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Guggenheim International Exhibition, 1971
Contributions by Edward J. Fry and Diane Waldman
Published in 1971
44 pages, fully illustrated
Marking the last of the Guggenheim International Exhibitions, the 1971 exhibition and catalogue marked a departure from previous editions of the series. Widely known at the time for the removal of work by artist Daniel Buren prior to opening, the exhibition focused on the emerging trends of Post-Minimal and Conceptual art. The accompanying catalogue's unique design reflects the period's interest in experimentation and documentation. The publication includes essays by Associate Curators Diane Waldman ("New Dimensions/Time-Space: Western Europe and the United States”) and Edward J. Fry ("Eastern Europe, South America, the Orient and the Artistic Third World"). The catalogue also includes a selected general bibliography. The publication is a boxed set of individual fold-out pamphlets for the 21 artists in the exhibition: Carl Andre, Daniel Buren, Victor Burgin, Hanne Darboven, Walter De Maria, Antonio Dias, Jan Dibbets, Dan Flavin, Michael Heizer, Donald Judd, On Kawara, Joseph Kosuth, Sol LeWitt, Richard Long, Mario Merz, Robert Morris, Bruce Nauman, Robert Ryman, Richard Serra, Jiro Takamatsu, and Lawrence Weiner. Each artist's fold-out contains several photographs and reproductions of the artists’ notes and biographical notes.
In general, the Guggenheim Internationals are commitments to internationalism expressed through the medium of art. As now constituted, they provide opportunities and impose obligations upon the Museum's staff to keep in touch with the creative art scene throughout the world, or at least that part of it that is accessible. The concentration of creativity in New York, and the strength of the United States in the present art-balance make such excursions for the purpose of search and comparison more, rather than less, important. The visual information available through local and national sources can only be relied upon if it is supplemented, extended and deepened through first-hand knowledge of developments further removed. Most of this information is, of course, gathered for its own sake and not for public use. What remains after much has been discarded, coincides to some extent, but not entirely, with findings by others. It is hoped, in any case, that the beneficiaries of this involvement will not only be those who went to see for themselves, but also an attentive art public to whose visual awareness we address ourselves.
Purchase the Italian Futurism, 1909–1944: Reconstructing the Universe exhibition catalogue.