GINNEVER: The Art of Perspective

i n a s so c i at i o n w i t h

Duncan LeBaron Foundation, Lincoln, Nebraska

THE ART OF PERSPECTIVE

Clarinda Carnegie Ar t Museum, Clarinda, Iowa University Museums, Iowa State University, Ames, Iowa

THE ART OF PERSPECTIVE

D LB F

THE ART OF PERSPECTIVE

THE ART OF PERSPECTIVE INTRODUCTION Johannah Hutchison ESSAYS Bruce Nixon Clarinda Carnegie Ar t Museum, Clarinda, Iowa University Museums, Iowa State University, Ames, Iowa i n a s so c i at i o n w i t h

Duncan LeBaron Foundation, Lincoln, Nebraska

CONTENTS ix

CURATOR’S PREFACE Anne Pagel

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DIRECTOR’S FOREWORD Lynette L. Pohlman

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INTRODUCTION Johannah Hutchison

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EARLY WORK: Late 1950s—Early 1960s Bruce Nixon

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EARLY WORK IMAGES

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FOLDED FORMS NOW YOU SEE IT: Charles Ginnever’s Folded Forms Bruce Nixon FOLDED FORMS 2012 IMAGES FOLDED FORMS 2018 –19 IMAGES

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EXHIBITION CHECKLISTS GINNEVER: THE ART OF PERSPECTIVE Assemblage, Lincoln NE

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GINNEVER: FOLDED FORMS Christian Petersen Art Museum, Iowa State University, Ames IA

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GINNEVER: SCULPTURE INSTALLATIONS Clarinda Carnegie Art Museum, Clarinda IA

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GINNEVER: TR ANSFORMING PERSPECTIVES University Museums, Iowa State University, Ames IA

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BIOGRAPHY, BIBLIOGRAPHY & ILLUSTRATED CHRONOLOGY BIOGR APHY BIBLIOGR APHY ILLUSTR ATED CHRONOLOGY

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SELECTED PUBLIC & PRIVATE COLLECTIONS

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PUBLIC SCULPTURE INSTALLATIONS

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ILLUSTRATIONS

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ACKNOWLEDGMENTS CUR ATOR’S ACKNOWLEDGMENTS DIRECTOR’S ACKNOWLEDGMENTS ARTIST’S ACKNOWLEDGMENTS

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COLOPHON

CUR ATOR’S PREFACE NOBODY HAD A CLUE that Chuck Ginnever and his work would become

such an important part of our lives when we gathered near San Francisco in March 2017. Our group included Lincoln, Nebraska, collectors Karen and Robert Duncan, Trish Bergren, director of the Clarinda (Iowa) Carnegie Art Museum, and me. We had come to meet with Anne Kohs, and with Gayle Maxon-Edgerton, Ginnever’s longtime representative from Santa Fe. The Duncans had been looking for one of Ginnever’s sculptures and there were ten installed in the region. They were scheduled to be returned to his Putney, Vermont acreage and this was a good opportunity to take a close look.

The Duncans were impressed by the big folded steel forms that they had to traverse to fully grasp.

As Gayle Maxon-Edgerton discussed the challenges of transporting the behemoths to Vermont, Robert asked, “What about bringing them to Lincoln on long-term loan? I’ll take care of the transport and, if Chuck wants them, they’ll already be half-way.”

Duncan said there was space in their Lincoln sculpture garden and at Clarinda Carnegie Art Museum (CCAM), the museum they had founded in

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Charles Ginnever Runnymede Sculpture Farm Woodside, CA 2012

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Moving Medusa, 1986 (3 Views) De-installation, Riverside Park, New York, NY 2014

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their Iowa hometown. Furthermore, he was confident the City of Lincoln would love to have one or two of the works on long-term loan.

Ginnever was enthusiastic about the idea, and within a month, arrangements had been made for the sculptures to be trucked from California to Lincoln. Duncan visited Vermont to work out the details with the artist, and to select five additional sculptures for public display in Clarinda. The following October, Duncan and I went to Putney to meet with Ginnever and the Nebraskan who would transport the sculptures.

I had ample time to look at the range of Chuck’s work and conduct a lengthy interview with him.

I quickly discerned that while most of us are accustomed to viewing objects from a single vantage point — ideally, from an easy frontal, eye-level view — Ginnever saw in a more complex, encompassing way. To change one’s perspective a few feet left or right, up or down, when investigating one of his sculptures could reveal a very different form.

I left Vermont knowing that, for those willing to allow their perceptions and assumptions to be challenged, Ginnever’s innovative works had the capacity to enable viewers to see more fully.

That belief was confirmed when, in June, 2018, Lincoln’s Mayor and its Director of Parks and Recreation unveiled Ginnever’s engaging Corten sculpture,

Moving Medusa, 1986 (3 Views) De-installation, Riverside Park, New York, NY 2014

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Dementia, 1998 (2 Views) Installation, Woods Park, Lincoln, NE 2018 Moving Dementia, 1998 Installation, Woods Park, Lincoln, NE 2018 OPPOSITE

Bop and Crazed, 1980 Installation, Lincoln Children’s Zoo Lincoln, NE 2018

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Dementia, at Holmes Lake Park (later installed at Woods Park) and they announced the coming placement of his vibrant, multihued works, Bop and Crazed, at Lincoln Children’s Zoo. The artist, his family, and members of the regional arts community were on hand to celebrate the unveiling and also the newly installed works in the Duncans’ sculpture garden. Fifteen mid-size Rashomon sculptures fabricated in steel were installed at the entrance to the Duncan property.

The linear sculpture Poseidon’s Throw zipped through the trees with two largescale sculptures, Gyro I and No Place to Hide, installed in their sculpture garden.

The following day, June 24, 2018, the exhibition, GINNEVER: Folded Forms, opened at the Clarinda Carnegie Art Museum. It included sculptures, prints, and

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Rashomon (15 Mid-size Sculptures), 1999 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 LEF T/RIGHT

Installation of Gyro I, 1982 Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 Gyro I, 1982 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 No Place to Hide, 1986 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018

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drawings that spanned Ginnever’s career, with a focus on his seminal 1999 work, Rashomon. The exhibition was a combination of artwork in the CCAM collection, loans from the Duncans’ personal collection, and loans from the artist and private collections.

For the first time in the town of Clarinda’s history, ten sculptures were placed in public and private spaces. Goddard’s Dream was installed at Clarinda Regional Health Center; the bronze Azuma was installed on the grounds of the Nodaway Valley Historical Museum; High Rise was installed at Nodaway County Park; the steel sculptures Luna Moth Walk I, Verso; Luna Moth Walk II, and Luna Moth Walk III were installed at the Clarinda Airport; Pas de Deux and Double Dutch were installed on the CCAM grounds; Medusa was installed at Nodaway Conservation Station, Highway 71; and Transfer was installed by Highway 2 on Justin Walter property.

Charles Ginnever, Opening Reception for the Exhibition, GINNEVER: Folded Forms Clarinda Carnegie Art Museum, Clarinda, IA 2018 Visitors to the Exhibition, GINNEVER: Folded Forms Clarinda Carnegie Art Museum, Clarinda, IA 2018 Installation, Origami Maquettes Exhibition, GINNEVER: Folded Forms Clarinda Carnegie Art Museum, Clarinda, IA 2018 Visitor to the Exhibition, GINNEVER: Folded Forms Clarinda Carnegie Art Museum, Clarinda, IA 2018 LEF T/RIGHT

Karen and Robert Duncan with Charles Ginnever, Opening Reception for the Exhibition, GINNEVER: Folded Forms Clarinda Carnegie Art Museum, Clarinda, IA 2018 Charles Ginnever signing catalogue GINNEVER: Complexities of Minimalism Lincoln, NE 2018

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Goddard’s Dream, 1982 Installation, Clarinda Regional Health Center Clarinda, IA 2018 Azuma, 1987 Installation, Nodaway Valley Historical Museum Clarinda, IA 2018 High Rise, 1984 Installation, Nodaway County Park Clarinda, IA 2018 Luna Moth Walk I, Verso; Luna Moth Walk II, Luna Moth Walk III, 1982–85 Installation, City of Clarinda Airport Clarinda, IA 2018

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Pas de Deux, 1991 Installation, Clarinda Carnegie Art Museum Clarinda, IA 2018 Medusa, 1986 (2 Views) Installation, Nodaway Conservation Station Highway 71, Clarinda, IA 2018

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Southwest Iowa’s citizens have since had time to explore the hulking objects, school children have analyzed the geometry and engineering involved in their production, and an initially hesitant public has taken full ownership of the art displayed throughout the town of 5,000.

For Ginnever, this project afforded a cherished opportunity to revisit the accomplishments of a long and historically meaningful career . . . to step back and review the evolution of his ideas and to talk with those who were impacted by them.

Now, after our friend’s death on June 16, 2019, at age 86, Midwesterners are being treated to The Art of Perspective, an exhibition of Ginnever’s rarely seen early work from the late 1950s to mid-1960s — raw, exuberant assemblages that offer hints of the big folded forms that were to come.

The Art of Perspective will be on display at Assemblage, a private exhibition space in Lincoln owned by the Duncans with Kathryn and Marc LeBaron. An important early work, Ithaca, 1959, will be a highlight of our exhibition.

As board members of the International Sculpture Center, Robert Duncan and Marc LeBaron hope that communities, colleges and universities, and public and private museums across the country will adapt variations of the Ginnever model of installing sculptures in public places. When such entities join hands with artists and collectors, their efforts can impact lives and influence how a community views itself.

ANNE PAGEL Curator for the Karen and Robert Duncan Collection, Assemblage, Lincoln, Nebraska, and Clarinda Carnegie Art Museum, Clarinda, Iowa

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Transfer, 2010 Installation, Highway 2, Justin Walter Property, Clarinda, IA 2018 Ithaca, 1959 (2 Views) Installation, Vermont Farm

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IOWA STATE UNIVERSITY WAS FOUNDED IN 1858 with a mandate

DIRECTOR’S FOREWORD

to create from the prairie a beautiful college campus that would inspire learning. Indeed, sixteen decades later, Iowa State is internationally renowned for its beautiful campus. In the beginning the beauty was defined by the landscape and architecture, then in the 1930s fine art was actively collected and incorporated into the campus and its curriculum. In 1934, Christian Petersen became the nation’s first collegiate, permanent artist-in-residence. He remained as a campus sculptor and faculty member until his retirement in 1955. He sculpted major, site-specific works of art in the figurative tradition, as well as thousands of studio sculptures. Today, the Christian Petersen Art Museum celebrates Petersen’s sculpture legacy, as well as having a programmatic focus on the Art on Campus Collection, which includes 2500 public works of art located on the 1900-acre campus and integrated into the campus landscape, buildings, and courtyards.

In keeping with Iowa State University’s commitment to art, we are proud to celebrate Charles Ginnever’s 63-year career with two exhibitions of his work. The first is an installation of six mid-size sculptures in the Elizabeth and Byron Anderson Sculpture Garden, presenting an overview of Ginnever’s steel sculptures from 1966 to 2010. The sculpture installation, Transforming Perspectives, opened in October of 2020 and remains on view until 2022.

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Medusa, 1986 Installation, Nodaway Conservation Station Highway 71, Clarinda, IA 2018

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Midas and Fog, 1966 Installation, Elizabeth and Byron Anderson Sculpture Garden Iowa State University, Ames, IA LEF T/RIGHT

Untitled [Flat Illusion], 1968 Installation, Elizabeth and Byron Anderson Sculpture Garden Iowa State University, Ames, IA

The exhibition includes two new donations to the permanent collection of the University Museums: Cobra, 1984, and Untitled [Flat Illusion], 1968. Three of the Ginnever sculptures are on loan from the Jon and Molly Ott Collection: Midas and Fog, 1966; Walkabout, 1987; and Slant Rhyme #22, 1992. Slant Rhyme #20 is on loan from the Karen and Robert Duncan Collection.

Slant Rhyme #22, 1992 Installation, Elizabeth and Byron Anderson Sculpture Garden Iowa State University, Ames, IA Walkabout, 1987 Installation, Elizabeth and Byron Anderson Sculpture Garden Iowa State University, Ames, IA

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Slant Rhyme #20, 1992 Installation, Elizabeth and Byron Anderson Sculpture Garden Iowa State University, Ames, IA Cobra, 1984 (3 Views) Installation, Elizabeth and Byron Anderson Sculpture Garden Iowa State University, Ames, IA

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Rashomon (15 Mid-size Sculptures), 1999 Installation, Food Sciences Courtyard Iowa State University, Ames, IA 2014 OPPOSITE

Mirage, 2005 (3 Views) Installation, Vermont Farm 2018

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Midas and Fog was the first sculpture that Ginnever described as “Flat Illusion.”This then became a series of sculptures focused on illusion and perception of sculptural forms in space, and how the perception of a three-dimensional form would be altered as a viewer moved around the sculpture.The Flat Illusion Series also includes Untitled, 1968; Walkabout, 1987; and Transfer, 2010.

