The large-scale Robert Morris sculptures grouped in a bright room at the Brooklyn Navy Yard, the members of the Panza Collection Initiative (PCI) told us, were there for one reason. Derelict, fragile, or compromised in some way, they were gathered as part of the PCI’s ambitious project to preserve and conserve the Guggenheim’s large holdings of Minimalist, Post-Minimalist, and Conceptual works, many acquired by the Guggenheim in 1991 and 1992 from Italian collector Giuseppe Panza di Biumo. What are the questions we face in considering the collection, preservation, and display of works borne out of the innovative artistic practices of the 1960s?
When we think of Morris’s large-form sculptures, it is easy enough to conjure them in the mind’s eye: L-beams, boxes, frames, and hovering platforms, especially as pictured in the well-known photographs of the Green Gallery and Dwan Gallery shows from the mid-1960s. But to say specifically what these works are made of is more difficult. Plywood, fiberglass, aluminum? Yet in looking at two iterations of Morris’s Untitled (Warped Bench), the difference in material is palpable: the later one (2004), made of painted plywood, has a crispness of edge lacking in its earlier (1965) fiberglass counterpart, a difference resulting from the exactness of facture possible with each material.
In front of Warped Bench, and only minutes into the discussion led by Jeffrey Weiss, Ted Mann, and Anne Wheeler, it was already becoming clear just how complicated the PCI’s task is, given the tangled web of historical and technical considerations relevant to Morris’s work.