Learner joined the GCI in intellectual property, sponsorship, and tax. Prior to joining 2007 and first served as a Senior Scientist, leading the the Guggenheim, she was at Covington & Burling LLP in Modern and Contemporary Art Research Initiative. Prior Washington, D.C., for almost seven years. She received her to this, he was Senior Conservation Scientist at Tate, JD in 2000 and a graduate certificate in museum studies in London, where he specialized in the analysis of modern 2008, both from the George Washington University. paints. Learner sits on the council of the International Institute for Conservation (IIC) and the steering committee of the International Network for the Conservation of James Meyer Contemporary Art (INCCA). He has also organized several major conservation conferences, including “Modern James Meyer is Curator of Art, 1945–75, at the National Paints Uncovered” (Tate Modern, 2006) and “The Object Gallery of Art (NGA), Washington, D.C. He was previously in Transition” (Getty Center, 2008). the Winship Distinguished Research Associate Professor of Art History at Emory University and Deputy Director and Chief Curator of Dia Art Foundation, where he currently serves as Curatorial and Academic Advisor. He is the author of Minimalism (2000), Minimalism: Art and Polemics in Biographies

the Sixties (2001), Dwan Gallery: Los Angeles to New York, organized exhibitions on Conceptual photography, Felix 1959–1971 (2016, which accompanied an exhibition of the Gonzalez-Torres, Matthew Barney’s Cremaster cycle, same name at the NGA), and The Art of Return: The Sixties Richard Prince, Louise Bourgeois, Marina Abramović, Tino and Contemporary Culture (forthcoming from University Sehgal, and Maurizio Cattelan. Spector has contributed of Chicago Press in September). His exhibitions include to numerous books on contemporary visual culture with presentations of Mel Bochner, Kerry James Marshall, and essays on a range of artists. Spector is a recipient of the Anne Truitt, all at the NGA. Peter Norton Family Foundation Curators Award, five International Art Critics Association Awards, and a Tribeca Disruptive Innovation Award for her work on YouTube Play: Caitlin Murray A Biennial of Creative Video (2010).

Caitlin Murray is the Director of Marfa Programs and Archivist at the Judd Foundation. In this capacity, Murray Jill Sterrett has coedited Donald Judd Writings (2016) and the forthcoming Donald Judd Interviews (2019). Murray is Jill Sterrett is Deputy Director for Museum Affairs and co-owner of the Marfa Book Company, a bookstore and Strategic Impact at the Smart Museum of Art, University publishing house, as well as a film, gallery, and performance of Chicago, where her research focuses on the role of venue. She is also cofounder of 300 S Kelly St, an museums in contemporary society. She works at the exhibition space in Marfa, Texas, and an advisory member intersection of art practice, materials, conservation, and of Yale Union in Portland, Oregon. collections. She came to Chicago from the San Francisco Museum of Modern Art, where she worked as Paper Conservator, Head of Conservation, and Director of Raj Patel Collections. Sterrett is President of Voices in Contemporary Art (VoCA), an organization devoted to bringing Raj Patel is a Fellow at Arup, a global design, consulting, interdisciplinary discussion to bear on the interpretation, and engineering firm, where he leads their arts and culture conservation, and legacy of contemporary art. business. A specialist in acoustics and audiovisual design, he is a strategic thinker assisting clients in project creation, design, and production at the intersection of art, science, Lena Stringari and technology. He has worked with a diverse range of artists and organizations, including William Kentridge, Lou Lena Stringari is Deputy Director and Chief Conservator Reed, Ai Weiwei, Björk, Iain Forsyth and Jane Pollard, Bill of the Solomon R. Guggenheim Museum. Having joined Fontana, Creative Time, and Performa, among others. In the Guggenheim in 1992, she is responsible for the care 2017 Patel provided crucial expertise for the installation of and treatment of the collection as well as managing Doug Wheeler’s PSAD Synthetic Desert III (1971) at the conservation for a global loan and exhibition program. Solomon R. Guggenheim Museum. Stringari has overseen didactic exhibitions, including Imageless: The Scientific Study and Experimental Treatment of an Ad Reinhardt Black Painting (2008) and Jackson Virginia Rutledge Pollock: Exploring Alchemy (2017). Stringari played a key role in formulating the Panza Collection Initiative and the Virginia Rutledge is a lawyer and art historian who focuses Variable Media Initiative at the Guggenheim. She has on modern and contemporary art. Formerly a curator at the served as an adjunct professor at the Institute of Fine Arts, Los Angeles County Museum of Art; a litigator at Cravath, New York University, and has lectured extensively on the Swaine & Moore LLP; and the Vice President and General conservation of contemporary art. Counsel of Creative Commons, she is now in private practice working with artists, collectors, dealers, and cultural organizations. She is based in New York and Texas. Melanie Taylor