The remaining three sculptures: Cobra, 1984, and the multi-position sculptures Slant Rhyme #20 and Slant Rhyme #22, both completed in 1992, continue Ginnever’s dialogue of illusion and perceptions. However, with these sculptures, his initial Flat Illusion concept has evolved into more complex and gestural sculptural forms that incorporate the concept of time, and how the perception of a sculpture would also be affected by time, as changes in light and shadow alter perception of the form in its environment.

The multi-position sculptures became the precursors to a series of sculptures that seemingly defy gravity, and they oppose those sculptures that have a fixed “base” firmly attached to the ground. These sculptural forms have no single, preferable view, but each is a single form that can be placed in multiple positions. Ginnever’s multi-position sculptures began in 1992 with the series of sculptures titled Slant Rhyme, for which he put together shapes cut from Foamcore to realize a complex sculptural form that he had been contemplating for some time. Those sculptural shapes constructed of Foamcore evolved into a series of multi-position sculptures — Rashomon is perhaps most notable. In 2014, fifteen 42-inch Rashomon sculptures were installed in the courtyard of the Food Sciences Building at Iowa State University, and generated a lot of consternation among students and faculty members when they realized that the fifteen sculptures were all the same form, placed in different positions. Ginnever continued to explore this multi-position concept, which he realized in large-scale sculptures that include Mirage, 2005, and Giant Steps, 2007, and a series of multi-position maquettes, including Möbius, 2008, and other sculptures.

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Giant Steps Maquettes – 4 Positions, 2000 Giant Steps Drawing No. 6, 2000–09 Giant Steps Drawing No. 4, 2000–09 Giant Steps Drawing No. 5, 2000–09 ABOVE/BELOW

Möbius Bronze Maquette, 2008 (2 Views) Möbius Drawing No. 2, 2009

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The second exhibition of Charles Ginnever’s sculptures is installed in the Christian Petersen Art Museum. This exhibition focuses on folded and painted sculptures from the late 1970s, and ends with a series of Origami maquettes that Ginnever completed in 2019. As with Ginnever’s other sculptures that focus on changing perceptions, this series has the added element of color that continues to make the point that sculpture cannot simply be conceived as a single, three-dimensional form in space. These works require the viewer to move around the sculpture, revealing surprising changes in color and form, with conflicting and simultaneous aspects of simplicity and complexity.

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Luna Moth Walk I, Verso, Mid-size Maquette, 1981 (3 Views) LEF T/RIGHT

Luna Moth Walk III Mid-size Maquette, 1981 (2 Views)

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The mysteries of perception and visual distortion were always a concern for Ginnever in his art. Born and raised in California, Ginnever absorbed a spatial perception and imagination that were more aligned with an Asian aesthetic, and departed from the canon of Western perspective accepted by most artists. Ginnever’s unique perspectival expression will provide inspiration to Iowa State students, faculty, and guests in exploring the artist’s worldview and their own.

Iowa State is proud to present Ginnever’s sculpture to the campus. It is with immense gratitude that I thank a private collector for the gift of Cobra, 1984, to the permanent Art on Campus Collection. We are equally grateful to Jon and Molly Ott for their gift of an early Ginnever sculpture, Untitled [Flat Illusion], 1968, in celebration of the life of Freide Gorewitz, Holocaust survivor, who was personally responsible for saving the lives of at least 18 children as a member of the Belgian resistance.

Other sculptures and artists in the Art on Campus Collection include Escalieta I, 1998, by Manuel Neri; Bravo III, 2005, by Bill Barrett; Forward, 1984,

by Bill King (1925–2015); and Janus Agri Altar, 1986, by Beverly Pepper (1922– 2020).These engaging works of art expand, provoke and enrich the expressiveness and intellectual quality of higher education for the next generation. I encourage exploration of the entire sculpture collection at www.museums. iastate.edu.

I also wish to extend appreciation to the exhibition lenders: Jon and Molly Ott; Karen and Robert Duncan; and Jonathan Berger, Exclusive Agent, the Charles Ginnever Trust, for making Ginnever’s art available to Iowa State University. Special gratitude to Anne Kohs for coordination of this exhibition and exhibitions of the past that have enhanced the aesthetic and educational fabric of Iowa State University.

LYNETTE L. POHLMAN Director and Chief Curator University Museums Iowa State University Ames, Iowa

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Manuel Neri Escalieta I, 1998 Installation, Gerdin Business Building Iowa State University, Ames, IA 2004 Bill Barrett Bravo III, 2005 Installation, Gerdin Business Building Iowa State University, Ames, IA Beverly Pepper (1922–2020) Janus Agri Altar, 1986 Installation, Agronomy Building Iowa State University, Ames, IA

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INTRODUCTION AS EXECUTIVE DIRECTOR of the International Sculpture Center (ISC), it is

gratifying to be part of a community and organization that has continued to evolve through the years, and adapt to the changing needs of its constituents across international borders. From its early beginnings in 1960 as a national sculpture conference organized by educator Elden Teft and James A. Sterritt at the University of Kansas, Lawrence, the ISC has grown to become a leading voice in furthering the sculptural arts in the global community. Its progressive programs, conferences, symposia, publications and new media initiatives serve a growing international audience and help educate the public about contemporary sculpture in all its forms.

In a long career of more than sixty years, sculptor Charles Ginnever (1931–2019) demonstrated a commitment to addressing fundamental assumptions about the role of sculpture within a social and cultural context and to extending our understanding of the complexities of visual experience.

Encouraged at an early age to pursue his interest in art, Ginnever studied at the California School of Fine Arts (now San Francisco Art Institute), graduating in 1957. He traveled extensively in Europe, and some of his earliest work, including his drawing series Paris BeBop, was done during his studies at the

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Medusa, 1986 Installation, Nodaway Conservation Station Highway 71, Clarinda, IA 2018

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Calligraphic Sculpture, 1959 Installation, Center Street, New York, NY Ithaca, 1959 Installation, Vermont Farm OPPOSITE, LEF T/RIGHT

Dante’s Rig Study No. 4, 1965 Dante’s Rig Study No. 5, 1965 Dante’s Rig, 1964–65 (2 Views) Installation, Greene Street Studio, New York, NY

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Académie de la Grande Chaumière in Paris. Many of the avant garde ideas prevalent in Paris at the time were major influences on Ginnever’s work, as well as his student friendships with other artists, including George Sugarman and Helen Frankenthaler.

For many artists at that time, New York had become the major center of creative energy in contemporary arts, so it wasn’t surprising to find Ginnever in 1957 driving to New York to attend Cornell University, where he would earn a graduate degree in fine arts before moving full time to New York City, which was to be his home for the next thirty-five years.

Charles Ginnever shared that 1957 road trip with his friend Mark di Suvero.

Traveling cross country by car gave the two aspiring sculptors time for lengthy discussions not only about their own work and that of other artists but, equally, fundamental questions about the relevance of sculpture in a changing society, and how to create a dialogue that supported sculpture as a viable art form.

These were issues of concern to many other sculptors of the time, Carl Andre, Ron Bladen, John Chamberlain,Tom Doyle, Peter Forakis, and Eva Hesse among them.

To support himself in New York City, Ginnever began working part-time while making small and large-scale sculptures from materials he found on city streets — bits of wood, discarded cloth, scraps of steel or aluminum. Two important early large-scale sculptures, Calligraphic Sculpture and Ithaca, were constructed of used railroad ties and steel fragments.

Dante’s Rig was Ginnever’s first large-scale sculpture made with purchased materials, and it began a new phase in his development. He made numerous preparatory notes for Dante’s Rig — including shopping lists of specific screws, bolts, and washers, and drawings that work out his ideas for the shapes and riggings for individual parts of the sculpture, to ensure that its kinetic “sails” would move when touched by the wind.

Different aspects of Dante’s Rig — its steel skeleton, the triangular aluminum “sails,” the cables that bind its structure — became a vocabulary of forms that Ginnever articulated in sculptural series that followed: Triangle (Chicago Triangles); Hellenic (Daedalus); Spinal (Untitled [In Homage to My Father, Charles Ginnever]); Linear (Levade); Planar (Didymous); Flat Illusion (Movin’ Out for Jesse Owens); Multi-position (Kitsune); and finally, Origami (Ibis). His works associated with each of these series bear witness to formal shifts that differentiate each sculpture, and they are created to explore perceptions of three-dimensional forms in space.

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Chicago Triangles, 1979 (3 Views) Installation, Stanford University Campus Stanford, CA, 2010

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Daedalus, 1975 Installation, University of Michigan Campus Ann Arbor, MI 2018 Untitled [In Homage to My Father, Charles Ginnever], 1986 Installation, Google Campus City of Mountain View, CA 1986 Levade, 1978 Installation, Vermont Farm

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Didymous, 1987 Installation, Runnymede Sculpture Farm, Woodside, CA ABOVE/BELOW

Didymous, 1987 (2 Views) Installation, Runnymede Sculpture Farm, Woodside, CA Movin’ Out (for Jesse Owens), 1980 Collection Dayton Art Institute Dayton, OH

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Study for Kitsune, 1988/1993 Kitsune, 1988 (5 Views) Installation, Runnymede Sculpture Farm Woodside, CA Ibis, 1987 (2 Views) Installation, Runnymede Sculpture Farm Woodside, CA

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Ergo Suits Carnival, List of Participants (Recto), 1962 Ergo Suits Carnival, List of Jobs ( Verso), 1962

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Ginnever’s early ideas for sculpture also included experiments in sculpture as performance: crossing genre boundaries, for example, with dance and music.

In the summer of 1962, Ginnever and other artists helped organize an “Artists Carnival” in Woodstock and East Hampton, New York. Tom Doyle, Eva Hesse, Allan Kaprow, and Walter de Maria, as well as Peter Schumann’s Bread and Puppet Theater, were among the participants.

ABOVE/BELOW

Ergo Suits Carnival Costume Designs and Dance Notes for Performance, 1962 Ergo Suits Carnival War Dance Costume Designs, 1962

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The event included “sculpture dances,” which Ginnever called “Ergo Suits,” in which “sculpture” took the form of dancers’ costumes shaped and painted as abstract sculptures and with the dancers’ movements choreographed to contemporary music. Ginnever produced and directed these “sculpture dances” and designed many of the costumes, with the exception of two that were created by Eva Hesse and Tom Doyle. Ginnever later remarked that the idea was to experiment across art boundaries and to have a lot of fun in the process. In a 1987 interview with the writer Ronny Cohen, Ginnever significantly remarked that it was also a way of celebrating the “momentum of the art world, that started with groups like DADA and the Bauhaus.”1

Ergo Suits Carnival, East Hampton, NY 1962 Worm Dance Performance Ergo Suits Carnival, East Hampton, NY, 1962 War Dance Performance (6 Views) Costume designed by Charles Ginnever BELOW CENTER Costume designed by Eva Hesse BELOW RIGHT Costume designed by Tom Doyle

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Ergo Suits Carnival, East Hampton, NY 1962 Charles Ginnever, Photographer Poster for Ergo Suits Carnival, 1962 Designed by Phyllis Yampolsky

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Windham Carnival Gazette Vol. I, No. I, May 1969 Designed by Peter Forakis Windham Carnival, Windham College Putney, VT 1969 Attack on the Colonnade Dance Performance (2 Views)

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Throughout the 1960s, Ginnever continued to organize “sculpture dances” for a number of performance events: one at the Fluxus Festival at George Segal’s farm in New Jersey; a “happening” at the Dayton Art Institute; and a “sculpture dance” at the Windham Carnival, produced by the Windham College art students and faculty, along with Peter Forakis and David Rohn. As part of the dance, the students, in elaborate sculptural costumes, besieged Windham’s signature Edward Durell Stone-designed campus colonnade.

Ginnever’s early interest in sculpture performances included his participation in weekly “music/noise” sessions held at Peter Forakis’s loft. Among the regular participants in these “No Jazz, Jazz” sessions were Ron Bladen, Mark di Suvero, Dean Fleming, Bob Grosvenor, Forrest Myers, Leo Valledor, and Carlos Villa. For one of his “done for fun” experiments, Ginnever provided rolls of cash register paper for each artist to paint. The painting scrolls were projected onto a screen, and everyone was assigned a different color to “play” during the “No Jazz, Jazz” music sessions. The 50-foot scroll Ginnever painted for one of those music sessions was titled Sound Score for Opaque Projector, No Jazz, Jazz Session.

Sound Score for Opaque Projector, No Jazz, Jazz Music Session I, 1962 Sound Score for Opaque Projector, No Jazz, Jazz Music Session III, 1962 Sound Score for Opaque Projector, No Jazz, Jazz Music Session IV, 1962 Sound Score for Opaque Projector, No Jazz, Jazz Music Session VII, 1962

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For Ginnever and the other artists, it was a time to claim sculpture as their own. They ascribed to sculptor David Smith’s belief that an artist is a “product of his time, that what has gone on before is his heritage,” and an artist’s purpose is “to project beyond.”2 For Ginnever, this acknowledged break with the past meant challenging commonly held assumptions about spatial and visual perception. Ginnever, according to the art critic Ronny Cohen, “came to realize that he was investigating not different ideas but manifold aspects of a single idea.

And at the core of this idea was the visual stranglehold Renaissance perspective has had on Western vision, even in the twentieth century. Finding confirmation of his observation in non-Western art, in particular Japanese art and ancient sites in Egypt and Mexico, he was … determined to break this stranglehold through sculpture that would thwart the expectations set up by it at every turn.”3

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It is with great pleasure that I acknowledge and celebrate Charles Ginnever’s important contributions to the sculptural arts and his example to artists of each new generation. His work has been recognized and featured in the ISC Sculpture magazine, the only magazine focused solely on contemporary sculpture, and the publication, A Sculpture Reader: Contemporary Sculpture Since 1980, edited by Glenn Harper and Twylene Moyer with an introduction by Karen Wilkin, published in 2006.

The International Sculpture Center remains dedicated to its mission, especially valuing the sculptors, institutions, and patrons who are our constituents. In addition to promoting dialogue as a catalyst to innovation and understanding; education as fundamental to growth, and community to foster opportunity and encouragement, the ISC is committed to meaningful programming that is international in scope, current, and forward thinking. Our dedication to these values is communicated through our publication of books; Sculpture magazine; our website, “Re:Sculpt blog”, and social media; our annual conference; and collaborations with international artists, institutions, members, and patrons. We enter the next decade with new initiatives to support and expand the audience for contemporary sculpture and to serve as the lead voice to further advance sculptural arts in the global community.

JOHANNAH HUTCHISON Executive Director, Publisher International Sculpture Center, Hamilton, New Jersey

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1. Ronny Cohen, in Charles Ginnever, 1987, book published in conjunction with an exhibition at Sculpture Fields, Kenosha Lake, NY, p. 25.

2. David Smith, “Second Thoughts on Sculpture.” College Art Journal, 1964, quoted in Cohen, op.cit., p. 19.

3. Cohen, op.cit., p. 147.

Rashomon, 1998 (4 Views) Installation, Stanford University Campus Stanford, CA Rashomon, 1998 Installation, Stanford University Campus Stanford, CA

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GINNEVER EARLY WORK Late 1950s—Early 1960s

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Charles Ginnever, c.1960 155 Prince Street, New York, NY

GINNEVER EARLY WORK Late 1950s—Early 1960s TODAY, CHARLES GINNEVER IS BEST KNOWN for the big steel sculp-

tures he began building in the mid-1960s, sculptures large enough to inhabit the scale of the landscape, not as a matter of dominance, but with the intention of arousing and delighting the ways in which we perceive the complex, endlessly interesting flow of form and space. That is his subject. The work wants us to experience its movement against our expectations, and to feel this effect in a direct, bodily way. Ginnever would become a master at stirring our awareness, and our appreciation, for the great bounty of physical participation in the world’s spaces, but if we turn to the very start of his career, a time in the late 1950s and early 1960s when he kept a studio at 110 Center Street and immersed himself in the hothouse of the New York art scene, we find these thematic intentions already well in place.

Our moment to moment perceptual practices, conditioned by architecture and art alike, were, he believed, matters of serious concern. The ubiquity of the right angle, which almost always tends to simplify and manage spatial experience, has literally shaped our sense of space. Sculpture offered a way out, and Ginnever began formulating a path of response in two early projects: the series

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1. Calligraphic Sculpture, 1959 Installation, Center Street, New York, NY

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of welded assemblage sculptures that occupied him between 1961 and 1964, painted pieces built with materials, mostly metal, scavenged from auto body shops and construction and demolition sites around Lower Manhattan; and Dante’s Rig, a freestanding construction he designed in 1964–65, a work that marks a transition in the direction of the steel sculptures that followed.

At the time of Ginnever’s arrival in New York City in 1959, the field was wide open, free for the time being of the directives of a primary style. Advances in painting made by the abstract expressionists were well established at that point, but sculpture could claim no figure of leadership equivalent to a Pollock or de Kooning. Not even David Smith qualified. Those years brought a sense that sculpture, separated at last from its old relationships with the built environment of architecture and the cityscape, could now broach almost any idea.

Color, scale, gesture, materials, deliverance from the isolating effect of the base,

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and sculpture’s utterly specific relationship with its setting were all topics of debate, and the generation of sculptors with whom Ginnever was affiliated — John Chamberlain, Ronald Bladen, Peter Forakis,Tom Doyle, Mark di Suvero, and to a lesser extent, George Sugerman and David Weinrib — reflect the range of imagination that would be applied to those issues, and the optimism.

Ginnever, who soon settled squarely among questions of perceptual knowledge, had few precedents from which to proceed, and so he seized the opportunity to confront culturally ingrained notions of sculpture, inherited from the Renaissance, as a privileged object containing an immutable, ideated core of being, a thematic center that exists in the artist prior to its creation and independent of its reception. He turned his work to the direct, immediate moment of encounter, seeking the kinds of striking and often illuminating interior experiences catalyzed in the meeting of work and viewer.

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2-4. Ronnie, 1962 5. Dante’s Rig, 1964–65 Installation, Vermont Farm

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Ginnever never systematized an approach in the early assemblage sculptures — a sequence that includes Ghost of Eisenheim, 1961; Split Image, 1962; Hole View, 1962; Fresno Flat, 1962; Shadow, 1962; Blue Road, 1962; Rolling Fog, 1963; and Floater, 1963 — and as a group they are characterized by their variety.

They have prompted comparison to Chamberlain’s crushed metal sculptures, which began in 1957, and indeed, both sculptors built in ways that deflect efforts to read surfaces in terms of a spine or centralizing, thematic armature.

As it happened, assemblage was very good at doing this, but if Chamberlain’s objects invoke a discernible privacy and enclosure, a sense of tight, unified form, Ginnever’s constructions are by comparison extensible, pushing outward into space. They incorporate space in a concrete way, as a means of developing animate spatial interactions with the world at large, always with the hope of overcoming the centralizing, self-referential tendencies of the art object.

Such work seeks a state or moment of surprise. Just when you think you have begun to “see” what Ginnever has done, the sculpture reveals itself to be something quite different, offering shifts in shape and depth and tilt that can be as complex as they are unexpected. Chamberlain, on the other hand, fit his components together like pieces of a puzzle, welding them after completion; the individual parts are connected by nothing other than fit, and their enfolded surfaces inevitably connect them to the issue of sculptural volume. Yet the two sculptors share a resistance to the kinds of aesthetic judgments that want to define the work in terms of conventional access, the identifiable clues normally built into the work by the artist. It is a desire to avoid specific reference, that their sculptures be seen as truly new kinds of objects that force viewers to create the terms that will unveil their purpose and appeal.

Found materials had their own personalities, of course, but Ginnever selected pieces for their shapes, not for color or surface wear. He was painting those constructions from the start, typically with bright, giddy enamels that want to catch the eye, a sense of color derived in part from his days of working on hot rods with his friends when he was growing up on the San Francisco Peninsula. Color can be exhilarating. It has attitude, panache. If his paint is decorative, it is not solely decorative, and pop references can certainly be overstated. Ginnever is using color to disrupt our visual reading of material weight,

6-8. Hole View, 1962

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LEF T/RIGHT

9. For Mark (di Suvero), 1961 10. Wall Relief, 1962

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and the gleaming enamel is indeed a skin, the fresh skin of the transformed object.

Ginnever tended to let his parts find each other in the studio, which had the effect of transferring gestural presence to the materials themselves. Their material qualities might linger after they were refabricated as sculptures, but if they were never quite neutral, they could, crucially, be unified in the artist’s hands.This in turn represented a passage from one life to another, a movement toward a harmony between the identity of the materials, an account of the sculptor’s involvement in the process of choosing and reordering them and, at the same time, symbolic of the world as it is. Paint aided in unifying disparate shapes, surfaces, and material circumstances, if not by color itself, then with the all-over luster of the enamel; its role is literal as well as conceptual, and it admits color as another sculptural issue current at the time, although here, the use of non-art pigments is another way of drawing the work away from the exclusive

context of art.The art object must go out and take a place in a world filled with color, but not necessarily in order to compete with it.

Ginnever eliminates hierarchical perspective and its ties to fine art traditions for much the same purpose. He opposes the perceptual determinations implied by any mode of fixed-point perspective: its mimicry of the actual processes of experience is a convention-bound illusion, based on the assumption that what can be seen can be represented, visually possessed, and controlled within the boundaries of the image. No single position grants full access to the work. It cannot really be known unless it is known in its entirety, which is accomplished only by looking at it in its entirety. But even so, what is seen, as well as the order in which it is seen, becomes a function of where we begin, and we can begin anywhere. The world makes itself truly available only when perception operates along the same continuum of subject, object, space, and time — a sense of spatial existence that all but defines Ginnever’s subsequent career.

LEF T/RIGHT

11. Painted Steel Maquette VIII, 1964 12-13. Painted Steel Maquette IV, 1964

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Dante’s Rig would be the first work that Ginnever conceptualized before he built it and the first to be made from purchased materials. Its open, lightweight structure restrains it from taking a central position in its environment, and the ease with which it deflates the very idea of centrality — an assumption that wants to confer privilege upon the artwork — suggests that such centrality is just another human construct, not an accurate reflection of the structures of nature, which are interconnected and possess no precise center.

OPPOSITE, LEF T/RIGHT

14. Dante’s Rig Study No. 3, 1965 15. Dante’s Rig Study No. 10, 1965 LEF T/RIGHT

16. Dante’s Rig Study No. 4, 1965 17. Dante’s Rig Study No. 1, 1965 18. Dante’s Rig Study No. 5, 1965

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LEF T/RIGHT

19. Dante’s Rig Study No. 6, 1965 20. Dante’s Rig Study No. 9, 1965 21. Dante’s Rig Study No. 14, 1965 OPPOSITE

22. Dante’s Rig Study No. 15, 1965

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23. Study for Dante’s Rig V [Aquabee Sketchbook, 21], 1964 24. Study for Dante’s Rig VII [Aquabee Sketchbook, 24], 1964 OPPOSITE

25. Hand Scroll: Eighteen Songs of a Nomad Flute: The Story of Lady Wenji, Early 15th Century Collection The Metropolitan Museum of Art New York, NY 26. Drawing Study of Chinese Hand Scroll, c. 1964

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Still, Dante’s Rig is clearly a built thing, provoking a curiosity that leads us into the experience of direct inquiry. It seems almost free of gravity, and while the work may be felt “frontally” at first, this “view” does not really explain much.

As a sculpture, it refuses to provide the recognizable visual cues that would tie it to any distinct formal tradition. Its quirky singularity asks us to acknowledge the extent to which sculptural novelty may in fact be founded in prior experience — that we know things not by what they are, but by the efficacy with which they establish connections to the familiar.This represents a disciplining of the imagination by consensual visual systems, with the result that meaning tends to take the form of reassurance instead of challenging what we already know.

We can say, of course, that Dante’s Rig is based on the vessel form evoked by its silhouette — an outline visible from most but not all perspectives — while the rows of wings along each “side” of the work might be sails, portholes, windows, perhaps rudders or ailerons.The network of guy wires recalls a ship’s rigging, and from some angles the overall form suggests a forward thrust. On open ground, Dante’s Rig is characterized by its fragility, a wispy, ephemeral transparency that, at a distance, will tend to dissolve the overall form. It does not quite disappear, but coherence is lost as it begins to disintegrate into fragmentary details, and on an active outdoor landscape, its components are neither equally nor simultaneously apparent.Transparency is not the same as disclosure, and to see “through” a form is not exactly the same as knowing what is seen.

Appearance is not only not everything, it may be limited, inherently so, and on this point, Ginnever wants to destabilize the process of seeing. Is the eye conditioned to see only certain kinds of objects and spaces? Are we complicit in our own perceptual deceits? Should we not then be more attentive to the nature of perceptual reality?

The wings swivel in unison on their guys, trembling and turning with every breeze and, at the same time, stabilizing the sculpture by protecting it from stronger winds.Their shape recalls the dangling biomorphic forms of Alexander Calder’s mobiles, and indeed the wings on Dante’s Rig similarly test, measure, and respond to subtle shifts in an “invisible” environment. Ginnever’s organization of the wings along the axis of a trapezoidal plane is, however, derived from a Chinese scroll painting of an imperial palace in which the architectural form

is depicted without the illusionistic concerns of Western perspective; the parallel outer buildings of the palace are rendered on a shallow plane, with the effect of lifting the distant structure toward the eye and tilting the closer structures away from it. Ginnever had grasped the validity of these shifts, whose logic was informed by a holistic understanding of space, and here the implications of his work start to proliferate: Dante’s Rig bears an interrogative rather than a strictly judgmental relationship with the culture around it, in part by demonstrating experientially the very real difficulties entailed in overcoming our ingrained notion of the artwork as fixed, accessible, meaning-laden.