Melanie Taylor is the Director of Exhibition Design at the Nancy Spector Whitney Museum of American Art, New York. Prior to working at the Whitney, Taylor directed exhibition design at As Artistic Director and Jennifer and David Stockman the Solomon R. Guggenheim Museum for thirteen years, Chief Curator at the Solomon R. Guggenheim Museum, where she worked on several exhibitions for the institution’s Nancy Spector oversees creative programming for the unique rotunda as well as for the museum’s international New York museum and its global affiliates. Spector has affiliates. Taylor’s background in both architecture and art Biographies

history greatly informs her design approach. In 2017 Taylor Initiative. Between 2000 and 2008, Weiss was Curator and collaborated with the Panza Collection Initiative team and Head, Modern and Contemporary Art at the National artist Doug Wheeler in order to realize PSAD Synthetic Gallery of Art, Washington, D.C. Currently an adjunct Desert III (1971). professor at the Institute of Fine Arts, New York University, he is the author of numerous publications on the history of modern and postwar art. Ann Temkin

Ann Temkin is the Marie-Josée and Henry Kravis Chief Doug Wheeler Curator of Painting and Sculpture at the Museum of Modern Art, New York. Her exhibitions at MoMA include Doug Wheeler’s oeuvre spans five and a half decades and Jasper Johns: Regrets (2014), Robert Gober: The Heart Is encompasses a variety of mediums, including drawing, Not a Metaphor (2014–15), Picasso Sculpture (2015), and painting, and environmental installation. Wheeler is Studio Visit: Selected Gifts from Agnes Gund (2018). She considered to be at the forefront of the California-based is currently deeply involved with planning the collection Light and Space movement of the 1960s and ’70s, and displays for the opening of MoMA’s expanded galleries in his work revolves around a creative investigation of fall 2019, as well as preparing a 2020 exhibition of the work perception and immersion. Since 1968 Wheeler’s work of Donald Judd. has been featured in both solo and group exhibitions in the United States and Europe, and it is included in many museum and private collections around the world. In 2017, Jeffrey Weiss in collaboration with the Panza Collection Initiative team and the Solomon R. Guggenheim Museum, he presented Jeffrey Weiss is an independent curator and critic living in PSAD Synthetic Desert III (1971), a previously unrealized Brooklyn. Between 2010 and 2018, he was a Senior Curator installation that creates a sensation of infinite space through at the Solomon R. Guggenheim Museum, where, with the manipulation of light and sound. Francesca Esmay, he co-organized the Panza Collection Additional Information

Guest Wi-Fi: PanzaSymposium

An ID badge for the symposium is required to access Tower Level 7, where the related display of art and documents from the Panza Collection is located.

Symposium participants have complimentary admission to the Guggenheim. ID badge must be shown for entry. On Tuesday the museum is open until 8 pm. In addition to viewing works from the Panza Collection, you are welcome to visit the current exhibitions: Hilma af Klint: Paintings for the Future; R. H. Quaytman: + ×, Chapter 34; Implicit Tensions: Mapplethorpe Now; Guggenheim Collection: Brancusi; and the Thannhauser Collection. Local Lunch Recommendations

Bluestone Lane Maison Kayser 7:30 am–6 pm 7 am–9 pm 1085 5th Ave (at 89th St, 2–min. walk from 1535 3rd Ave (at 87th St, 10-min walk from Guggenheim) Guggenheim) Sit-down • To go • Coffee • Tea • Breakfast • Sit-down • To go • Coffee • Tea • Juices • Brunch • Lunch Pastries • Eggs • Brunch

Cafe 3 Le Pain Quotidien Tues, 10:30 am–7:30 pm; Wed, 10:30 am–5 pm 7 am–7:30 pm Guggenheim Museum, Level 3 1131 Madison Ave (at 85th St, 7-min. walk from Sit-down • To go • Coffee • Tea • Soups • Salad Guggenheim) Quick sit-down • To go • Salads • Sandwiches • Grain bowls Dean and Deluca 7 am–8 pm 1150 Madison Avenue (at 86th St, 6-min. walk Russ and Daughters at the Jewish Museum from Guggenheim) To go, 9 am–5:45 pm; sit-down, 11 am–4 pm; Counter service • Limited seating • To go • Closed Wed Sandwich bar • Market 1109 5th Ave (at 92nd St, 5-min. walk from Guggenheim) Café with lots of seating • To go • Bagels • Eli’s Essentials Brunch • Salads 7 am–9 pm 1270 Madison Ave (at 91st St, 5-min. walk from Guggenheim) Sarabeth’s Counter service • Limited seating • To go • 8 am–10:30 pm Salad bar 1295 Madison Ave (at 92nd St, 7-min. walk from Guggenheim) Sit-down American restaurant • Coffee • Gina La Fornarina Breakfast • Brunch • Salads • Sandwiches • 12–10 pm Burgers 26 E 91st St (at Madison Ave, 5-min. walk from Guggenheim) Sit-down Italian restaurant • Soups • Salads • The Wright Pizzas • Pastas 11:30 am–3:30 pm Guggenheim Museum, Level 1 Sit-down New American bistro • Cocktails • Coffee Object Lessons: The Panza Collection Initiative Symposium