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LEF T/RIGHT

27. Study for Dante’s Rig II [Aquabee Sketchbook, 18], 1964 28. Study for Dante’s Rig I [Aquabee Sketchbook, 17], 1964 OPPOSITE

29. Dante’s Rig Study No. 8, 1965

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If the diamond-shaped beam on which Dante’s Rig stands is something less than a base, it is also more than a mount. A projective I-beam, which resembles a keel, pushes the structure forward and lifts its nose. Although it serves as axis and structural spine, it is not a conventional spine — its function as a thematic center is by no means obvious, or even entirely necessary. The initial view provides clues about the overall form, but even as we move around the object, it resists full surrender to us. There are perspectives in which the wings appear to be no thicker than the cables around them. From another spot, sections of rigging seem to disappear. In yet another, a triangular configuration dominates the form, but when we move again, a different shape supplants it. The work is a swirl of contrasts: the sturdy superstructure and the slender, tremulous cables overhead; the weightlessness of the piece and the solidity of the ground on which it stands; its placement as an object and the sense that it might take flight at any moment; and the use of thin cables to define the outer edge of the structure, a form that is there, then is not there, and then is once again. Such unpredictability invites interaction, not with the promise of meaning, but with the promise that it will sustain our curiosity.

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30. Study for Dante’s Rig IV [Aquabee Sketchbook, 20], 1964 31. Dante’s Rig Study No. 16, 1965 32. Study for Dante’s Rig IX [Aquabee Sketchbook, 26], 1964

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In its own way, Dante’s Rig was a response to the tenets of minimalism. By 1964, the style was ensconced in the New York galleries and had produced a number of artists skilled at theorizing their own work. Ginnever never really quarreled with minimalism’s preoccupations with materials and the status of the object, sculptural issues that have some bearing on his work, but he believed that minimalism had acquiesced too readily to the architectural systems that confined it. Whatever visual tension emerged from a row of boxes or plates, as sculpture the objects would disclose their fundamental form from any position in the gallery, revealing details as perspective shifted but no additional information of significance — the work was barely more than a formal echo of the room itself — and as a result, minimalism accepted Western spatial systems when it should have been challenging their relevance. A form based on institutionalized space was, in effect, a capitulation to official ideologies.

Although Dante’s Rig was shown only once during that period, in 1966, at the Park Place Gallery, it is something more than the delicate survivor of another era in American sculpture, and this reflects its originality of conception. It neither accepts summary interpretation, nor is it simply the demonstration of a theory or concept. It seeks a moment of perceptual liberation, and liberation is not a system. Exposure to the work may never lead to full comprehension — and

what would full comprehension be like, in any case? Dante’s Rig remains dreamlike, otherworldly, a thing whose home in the realm of known objects will always be a little tenuous.

Put somewhat differently, Dante’s Rig does not seek an explicit redefinition of the artwork as an object either separate or indistinguishable from the ordinary objects of the world, preferring instead to test commonly held assumptions regarding art’s existence and the ways in which these assumptions exercise autonomy over viewer response. Sculpture has been loath to relinquish a relationship with the viewer based on correspondence between subject and object, and for Ginnever, hard questions emerge from this condition, too.

Sculpture does not stand before the eye alone, subservient to its authority, but

33. Study for Dante’s Rig VIII [Aquabee Sketchbook, 25v], 1964

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must confront the deeper intransigence of the spatial mind in the midst of the immense complexity of its environment. Ginnever’s task has been to demonstrate that space is neither lifeless nor inanimate, just as form is neither orderly nor predictable. When the spatial imagination is aroused from the lethargy of habit and routine, it can lead us back into the thrilling richness of the world.

During the early 1960s, Ginnever was gathering his materials from wherever he could find them, and he would exploit the inherent flexion and tension of their scale and identity to develop a wholly idiomatic sculptural gesture.

These works mean to transgress the viewer’s space, to join viewer and sculpture in a spatial embrace, and in doing so encourage a feeling for space as active and flexible. By the middle of the decade, many artists were beginning to refute art’s reliance on the unique, private, inaccessible aspects of individual experience that had informed its making for centuries, and here Ginnever’s early work remains prescient in its argument that meaning is not, in fact, ever hidden in the artwork. Rather, that meaning — which is, for him, the reawakening of the perceptual imagination — remains hidden in the viewer, though the ability to perceive may still be dulled by a lifetime of conditioning.Theory has its place, of course, and while minimalism’s engagement with the objecthood of sculpture had relevance for him, Ginnever would always be more concerned with creating an interesting experience than with creating an interesting artwork. He might have said that in the realm of real, immediate experience, they are both the same.

BRUCE NIXON

OPPOSITE

BRUCE NIXON is an art writer and critic who has written extensively about contemporary art for numerous publications, including books, magazines, monographs, and exhibition catalogues.

34. Dante’s Rig, 1964–65 Installation, Vermont Farm 35. Steel Squared, 1983 Installation, Vermont Farm

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GINNEVER EARLY WORK IMAGES Late 1950s—Early 1960s

OPPOSITE

36. White Flat, 1962 Collection Wadsworth Atheneum Museum of Art, Hartford, CT

LEF T/RIGHT

37. Steel Relief of Battle Scene, 1957 Steel 10 in. × 19 in. × 1 in.

25.4cm × 48.3cm × 2.5cm Trust I.D.# CG.1957.Steel.001 M. Lee Fatherree, Photographer 38-39. Painted Plaster Column I, 1957–1958 Plaster, oil-based pigments on steel base 16¾ in. × 6 in. × 6½ in.

42.5cm × 15.2cm × 16.5cm Trust I.D.# CG.1957.PLR.001 Anne-Marie Muscari, Photographer

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ABOVE/BELOW

40. Study for Painted Plaster Column I, 1957–1958 [Aquabee Sketchbook, 10], c. 1957 Graphite on paper 8 in. × 4 7∕8 in.

20.3cm × 12.4cm Trust I.D.# CG.1957.DWG.002.01 M. Lee Fatherree, Photographer 41. Study for Column Sculpture, 1957–1958 Graphite on paper 10½ in. × 8 in.

26.7cm × 20.3cm Trust I.D.# CG.1957.DWG.001 M. Lee Fatherree, Photographer 42. Study for Painted Plaster Column II, 1957–1958 [Aquabee Sketchbook, 11], c. 1957 Graphite on paper 8 in. × 4 7∕8 in.

20.3cm × 12.4cm Trust I.D.# CG.1957.DWG.002.02 M. Lee Fatherree, Photographer

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LEF T/RIGHT

43. Oxbow, 1957–58 Wood, iron, steel 78 in. × 36 in. × 18 in.

198.1cm × 91.4cm × 45.7cm Trust I.D.# CG.1958.Wood.002 Rudolph Burckhardt, Photographer Installation, Martha Jackson Gallery New Forms—New Media Exhibition, 1960 Martha Jackson Archives, State University of New York at Buffalo 44. Oxbow, 1957–58 (Cast 1/4, 1989) Bronze with patina on steel base 78 in. × 36 in. × 18 in.

198.1cm × 91.4cm × 45.7cm Trust I.D.# CG.1958.BRZ.001.01 Karen and Robert Duncan Collection, Lincoln, NE M. Lee Fatherree, Photographer

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LEF T/RIGHT

45. Wood Totem I, 1957–58 52 in. × 23 in. × 23 in.

Wood, iron, steel Trust I.D.# CG.1958.Wood.003 Charles Ginnever, Photographer 46. Wood Totem II, 1957–58 54 in. × 22 in. × 22 in.

137.2cm x 55.9cm x 55.9cm Wood, iron, steel Trust I.D.# CG.1958-Wood.003 Charles Ginnever, Photographer

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LEF T/RIGHT

47. Drawing Studies for Calligraphic Sculpture II, 1959 Ink on paper 11 in. × 81/2 in.

27.9cm × 21.6cm Trust I.D.# CG.1959.DWG.005 M. Lee Fatherree Photographer 48. Drawing Studies for Calligraphic Sculpture I, 1958–59 Graphite on paper 101/2 in. × 8 in.

26.7cm × 20.3cm Trust I.D.# CG.1959.DWG.004 M. Lee Fatherree, Photographer OPPOSITE

49. Calligraphic Sculpture, 1959 Wood, steel 9 ft. × 12 ft. × 2 ft.

2.7m × 3.7m × 6.1m Trust I.D.# CG.1959.Wood.001 Installation, Center Street, NY Charles Ginnever, Photographer

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29

50. Ithaca Drawing Study No. 25, 1959 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1959.DWG.024 M. Lee Fatherree, Photographer

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51. Ithaca, 1959 Wood, steel 12 ft. × 25 ft. × 15 ft.

3.7m × 7.6m × 4.6m Trust I.D.# CG.1959.Wood.002 Installation, Vermont Farm Charles Ginnever, Photographer

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LEF T/RIGHT

52. For Mark (di Suvero), 1961 Steel, canvas, oil-based pigments 30 in. × 24 in. × 12 in.

76.2cm × 61.0cm × 30.5cm Trust I.D.# CG.1961.Steel.002 M. Lee Fatherree, Photographer 53. Ghost of Eisenheim, 1961 Steel, oil-based pigments 84 in. x 48 in. x 48 in.

213.4cm x 121.9cm x 121.9cm Trust I.D.# CG.1961.Steel.003 M. Lee Fatherree, Photographer

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54-56 Lumpline, 1961 Steel, oil-based pigments 36 in. × 72 in. × 72 in.

91.4cm × 182.9cm × 182.9cm Trust I.D.# CG.1961.Steel.004 Unknown Photographer

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LEF T/RIGHT

57. Color Study for Rocker I, 1961 Graphite, colored pencil on tracing paper 9 7∕8 in. × 7½ in.

25.1cm × 19.1cm Trust I.D.# CG.1961.DWG.003 M. Lee Fatherree, Photographer 58. Calculation Notes for Rocker Fabrication, 1961 Graphite, colored pencil on paper 9 7∕8 in. × 7½ in.

25.1cm × 19.1cm Trust I.D.# CG.1961.DWG.006 M. Lee Fatherree, Photographer OPPOSITE

59. Rocker, 1961 Steel, oil-based pigments 62 in. × 40 in. × 20 in.

157.5cm × 101.6cm × 50.8cm Trust I.D.# CG.1961.Steel.005 Unknown Photographer

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35

48. Rocker, 1961

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OPPOSITE

60-63. Splash, 1961 Steel, canvas, electrical conduit, oil-based pigments 7 ft. × 10 ft. × 8 ft.

2.1m × 3.1m × 2.4m Trust I.D.# CG.1961.MM.001 Charles Ginnever, Photographer 64-67. Watkins Glen, 1961 Steel, canvas, oil-based pigments 6 ft. × 5 ft. × 5 ft.

1.8m × 1.5m × 1.5m Trust I.D. # CG.1961.MM.002 Unknown Photographer

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68-70. Blue Road, 1962 Copper, aluminum, cloth, oil-based pigments on wood base 22 in. × 241/2 in. × 231/2 in.

55.9cm × 62.2cm × 59.7cm Trust I.D.# CG.1962.MM.004 Private Collection M. Lee Fatherree, Photographer ABOVE/LEF T

Sculpture mounted on wall

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ABOVE/BELOW

71. Fiat Ascending Studies II, 1962 Diptych: Ink on paper 11 in. × 25 5∕8 in.

27.9cm × 65.1cm Trust I.D.# CG.1962.DWG.019 M. Lee Fatherree, Photographer 72. Fiat Ascending Studies I, 1962 Ink on paper 81/2 in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.009 M. Lee Fatherree, Photographer

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ABOVE/BELOW

73. Fiat Ascending Sculpture Studies, 1961–62 Triptych: Ink, mixed media on paper 13¾ in. × 281/4 in.

34.9cm × 71.8cm Trust I.D.# CG.1961.DWG.019 M. Lee Fatherree, Photographer 74. Fiat Ascending [“Blunderbuss”], 1961–62 Steel, oil-based pigments 13 ft. × 25 ft. × 15 ft.

4.0m × 7.6m × 4.8m Trust I.D.# CG.1962.Steel.001 Unknown Photographer

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75. Fiat Ascending Sculpture Study, 1961–62 Ink, oil-based pigments on paper 11 in. × 8½ in.

27.9cm × 21.6cm Trust I.D.# CG.1962..DWG.010.02 M. Lee Fatherree, Photographer OPPOSITE

76. Fiat Ascending [“Blunderbuss”], 1961–62 Steel, oil-based pigments 13 ft. × 25 ft. × 15 ft.

4.0m × 7.6m × 4.8m Trust I.D.# CG.1962.Steel.001 Unknown Photographer

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77-78. Fresno Flat, 1962 Steel, oil-based pigments 86 in. × 36 in. × 21 in.

218.4cm × 91.4cm × 53.3cm Trust I.D.# CG.1962.Steel.002 M. Lee Fatherree, Photographer

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LEF T/RIGHT

79. Hole View, 1962 Steel, canvas, oil-based pigments 27 in. × 26 in. × 151/2 in.

68.6cm × 66.0cm × 39.4cm Trust I.D.# CG.1962.Steel.008 M. Lee Fatherree, Photographer 80. Hole View Drawing Study, 1961–62 Ink, oil-based pigments on paper 7 in. × 4 in.

17.8cm × 10.2cm Trust I.D.# CG.1962.DWG.013 M. Lee Fatherree, Photographer

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81-82. Hole View, 1962 Steel, canvas, oil-based pigments 27 in. × 26 in. × 151/2 in.

68.6cm × 66.0cm × 39.4cm Trust I.D.# CG.1962.Steel.008 M. Lee Fatherree, Photographer

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83-84. Ronnie, 1962 Steel, oil-based pigments 16¼ in. × 30 in. × 21½ in.

41.3cm × 76.2cm × 54.6cm Trust I.D.# CG.1962.Steel.007 M. Lee Fatherree, Photographer OPPOSITE

85. Shadow, 1962 Steel, oil-based pigments 17 in. × 38 in. × 24 in.

43.2cm × 96.5cm × 61.0cm Trust I.D.# CG.1962.Steel.004 M. Lee Fatherree, Photographer Sculpture destroyed in studio fire, Petaluma, CA 2003

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86. Sound Score for Opaque Projector, No Jazz, Jazz Music Session I, 1962 Water-based pigments on paper mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.001 M. Lee Fatherree, Photographer 87-88. Sound Score for Opaque Projector, No Jazz, Jazz Music Session I, 1962 (Details)

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89. Sound Score for Opaque Projector, No Jazz, Jazz Music Session II, 1962 Water-based pigments on paper mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.002 M. Lee Fatherree, Photographer 90-91. Sound Score for Opaque Projector, No Jazz, Jazz Music Session II, 1962 (Details)

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92. Sound Score for Opaque Projector, No Jazz, Jazz Music Session III, 1962 Water-based pigments on paper mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.003 M. Lee Fatherree, Photographer 93-94. Sound Score for Opaque Projector, No Jazz, Jazz Music Session III, 1962 (Details)

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95. Sound Score for Opaque Projector, No Jazz, Jazz Music Session IV, 1962 Water-based pigments on paper mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.004 M. Lee Fatherree, Photographer 96-97. Sound Score for Opaque Projector, No Jazz, Jazz Music Session IV, 1962 (Details)

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98. Sound Score for Opaque Projector.

No Jazz, Jazz Music Session V, 1962 Water-based pigments on paper mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.005 M. Lee Fatherree, Photographer 99-100. Sound Score for Opaque Projector, No Jazz, Jazz Music Session V, 1962 (Details)

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101. Sound Score for Opaque Projector, No Jazz, Jazz Music Session VI, 1962 Water-based pigments on paper mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.006 Private Collection, San Francisco, CA M. Lee Fatherree, Photographer 102-103. Sound Score for Opaque Projector, No Jazz, Jazz Music Session VI, 1962 (Details)

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104. Sound Score for Opaque Projector, No Jazz, Jazz Music Session VII, 1962 Water-based pigments on paper mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.007 M. Lee Fatherree, Photographer 105-106. Sound Score for Opaque Projector, No Jazz, Jazz Music Session VII,1962 (Details)

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107. Sound Score Painting with Collage for No Jazz, Jazz Music Session, 1962 Fabric, paper, oil-based pigments on canvas 32¾ in. × 44 in.

83.2cm × 111.8cm Trust I.D.#CG.1962.MM.002 M. Lee Fatherree, Photographer

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108-109. Split Image, 1962 Steel, oil-based pigments 40 in. × 40 in. × 30 in.

101.6cm × 101.6cm × 76.2cm Trust I.D.# CG.1962.Steel.003 M. Lee Fatherree, Photographer OPPOSITE

110. Wall Relief, 1962 Steel, oil-based pigments 40 in. × 43 in. × 17 in.

101.6cm × 109.2cm × 43.2cm Trust I.D.# CG.1962.Steel.006 M. Lee Fatherree, Photographer

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111. Drawing Study for White Flat I, 1961–62 Graphite, ink, red ink on paper 81/2 in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.015 M. Lee Fatherree, Photographer 112. Drawing Study for White Flat II, 1961–62 Graphite, ink, red ink on paper 81/2 in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.016 M. Lee Fatherree, Photographer 113. White Flat, 1962 Steel, iron, cloth, oil-based pigments 36 in. × 83 in. × 22 in.

91.4cm × 210.8cm × 55.9cm Trust I.D.# CG.1962.Steel.009 Collection Wadsworth Atheneum Museum of Art, Hartford, CT Allen Phillips, Photographer

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LEF T/RIGHT

114. Drawing Study for White Flat IV, 1962 Graphite on paper 81/2 in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.017 M. Lee Fatherree, Photographer 115. Drawing Study for White Flat V, 1962 Graphite on paper 81/2 in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.018 M. Lee Fatherree, Photographer 116. White Flat, 1962 Steel, iron, cloth, oil-based pigments 36 in. × 83 in. × 22 in.

91.4cm × 210.8cm × 55.9cm Trust I.D.# CG.1962.Steel.009 Collection Wadsworth Atheneum Museum of Art, Hartford, CT Allen Phillips, Photographer

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LEF T/RIGHT

117. Floater Drawing Study, 1963 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1963.DWG.002 M. Lee Fatherree, Photographer 118. Floater, 1963 Steel, oil-based pigments 60 in. × 72 in. × 60 in.

152.4cm × 182.9cm × 152.4cm Trust I.D.# CG.1963.Steel.004 M. Lee Fatherree, Photographer OPPOSITE

119-120. Painted Novaply Sculpture I, 1963 Novaply canvas, wood, water-based pigments 9 in. × 20 in. × 13 in.

22.9cm × 50.8cm × 33.0cm Trust I.D.# CG.1963.MM.001 M. Lee Fatherree, Photographer

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63

121-122. Painted Steel Maquette I, 1963 Steel, oil-based pigments 10¼ in. × 6½ in. × 5 in.

26.0cm × 16.5cm × 13.0cm Trust I.D.# CG.1963.Steel.002 Jonathan Berger, Photographer OPPOSITE

123-126. Painted Steel Maquette II, 1963 Steel, oil-based pigments 10¼ in. × 6½ in. × 5 in.

26.0cm × 16.5cm × 13.0cm Trust I.D.# CG.1963.Steel.003 Jonathan Berger, Photographer

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127-131. Painted Steel Maquette III, 1963 Steel, oil-based pigments 7½ in. × 5 in. × 5½ in.

19.0cm × 12.7cm × 14.0cm Trust I.D.# CG.1963.Steel.012 M. Lee Fatherree, Photographer

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132-136. Rolling Fog, 1963 Steel, oil-based pigments 34½ in. × 34¼ in. × 25¾ in.

87.6cm × 86.9cm × 65.4cm Trust I.D.# CG.1963.Steel.005 M. Lee Fatherree, Photographer

69

137-141. T.P., 1963 Steel, oil-based pigments 50 in. × 45 in. × 12 in.

127.0cm × 114.3cm × 30.5cm Trust I.D.# CG.1963.Steel.001 Anne-Marie Muscari, Photographer

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142-143. Warp Series I, 1963 Stainless steel, wire 24 in. × 30 in. × 24 in.

60.9cm × 76.2cm × 60.9cm Trust I.D.# CG.1963.SSteel.001 M. Lee Fatherree, Photographer OPPOSITE

144. Warp Series II, 1963 Stainless steel, wire 24 in. × 30 in. × 24 in.

60.9cm × 76.2cm × 60.9cm Trust I.D.# CG.1963.SSteel.002 M. Lee Fatherree, Photographer

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145. Warp Series III, 1963 Stainless steel, wire 24 in. × 30 in. × 24 in.

60.9cm × 76.2cm × 60.9cm Trust I.D.# CG.1963.SSteel.003 M. Lee Fatherree, Photographer OPPOSITE

146. Warp Series IV, 1963 Stainless steel, wire 24 in. × 30 in. × 24 in.

60.9cm × 76.2cm × 60.9cm Trust I.D.# CG.1963.Steel.004 M. Lee Fatherree, Photographer

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147. Warp Series V, 1963 Stainless steel, wire 24 in. × 30 in. × 24 in.

60.9cm × 76.2cm × 60.9cm Trust I.D.# CG.1963.SSteel.005 M. Lee Fatherree, Photographer

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148-150. Balance, 1964 Steel, oil-based pigments 13 in. × 22 in. × 15 in.

33.0cm × 55.9cm × 38.1cm Trust I.D.# CG.1964.Steel.004 M. Lee Fatherree, Photographer

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151. Banzai Fabrication Notes, 1964 Ink, graphite on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1964.DWG.013 M. Lee Fatherree, Photographer 152-153. Banzai, 1964 Wood, steel 48 in. × 43 in. × 40 in.

122.0cm × 109.2cm × 101.6cm Trust I.D.# CG.1964.Wood.001 Robert Duncan, Photographer

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154-156. Bird Bath, 1964 Steel, chrome-plated steel, oil-based pigments 14¼ in. × 15½ in. × 13 in.

36.2cm × 39.4cm × 33.0cm Trust I.D.# CG.1964.Steel.001 Collection Ronnie Ginnever New York, NY M. Lee Fatherree, Photographer

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157-159. Gesture Maquette, 1964 Steel, oil-based pigments 10 in. × 6 in. × 4 in.

25.4cm × 15.2cm × 10.2cm Trust I.D.# CG.1964.Steel.008 Bill Ganzel, Photographer

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OPPOSITE

160. Drawing Notes for Jezabel, 1964 Ink, graphite on paper 5¼ in. × 7 7∕8 in.

13.3cm × 20.0cm Trust I.D.# CG.1964.DWG.012 M. Lee Fatherree, Photographer

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161. Jezabel, 1964 Wood, steel, chromed-plated steel 54 in. × 32 in. × 42 in.

137.2cm × 81.3cm × 106.7cm Trust I.D.# CG.1964.Wood.002 Unknown Photographer

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162-163. Painted Steel Maquette IV, 1964 Steel, oil-based pigments on silvered glass 12 in. × 10 in. × 10 in.

30.5cm × 25.4cm × 25.4cm Trust I.D.# CG.1964.Steel.011 Unknown Photographer OPPOSITE

164. Painted Steel Maquette V, 1964 Steel, oil-based pigments on silvered glass 12 in. × 14 in. × 10 in.

30.5cm × 35.6cm × 25.4cm Trust I.D.# CG.1964.Steel.013 Unknown Photographer

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165. Painted Steel Maquette VI, 1964 Steel, oil-based pigments 13¼ in. × 15¾ in. × 71/4 in.

33.7cm × 40.0cm × 18.4cm Trust I.D.# CG.1964.Steel.007 M. Lee Fatherree, Photographer ABOVE/BELOW

166-167. Painted Steel Maquette VI, 1964 Steel, oil-based pigments 13¼ in. × 15¾ in. × 71/4 in.

33.7cm × 40.0cm × 18.4cm Trust I.D.# CG.1964.Steel.007 M. Lee Fatherree, Photographer 168. Painted Steel Maquette VI Drawing, 1964/2008 Graphite on paper 5¼ in. × 7 7∕8 in.

13.3cm × 20.0cm Trust I.D.# CG.1964.DWG.001 M. Lee Fatherree, Photographer

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169-171. Painted Steel Maquette VII, 1964 Steel, oil-based pigments

6¾ in. × 5½ in. × 4 in.

17.2cm × 14.0cm × 10.1cm

Trust I.D.# CG.1964.Steel.006 M. Lee Fatherree, Photographer

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172. Drawing Notes for Sen Sen, 1964 Ink, graphite on paper 5¼ in. × 7 7∕8 in.

13.3cm × 20.0cm Trust I.D. # CG.1964.DWG.011 M. Lee Fatherree, Photographer 173-174. Sen Sen, 1964

Steel 41 in. × 48 in. × 49 in.

104.1cm × 122.0cm × 124.5cm Trust I.D.# CG.1964.Steel.003 Unknown Photographer

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175-178. Timebridge, 1964 Steel, oil-based pigments 15 in. × 25½ in. × 22 in.

38.1cm × 64.8cm × 55.9cm Trust I.D.# CG.1964.Steel.005 Collection Susan Ginnever, Indianapolis, IN M. Lee Fatherree, Photographer

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179. Dante’s Rig, 1964–65 Aluminum, steel, oil-based pigments 9 ft. × 23 ft. × 8 ft.

2.7m × 7.0m × 2.4m Trust I.D.# CG.1965.Aluminum.001 Installation, Vermont Farm Neil A. Lukas, Photographer

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180. Green Mountain Blue, 1965 Steel, steel cable, oil-based pigments 13 ft. × 33 ft. × 2 ft.

4.0m × 10.1m × 0.6m Trust I.D.# CG.1965.Steel.001 Installation, Vermont Farm Neil A. Lukas, Photographer

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GINNEVER FOLDED FORMS

181. Dansa Steel Maquette, 1980

GINNEVER NOW YOU SEE IT Charles Ginnever’s Folded Forms CHARLES GINNEVER LOCATES THE ORIGINS of the Origami Series in

Dante’s Rig, an early breakthrough work that was constructed in 1964–65 and

shown the following year at the Park Place Gallery in New York. Up until then, he had been building assemblage pieces with scavenged materials, mostly bent and battered auto body parts, scrap metal, and wood. With Dante’s Rig, a work at once mysterious, seemingly weightless, utterly non-descriptive, Ginnever wanted to test every rule of freestanding sculpture that he had thus far encountered. It became the first sculpture for which he purchased material with a particular design in mind, specifically the sheets of aluminum from which he cut and folded the two parallel rows of wings that are critical to the visual personality of the form. Dante’s Rig was a turning point, and it opened the way for a number of ideas that Ginnever would continue to develop during the decades to come.The connections were not apparent at the time, of course, but they seemed obvious to him as he began his first large origami-inspired works in earnest — The Bird (for Charlie Parker), 1979; Bop and Crazed,1980; Dansa, 1981; Goddard’s Dream, 1982; Pisa, 1984; and Azuma, 1987 — flat metal submitted to the demands of the folding, abrupt formal shifts, and enigmatic unities that characterize traditional origami.

OPPOSITE

182. Charles Ginnever working at Landfall Press, Santa Fe, NM 2012

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183. The Bird (for Charlie Parker) Mid-size Maquette, 1965-81 184. The Bird (for Charlie Parker), 1979 Installation, K & B Plaza, New Orleans, LA OPPOSITE, ABOVE/BELOW

185-186. Bop and Crazed, 1980 Installation, Lincoln Children’s Zoo Lincoln, NE 2018 187-190. Zag, for Walter Davis, Jr., 1980

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191-192. Goddard’s Dream, 1982 Installation, Clarinda Regional Health Center, Clarinda, IA 2018 OPPOSITE, LEF T/RIGHT

193. Pisa, 1984 Installation, Dallas, TX 194. Azuma, 1987 Installation, Esprit Sculpture Park San Francisco, CA 1987

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LEF T/RIGHT

195. Midas and Fog, 1966 Installation, Elizabeth and Byron Anderson Sculpture Garden Iowa State University, Ames, IA 196. Icarus, 1975 Installation, Nathan Manilow Sculpture Park Governor’s State University University Park, IL OPPOSITE

197. Crete, 1978 Installation, Laumeier Sculpture Park St. Louis, MO

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Ginnever went on to other projects during the 1980s and after, and he did not resume the Origami sculptures until the 2000s, most expressively in a series of maquettes, and with these in mind, the relationship between the Origami sculptures and their source in Dante’s Rig is instructive. It uncovers durable continuities in Ginnever’s career that will assist us in understanding his goals for the Origami Series and, indeed, some of his most basic goals as a sculptor. For one, no good ideas are cast aside or abandoned.They have a way of reappearing later, in subsequent work. This trait contributed, as well, to the back-and-forth motion of Ginnever’s work, an internal rhythm that, over time, he gradually built toward a remarkable fullness of conception. With these elements as a background, we can also identify the two dominant motives in his formal designs as open and closed. The “open,” extensible mode is embodied by the Rashomon series that preoccupied Ginnever throughout much of the 1990s, though its conceptual basis reaches back to include series such as Flat Illusion (Midas and Fog, 1966, and Walkabout, 1987); Hellenic (Icarus, 1975, and Crete, 1978);Triangle (Luna Moth Walk, 1980s, and Moonwalker, 1989); Planar (Heavy Metal, 1983); Linear (No Place to Hide, 1986); and Slant Rhyme sculptures of the 1980s and early 1990s (Slant Rhyme #5A, 1992); the “closed” form analogously finds its concentration and summarization in the Origami Series, works that look back, if loosely, toward his Hellenic sculptures and instances of the Triangle Series.

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198.-199. Luna Moth Walk II Mid-size Maquette (Uniquely Painted), 1981 OPPOSITE

200-202. Moonwalker Series I, 1989

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We can leave Dante’s Rig, then, by observing that it presses simultaneously in both directions, or that both coexist in it: on the one hand, its design is structurally clarified, while on the other, the “wings,” as intentional articles of construction, veiling the willowy scaffold on which they are mounted, and from which the form emerges in its entirety. And finally, we find in this early work the perceptual concern that occupied Ginnever throughout his career, a desire to create objects that challenge visual complacency, our faith that we can read and comprehend complex form from a single perspective, that we possess mastery over the spatial world. Ginnever wanted to demonstrate sculpturally that those assumptions are idealistic, that physical space is rich, unpredictable, a source of fascination and excitement. His work always sought this end.

OPPOSITE, ABOVE/BELOW

203. Heavy Metal, 1983 Installation, Bank of America Offices Concord, CA 204-205 No Place to Hide, 1986 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 206-207. Slant Rhyme #5A, 1992 Installation, Vermont Farm

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208. Charles Ginnever working at Landfall Press, Santa Fe, NM 2012 209. Charles Ginnever with Jack Lemon and Steve Campbell at Landfall Press Santa Fe, NM 2012

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As a title for the series, ‘origami’ refers literally to the manner in which each individual work was conceived and developed, although Ginnever preferred the term origami-inspired, as a way of separating himself from the depictive goals of traditional origami. His designs, like those of origami, began from flat sheets of paper, which he folded and cut to create sculptural forms; these templates, the lines on the sheet accompanied by his instructions, would enable a fabricator to produce the sculpture in metal at any scale. A completed work might be realized from more than a single sheet, that is, as a combination of independently designed sub-structures, but the plans themselves are always preserved on flat templates. And while the surfaces of some of the Origami works have been left in their unpainted state, chiefly those of large scale, the series is more typically painted, often in multiple colors, often to dazzling effect.

Traditional Japanese origami is not really representational, of course.

Referential, rather — birds, animals, and flowers are familiar subjects — and a finished piece flatters the cleverness of its maker. How was this thing done? We are meant to marvel at its intricacies, and so we do. Only an artist of Ginnever’s inclinations, perhaps, would recognize that the folding of an origami sheet is a naturally sculptural act, while the design itself, the delightful, perplexing network of folds that yields the final form, has, to go another step, intriguing sculptural implications. His Origami sculptures are similarly a source of marvel, not because the sculpture looks ingeniously “like” something we know from the world, but because its shifts in appearance defy our ability to predict the dimensionality or appearance of the form in its entirety from any single perspective. An Origami work from one side refuses to disclose its other sides. Like his Rashomon series, the sculptural form will surprise us as we move around it. We may not even recognize it as the same work. This effect is well illustrated when one of the works is photographed. Each “side” could be, we think, an entirely different work. By the same token, an Origami sculpture has no distinct front and back, no obvious starting point, no hierarchy of views. We enter the work from wherever we begin.

While he was visiting his daughter in Southern California in 2012, Ginnever arranged to have twelve of the Origami maquettes fabricated by Picture Car Warehouse in Northridge, and after returning to his Vermont studio, he

continued to pursue the Origamis. Later that year, he was invited to work with Jack Lemon and Steve Campbell at Landfall Press in Santa Fe, NM, where he produced a sculptural etching entitled Multus, a project that yielded an edition of thirty. The flat image was essentially a template accompanied by instructions, and with subsequent folding became a sculpture related to the Origami format.

Finally, in 2018 and 2019, Ginnever had fifteen additional maquettes produced at Duncan Aviation in Lincoln, Nebraska. These would be of tabletop scale, rarely more than eighteen inches in any direction, and were made of aircraft aluminum from Ginnever’s templates and then painted to his instructions. The metal sheets are thin, the paint film smooth and glossy, and when the maquettes

210-211. Multus, 2012 212. Folding Instructions for Multus, 2012

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are seen together, they unabashedly divulge the artist’s pleasure in his formal inventions. Circle around them and the effect is prismatic, a jazzy mobility of shape and hue, things that literally appear to change their form and identity. For the viewer, surprise provokes curiosity, the eye held in part by a colorism that can seem unexpectedly lyrical in a sculptor associated with unadorned metal configurations of architectural scale.

The Origami sculptures, then, are the work of an artist who brings tremendous precision and felicity to his most longstanding concerns. During the mid1960s, the period of Dante’s Rig, Ginnever was frequently grouped with George Sugarman, David Weinrib, Mark di Suvero, Tom Doyle, and Ronald Bladen, who together were engaged in developing a sculptural syntax that emphasized the extensibility and proliferation of forms through space.Their work was organized around visual and haptic rather than narrative considerations: with their paradoxical volumes and geometries, their odd formal harmonies, balances, and counter-balances, they were able to create striking illusions of animation, the intimation of movement, impending collapse. Even when illusionism occurs, it rarely accords with expectation. There is no definitive, explanatory view, which in turn prohibits the possibility of having an experience of the complete work before that experience actually occurs.

All such sculpture asks for a perceptual engagement from the viewer, of course, at large scale especially, when bodily apprehension of form is necessarily part of any encounter. At this point, however, Ginnever pulled decisively away from these, his contemporaries, as the artist most committed to a format that, in its rebellion against perceptual conventions, brings into being a new use of space, perhaps a new kind of space. However, “simple” it appears at first, it is not minimalism, and it refuses the assurances of minimalism, which frequently echo the spatial routines of our built, inhabited environment, the ingrained “logic” of rectilinear space. Ginnever wanted instead to reappraise our confidence in our perceptual skills.

While a number of his contemporaries clearly hoped to translate their gestures to monumental scale, such work could all too easily open a gap between the human dimensions of artistic gesture and a sculptural representation of them, which became evident as the size and industrial appearance of

OPPOSITE, LEFT/RIGHT

213. Origami Series X, 2012 214. Origami sculptures fabricated at Picture Car Warehouse, Northridge, CA 2012 215. Origami Series VII, 2012 216. Origami Series V, 2012 217. Origami Series III, 2012

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218-221. Dementia, 1998 Installation, Woods Park, Lincoln, NE

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the work began to dominate the viewer’s encounter with it. As full, bodily reception played an increasingly dominant role in the relationship of viewer to object, gesture assumed a quality of artifice or manufacture. Ginnever responded to this problem by moving further into the realm of perceptual confrontation, what might be described as a turn from “gesture,” so crucial among his early assemblages, to design. He was only acknowledging his insight that even when sculptural construction admits scale, it still needs to initiate internal activity in the viewer, to literally penetrate perceptual consciousness: not just a bodily sense of the work, but an irresistible invitation to a passage around the sculpture, as a way of “looking” that stimulates the kinds of transformative discoveries that reward our availability to the defining circumstances of the work. The large-scale, steel sculpture Dementia, completed in 1998, is a good example of Ginnever’s concept of perceptual confrontation.

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As the Origami works attest, even at the scale of the maquettes, space itself must be understood as a flexible, unstable medium, alive with the vitality of the form within it. This situation can be inflected by size, but once again, as the maquettes demonstrate, size is hardly the sole or most significant determinant of spatial conditions. Released from the authority of geometric forms, space, we might say, takes a “form” of its own within the topography of individual perception. Here, too, Ginnever leaves behind an obvious or reliable compendium of stylistic alignments in New York during the late 1950s and early 1960s — ones with which he is still misaligned critically — forging instead a fresh path for metal sculpture that wants, as its essential principle, the intimacy entailed in altering the viewer’s very perceptions of space. If Ginnever’s use of big metal does indeed evoke an art-historical moment, the moment does not dominate him. He is merely answering it as he states his argument against a Western “rationalizing” of space — what he called the tyranny of the right angle. Space is not inert. It is time-based, as we are, energized and vigorous.

With this in mind, the Origami sculptures, like virtually all of Ginnever’s sculptural designs, emerge around a flexible center rather than a conventional spine, configurations whose often nuanced asymmetry provokes the exchange between object and viewer, the interaction that connects the interior of the work to the (perceptual) interior of the viewer. The sculpture does not look quite “right” to us, so we begin moving around it almost involuntarily, in quest of the “right” view, the point that will put our inquiries to rest. We never find it, of course. Without a spine as a visual anchor, the work withdraws centrality as a familiar, trustworthy spatial indicator.

It almost goes without saying, then, that Ginnever’s designs always begin with space: he knew that sculptural mass, large or small, tends to obliterate the space immediately within and around it, that it tends to draw space into the field of its own gravitational pull. He wanted to counter that tendency, to give the work to space.The sculpture must not offer itself, therefore, as autonomous, self-contained, somehow “representational.” Neither does it want simply to sit in space — it dramatizes, rather, the dynamics of our relationship with it, and in this sense operates from a space-time continuum in which the viewer becomes the variable. Perspectival systems are human inventions, imbued with

222-227. Origami Series No. 3, 2018–19

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expectations of meaning, and as such, they are comfortable with the illusionistic.

The eye submits to them because it is trained to do so, especially in an architectural setting, which tends to enforce the “laws” of perspective. But what happens in the company of works ungoverned by these laws? We must examine our own responses, how our perceptual consciousness grapples with the unexpected, those strategies by which we strive to regain authority over the spatial.

Among Ginnever’s many series of large-scale sculptures, the unpainted metal surfaces operate in a number of ways. While size, material uniformity, and industrial fabrication give it a distinct sculptural character, just as importantly the brownish surface tone has a low temperature that tends to unify the formal elements, focusing their perceptual content. But what happens when other colors are added, especially among the Origami maquettes, in which the distribution of color is resourceful, inventive, varied in mood? In fact, the maquettes take up a conversation with sculptural color that has been present since the start of Ginnever’s career. Many of the earliest assemblage sculptures were entirely painted over, even the most spacious, and in works such as Shadow, 1962, or Blue Road, he performed as a painter on variable, three-dimensional supports. In this sense, the Origami works have another ancestor in the Gothic series, crystalline forms from 1965 and 1966 made of tinted, transparent Plexiglas, a mode of building that proved too fragile for practical purposes. Two of the Plexiglas sculptures, Gothic Series Number 3, 1965, and Gothic Series Number 7, 1966, were included in Ginnever’s 1975 exhibition at Sculpture Now Gallery, New York, Charles Ginnever 20 Years—20 Works, and illustrated in the exhibition catalogue. Gothic Series Number 3 was the prototype for two midsize steel maquettes: one is a variant of Gothic Series Number 3, with the same title and dated 1965–79; the other, titled The Bird (for Charlie Parker), 1965–81, was later commissioned in 1979 as a large-scale sculpture. The mid-size steel version of Gothic Series Number 7 was fabricated the same year as the small Plexiglas sculpture. The maquettes were prototypes for Dansa, 1980, and Bop and Crazed, 1980. The application of strong color on these early precursors of the Origami sculptures establishes individual planes for us and sets them in place as we circle the work; they become points in the perceptual process,

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OPPOSITE, ABOVE/BELOW

228. Shadow, 1962 229. Blue Road, 1962 LEF T/RIGHT

230. Gothic Series Number 3, 1965 231. Gothic Series Number 7, 1966

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sliding in and out of view. Color enhances the visual personality of these sculptures, as well, giving them buoyancy, unlike plain steel, which has rather the opposite effect.

On the other hand, the intrepid colorism of the maquette series suggests a kind of serious play that calls to mind the work of artists with whom Ginnever could certainly be associated but rarely is — Alexander Calder, Jean Dubuffet, Joan Miró. Although Ginnever ultimately transferred the task of painting from his own studio to the fabrication shop and put it into other hands, the color is sufficiently idiomatic to declare its origins in the artist. Its insouciance, meanwhile — the jaunty purples and greens, pinks, blues, golden yellows, metallics — separates the works from their immediate surroundings and summons the eye to them. Still, we will find these colors stubbornly non-narrative and non-directive.

They provide little additional information about the nature of the work itself; and yet, by the same token, the individual designs impose almost nothing on the color. Paint documents the geometry, transforms the folds into distinct edges, generates visual rhythms, and yields possibilities of feeling and atmosphere.

232-235. Gothic Series Number 3 Mid-size Maquette, 1965–79

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Quite early in his career, Ginnever grasped the motives fundamental to Calder’s mobiles and David Smith’s Tanktotems: sculpture no longer needs to dwell on issues of volume — its subject is now space. The task of such work is to find ways of sharing the experience of itself. This is it: space. By emptying his designs of literary content, Ginnever assured that the individual sculpture can and will aid in focusing our attention on the perceptual issues so dear to his heart. If it inevitably affects — and is affected by — its environment, it is never ideologically dependent upon the context of location. The sculpture enters the world, while at the same time insisting on both its right and its necessity to take up issues of importance to the artist.

Ginnever’s use of paint has been daring from the start. It is a sense of color that he acquired while working on hot rods with his friends when he was growing up on the San Francisco Peninsula and never lost: color is exciting, it has attitude. If his paint is inevitably decorative, it is a good deal more than that, and of course its pop references can be overstated. Ginnever also wanted color to subdue our visual reading of material weight, and the subtle color is indeed a skin, the fresh, newborn skin of his now-transformed materials. Even the multi-hued surface of Moonwalker Series IV, one of the 1989 precursors of the Origami sculptures, assists in gathering together the disparate shapes created by its folds, bearing color as another sculptural issue that Ginnever inherited during his early years in New York. By now we can see him as a devotedly empirical artist, using color to see for himself how it will work, selecting industrial pigments for the Origami Series in order to corroborate ties with his background on the West Coast and to pull the work out from the exclusive context of art — a reminder that if the world is filled with forms, it is also filled with color.

BRUCE NIXON OPPOSITE

236-239. Moonwalker Series IV, 1989

BRUCE NIXON is an art writer and critic who has written extensively about art for numerous publications, including books, magazines, monographs, and exhibition catalogues.

240. Fabrication Notes for Moonwalker Series IV, 1989

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GINNEVER FOLDED FORMS 2012 IMAGES

241. Ginnever’s Work Table with Cardboard Maquettes at Landfall Press, Santa Fe, NM 2012

242-245. Origami Series I, 2012 Aluminum, acrylic lacquer 11 in. × 5¼ in. × 4¼ in.

27.9cm × 13.3cm × 10.8cm Trust I.D.# CG.2012.Aluminum.007 M. Lee Fatherree, Photographer

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246-250. Origami Series II, 2012 Aluminum, acrylic lacquer 11½ in. × 6½ in. × 5½ in.

29.2cm × 16.5cm × 14.0cm Trust I.D.# CG.2012.Aluminum.008 M. Lee Fatherree, Photographer

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251-256. Origami Series III, 2012 Aluminum, acrylic lacquer 11 in. × 4 in. × 4 in.

27.9cm × 10.2cm × 10.2cm Trust I.D.# CG.2012.Aluminum.009 M. Lee Fatherree, Photographer PAGES 134 –135

257-258. Origami Series IV, 2012 Aluminum, acrylic lacquer 8 in. × 9 in. × 7¾ in.

20.3cm × 22.9cm × 19.7cm Trust I.D.# CG.2012.Aluminum.005 M. Lee Fatherree, Photographer

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259-262. Origami Series V, 2012 Aluminum, acrylic lacquer 9½ in. × 10½ in. × 10½ in.

24.1cm × 26.7cm × 26.7cm Trust I.D.# CG.2012.Aluminum.004 Private Collection M. Lee Fatherree, Photographer

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263-268. Origami Series VI, 2012 Aluminum, acrylic lacquer 9½ in. × 12 in. × 12 in.

24.1cm × 30.5cm × 30.5cm Trust I.D.# CG.2012.Aluminum.006 M. Lee Fatherree, Photographer

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269-273. Origami Series VII, 2012 Aluminum, acrylic lacquer 11½ in. × 73/4 in. × 6 in.

29.2cm × 19.7cm × 15.2cm Trust I.D.# CG.2012.Aluminum.010 M. Lee Fatherree, Photographer

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274-276. Origami Series VIII, 2012 Aluminum, acrylic lacquer 23 in. × 14 in. × 14 in.

58.4cm × 35.6cm × 35.6cm Trust I.D.# CG.2012.Aluminum.003 M. Lee Fatherree, Photographer

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277-280. Origami Series IX, 2012 Aluminum, acrylic lacquer 18 in. × 13 in. × 17 in.

45.7cm × 33.0cm × 43.2cm Trust I.D.# CG.2012.Aluminum.001 M. Lee Fatherree, Photographer

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281-283. Origami Series X, 2012 Aluminum, acrylic lacquer 18 in. × 16 in. × 12 in.

45.7cm × 40.6cm × 30.5cm Trust I.D.# CG.2012.Aluminum.002 M. Lee Fatherree, Photographer

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284-289. Origami Series XI, 2012 Aluminum, acrylic lacquer 11½ in. × 7½ in. × 6 in.

27.9cm × 19.1cm × 15.2cm Trust I.D.# CG.2012.Aluminum.011 M. Lee Fatherree, Photographer

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GINNEVER FOLDED FORMS 2018–19 IMAGES

290. Origami Series No. 13, 2018–19

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291-296. Origami Series No. 1, 2018–19 Aluminum, acrylic lacquer 17½ in. × 18 in. × 14½ in.

44.5cm × 45.7cm × 36.8cm Trust I.D.# CG.2018.Aluminum.001 M. Lee Fatherree, Photographer

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297-299. Origami Series No. 2, 2018–19 Aluminum, acrylic lacquer 19¼ in. × 13½ in. × 9½ in.

48.9cm × 34.3cm × 24.1cm Trust I.D.# CG.2018.Aluminum.002 M. Lee Fatherree, Photographer

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300-305. Origami Series No. 3, 2018–19 Aluminum, acrylic lacquer 17½ in. × 16 in. × 16½ in.

44.5cm × 40.6cm × 41.9cm Trust I.D.# CG.2018.Aluminum.003 M. Lee Fatherree, Photographer

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306-308. Origami Series No. 4, 2018–19 Aluminum, acrylic lacquer 16¼ in. × 17½ in. × 10½ in.

41.3cm × 44.5cm × 26.7cm Trust I.D.# CG.2018.Aluminum.004 M. Lee Fatherree, Photographer PAGES 160 -161

309-312. Origami Series No. 5, 2018–19 Aluminum, acrylic lacquer 24 in. × 13 in. × 13½ in.

61.0cm × 33.0cm × 34.3cm Trust I.D.# CG.2018.Aluminum.005 M. Lee Fatherree, Photographer

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313-317. Origami Series No. 6, 2018–19 Aluminum, acrylic lacquer 12 in. × 12 in. × 12 in.

30.5cm × 30.5cm × 30.5cm Trust I.D.# CG.2018.Aluminum.006 M. Lee Fatherree, Photographer

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318-322. Origami Series No. 7, 2018–19 Aluminum, acrylic lacquer 12 in. × 12 in. × 12 in.

30.5cm × 30.5cm × 30.5cm Trust I.D.# CG.2018.Aluminum.007 M. Lee Fatherree, Photographer

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323-328. Origami Series No. 8, 2018–19 Aluminum, acrylic lacquer 15¼ in. × 21 in. × 16 in.

38.7cm × 53.3cm × 40.6cm Trust I.D.# CG.2018.Aluminum.008 M. Lee Fatherree, Photographer

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329-332. Origami Series No. 9, 2018–19 Aluminum, acrylic lacquer 16½ in. × 15 in. × 14 in.

41.9cm × 38.1cm × 35.6cm Trust I.D.# CG.2018.Aluminum.009 M. Lee Fatherree, Photographer

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333-337. Origami Series No. 10, 2018–19 Aluminum, acrylic lacquer 13½ in. × 21 in. × 10 in.

34.3cm × 53.3cm × 25.4cm Trust I.D.# CG.2018.Aluminum.010 M. Lee Fatherree, Photographer

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338-342. Origami Series No. 11, 2018–19 Aluminum, acrylic lacquer 18½ in. × 16½ in. × 8 in.

47.0cm × 41.9cm × 20.3cm Trust I.D.# CG.2018.Aluminum.011 M. Lee Fatherree, Photographer PAGES 174-175

343-344. Origami Series No. 12, 2018–19 Aluminum, acrylic lacquer 10 in. × 21 in. × 8¾ in.

25.4cm × 53.3cm × 22.2cm Trust I.D.# CG.2018.Aluminum.012 M. Lee Fatherree, Photographer

173

174

175

176

345-347. Origami Series No. 13, 2018–19 Aluminum, acrylic lacquer 19¼ in. × 14 in. × 10½ in.

48.9cm × 35.6cm × 26.7cm Trust I.D.# CG.2018.Aluminum.013 M. Lee Fatherree, Photographer

177

348-352. Origami Series No. 14, 2018–19 Aluminum, acrylic lacquer 18 in. × 16 in. × 19 in.

45.7cm × 40.6cm × 48.3cm Trust I.D.# CG.2018.Aluminum.014 M. Lee Fatherree, Photographer

178

179

180

353-355. Origami Series No. 15, 2018–19 Aluminum, acrylic lacquer 19½ in. × 14½ in. × 10½ in.

49.5cm × 36.8cm × 26.7cm Trust I.D.# CG.2018.Aluminum.015 M. Lee Fatherree, Photographer

181

GINNEVER EXHIBITION CHECKLISTS

356. Traveling Case with Charles Ginnever Sculpture Models, 2016

GINNEVER THE ART OF PERSPECTIVE SEPTEMBER 21, 2021– MARCH 27, 2022

ASSEMBLAGE, LINCOLN, NE

357-359. Drawing Studies for Totem Sculptures, 1957–58

NOTE: The exhibition checklist is arranged in chronological order and within each year, alphabetically.

1957–1958

Drawing Studies for Totem Sculptures, 1957–58 Triptych: Ink, graphite on paper 8 in. × 16 in.

20.3cm × 40.6cm Trust I.D.# CG.1957.DWG.005 M. Lee Fatherree, Photographer

LEF T

Drawing Study No. 1 for Totem Sculpture II, 1957–58 Ink on paper 8 in. × 5 in.

20.3cm × 12.7cm Trust I.D. #CG.1957.DWG.005.01 CENTER

Drawing Study No. 2 for Totem Sculpture II, 1957–58 Graphite on paper 8 in. × 5 in.

20.3cm × 12.7cm Trust I.D. #CG.1957.DWG.005.02 RIGHT

Drawing Study No. 3 for Totem Sculpture II, 1957–58 Ink on paper 8 in. × 5 in.

20.3cm × 12.7cm Trust I.D. #CG.1957.DWG.005.03

186

Oxbow, 1957–58 (Cast 1/4, 1989) Bronze with patina on steel base 78 in. × 36 in. × 18 in.

198.1cm × 91.4cm × 45.7cm Trust I.D.# CG.1958.BRZ.001.01 Karen and Robert Duncan Collection, Lincoln, NE M. Lee Fatherree, Photographer

187

Studies for Painted Plaster Column, 1957–58 Quadriptych: Graphite on paper 19¾ in. × 12 7∕8 in.

50.2cm × 32.7cm Trust I.D.# CG.1957.DWG.002 M. Lee Fatherree, Photographer

ABOVE LEF T

ABOVE RIGHT

Study for Painted Plaster Column I, 1957–58 Graphite on paper 8 in. × 4 7∕8 in.

20.3cm × 12.4cm Trust I.D.# CG.1957.DWG.002.01

Study for Painted Plaster Column II, 1957–58 Graphite on paper 8 in. × 4 7∕8 in.

20.3cm × 12.4cm Trust I.D.# CG.1957.DWG.002.02

BELOW LEF T

BELOW RIGHT

Study for Painted Plaster Column IV, 1957–58 Graphite on paper 8 in. × 4 7∕8 in.

20.3cm × 12.4cm Trust I.D.# CG.1957.DWG.002.03

Study for Painted Plaster Column V, 1957–58 Graphite on paper 8 in. × 4 7∕8 in.

20.3cm × 12.4cm Trust I.D.# CG.1957.DWG.002.04

188

Painted Plaster Column I, 1957–58 Plaster, oil-based pigments on steel base 16¾ in. × 6 in. × 6½ in.

42.6cm × 15.2cm × 16.5cm Trust I.D.# CG.1957.PLR.001 Anne-Marie Muscari, Photographer Study for Column Sculpture, 1957–58 Graphite on paper 10½ in. × 8 in.

26.7cm × 20.3cm Trust I.D.# CG.1957.DWG.001 M. Lee Fatherree, Photographer

1959 Ithaca Drawing Study No. 2, 1959 Ink on paper 7 in. × 11 in.

17.8cm × 27.9cm Trust I.D.# CG.1959.DWG.007 M. Lee Fatherree, Photographer

Ithaca Drawing Study No. 4, 1959 Graphite, ink, red pencil on paper 7 in. × 11 in.

17.8cm × 27.9cm Trust I.D.# CG.1959.DWG.009 M. Lee Fatherree, Photographer

Ithaca, 1959 Wood, steel 12 ft. × 25 ft. × 15 ft.

3.7m × 7.6m × 4.6m Trust I.D.# CG.1959.Wood.002 Installation, Vermont Farm Charles Ginnever, Photographer Ithaca Drawing Study No. 1, 1959 Ink on paper 7 in. × 11 in.

17.8cm × 27.9cm Trust I.D.# CG.1959.DWG.006 M. Lee Fatherree, Photographer

Ithaca Drawing Study No. 5, 1959 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1959.DWG.010 M. Lee Fatherree, Photographer

Ithaca Drawing Study No. 6, 1959 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1959.DWG.011 M. Lee Fatherree, Photographer

189

Ithaca Drawing Study No 7, 1959 Ink on paper 5½ in. × 8½ in.

14.0cm × 21.6cm Trust I.D.# CG.1959.DWG.012 M. Lee Fatherree, Photographer

Ithaca Drawing Study No. 11, 1959 Graphite on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1959.DWG.025 M. Lee Fatherree, Photographer

Ithaca Drawing Study No. 8, 1959 Ink on paper 7 in. × 11 in.

17.8cm × 27.9cm Trust I.D.# CG.1959.DWG.013 M. Lee Fatherree, Photographer

Ithaca Drawing Study No. 12, 1959 Graphite on paper 8½ in. × 8 3∕8 in.

21.6cm × 21.3cm Trust I.D.# CG.1959.DWG.020 M. Lee Fatherree, Photographer

Ithaca Drawing Study No. 9, 1959 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1959.DWG.014 M. Lee Fatherree, Photographer

Ithaca Drawing Study No. 10, 1959 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1959.DWG.017 M. Lee Fatherree, Photographer

190

Ithaca Drawing Study No. 14, 1959 Graphite on paper 7 in. × 11 in.

17.8cm × 27.9cm Trust I.D.# CG.1959.DWG.021 M. Lee Fatherree, Photographer Ithaca Drawing Study No. 15, 1959 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1959.DWG.015 M. Lee Fatherree, Photographer

1959–1960

Ithaca Drawing Study No. 22, 1959–60 Graphite on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1959.DWG.031 M. Lee Fatherree, Photographer

191

Ithaca Drawing Studies, 1959–60 Diptych: Graphite, ink on paper 14 in. × 18 in.

35.6cm × 45.7cm Trust I.D.# CG.1959.DWG.030 M. Lee Fatherree, Photographer LEF T

RIGHT

Ithaca Drawing Study No. 23, 1959–60 Graphite, ink on paper 11 in. × 7 in.

27.9cm × 17.8cm Trust I.D.# CG.1959.DWG.030.01

Ithaca Drawing Study No. 24, 1959–60 Graphite on paper 11 in. × 7 in.

27.9cm × 17.8cm Trust I.D.# CG.1959.DWG.030.02 Studies for Ithaca Sculpture, 1959–63 Graphite on vellum 14 in. × 81/2 in.

35.6cm × 21.6cm Trust I.D.# CG.1959.DWG.034 M. Lee Fatherree, Photographer

192

1961 Drawing for Wall Relief No. 1, 1961 Oil-pastel, charcoal on paper 17 in. × 11 in.

43.2cm × 27.9cm Trust I.D.# CG.1961.DWG.001 M. Lee Fatherree, Photographer

Studies for Ithaca Sculpture, 1959–60 Quadriptych: Colored ink on paper Mat Size: 91/4 in. × 161/2 in.

23.5cm × 41.9cm Trust I.D.# CG.1959.DWG.016 M. Lee Fatherree, Photographer LEF T

CENTER

Ithaca Drawing Study No. 16, 1959–60 Colored ink on paper 6½ in. × 9 in.

16.5cm × 22.9cm Trust I.D.# CG.1959.DWG.016.01

Ithaca Drawing Study No. 17, 1959–60 Colored ink on paper 1 7∕8 in. × 3 in.

4.3cm × 7.6cm Trust I.D.# CG.1959.DWG.016.02

ABOVE RIGHT

BELOW RIGHT

Ithaca Drawing Study No. 18, 1959–60 Colored ink on paper 17∕8 in. × 3 in.

4.3cm × 7.6cm Trust I.D.# CG.1959.DWG.016.03

Ithaca Drawing Study No. 19, 1959–60 Colored ink on paper 3 in. × 3¾ in.

7.6cm × 9.5cm Trust I.D.# CG.1959.DWG.016.04

Drawing for Wall Relief No. 2, 1961 Oil-pastel, charcoal on paper 17 in. × 10 7∕8 in.

43.2cm × 27.6cm Trust I.D.# CG.1961.DWG.002 M. Lee Fatherree, Photographer

193

Ghost of Eisenheim, 1961 Steel, oil-based pigments 84 in. × 48 in. × 48 in.

213.4cm × 121.9cm × 121.9cm Trust I.D.# CG.1961.Steel.003 M. Lee Fatherree, Photographer

Calculation Notes for Rocker Fabrication, 1961 Graphite, colored pencil on paper 9 7∕8 in. × 7½ in.

25.1cm × 19.1cm Trust I.D.# CG.1961.DWG.006 M. Lee Fatherree, Photographer

Color Study for Rocker I, 1961 Graphite, colored pencil on tracing paper 9 7∕8 in. × 7½ in.

25.1cm × 19.1cm Trust I.D.# CG.1961.DWG.003 M. Lee Fatherree, Photographer

194

Color Study for Rocker II, 1961 Graphite, colored pencil on tracing paper over printed image 10 in. × 8 in.

25.4cm × 20.3cm Trust I.D.# CG.1961.DWG.004 M. Lee Fatherree, Photographer

Rocker, 1961 Steel, oil-based pigments 62 in. × 40 in. × 20 in.

157.5cm × 101.6cm × 50.8cm Trust I.D.# CG.1961.Steel.005 Photograph courtesy of Allan Stone Gallery, New York, NY 1961

1961–1962

Fiat Ascending Sculpture Studies, 1961– 62 Triptych: Ink, oil-based pigments on paper 13¾ in. × 28¼ in.

34.9cm × 71.8cm Trust I.D.# CG.1962.DWG.010 M. Lee Fatherree, Photographer

Fiat Ascending Sculpture Study and Fabrication Notes I, 1962 Ink on paper 11 in. × 8½ in.

27.9cm × 21.6cm Trust I.D.# CG.1962.DWG.010.01

CENTER

RIGHT

Fiat Ascending Sculpture Study, 1961–62 Ink, oil-based pigments on paper 11 in. × 8½ in.

27.9cm × 21.6cm Trust I.D.# CG.1962.DWG.010.02

Fiat Ascending Sculpture Study and Fabrication Notes II, 1962 Ink, red pencil on paper 10 5∕8 in. × 7 7∕8 in.

27.0cm × 20.0cm Trust I.D.# CG.1962.DWG.010.03

LEF T

1962 Fiat Ascending Studies I, 1962 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9 cm Trust I.D.# CG.1962.DWG.009 M. Lee Fatherree, Photographer

Fiat Ascending Studies II, 1962 Diptych: Ink on paper 11 in. × 25 5∕8 in.

27.9cm × 65.1cm Trust I.D.# CG.1962.DWG.019 M. Lee Fatherree, Photographer LEF T

RIGHT

Fiat Ascending Study I, 1962 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.019.01

Fiat Ascending Study II, 1962 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.019.02 Fiat Ascending Study III, 1962 Ink on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.024 M. Lee Fatherree, Photographer Photograph – Fiat Ascending, 1962 Trust I.D.# CG.1962.Steel.001 Photograph printed at iocolor, Seattle, WA

195

Ergo Suits Carnival Costume Designs and Dance Notes for Performance, 1962 Triptych: Graphite on ruled paper 13¾ in. × 23¾ in.

34.9cm × 60.3cm Trust I.D.# CG.1962.DWG.012 M. Lee Fatherree, Photographer

LEF T

Ergo Suits Dance Notes for Performance, 1962 Graphite on ruled paper 8 in × 6 in.

20.3cm × 15.2cm Trust I.D.# CG.1962.DWG.012.01 CENTER

Ergo Suits Carnival War Dance Costume Designs and Notes, 1962 Graphite on ruled paper 10 in. × 7¾ in.

25.4cm × 19.7cm Trust I.D.# CG.1962.DWG.012.02 RIGHT

Ergo Suits Carnival Worm Dance Costume Design and Dance Notes, 1962 Graphite on ruled paper 8 in × 6 in.

20.3cm × 15.2cm Trust I.D.# CG.1962.DWG.012.03

196

Ergo Suits Carnival War Dance Performance, 1962 Costume designed by Tom Doyle Photograph printed at iocolor, Seattle, WA ABOVE

Ergo Suits Carnival Worm Dance Performance, 1962 Costume designed by Charles Ginnever Photograph printed at iocolor, Seattle, WA BELOW

Ergo Suits Carnival War Dance Performance, 1962 Costume designed by Eva Hesse Photograph printed at iocolor, Seattle, WA

Ergo Suits Carnival War Dance Performance, 1962 Costume designed by Charles Ginnever Photograph printed at iocolor, Seattle, WA

Poster for Ergo Suits Carnival, 1962 Designed by Phyllis Yampolsky Offset lithograph: Printer’s inks on paper 11 7∕8 in. × 8 7∕8 in.

30.2cm × 22.5cm Trust I.D.# CG.1962.LITH.001 M. Lee Fatherree, Photographer

Ergo Suits Carnival War Dance Costume Designs, 1962 Graphite on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.011 M. Lee Fatherree, Photographer

197

Fresno Flat, 1962 Steel, oil-based pigments 86 in. × 36 in. × 21 in.

218.4cm × 91.4cm × 53.3cm Trust I.D.# CG.1962.Steel.002 M. Lee Fatherree, Photographer

Hole View Drawing Study, 1961-62 Ink, oil-based pigments on paper 7 in. × 4 in.

17.8cm × 10.2cm Trust I.D.# CG.1962.DWG.013 M. Lee Fatherree, Photographer

Hole View, 1962 Steel, canvas, oil-based pigments 27 in. × 26 in. × 151/2 in.

68.6cm × 66.0cm × 39.4cm Trust I.D.# CG.1962.Steel.008 M. Lee Fatherree, Photographer

198

Sound Score for Opaque Projector, No Jazz, Jazz Music Session III, 1962 Water-based pigments on paper, mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.003 M. Lee Fatherree, Photographer

Ronnie, 1962 Steel, oil-based pigments 16¼ in. × 30 in. × 21½ in.

41.3cm × 76.2cm × 54.6cm Trust I.D.# CG.1962.Steel.007 M. Lee Fatherree, Photographer Sound Score for Opaque Projector, No Jazz, Jazz Music Session I, 1962 Water-based pigments on paper, mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.001 M. Lee Fatherree, Photographer Sound Score for Opaque Projector, No Jazz, Jazz Music Session II, 1962 Water-based pigments on paper, mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.002 M. Lee Fatherree, Photographer

Sound Score for Opaque Projector, No Jazz, Jazz Music Session IV, 1962 Water-based pigments on paper, mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.004 M. Lee Fatherree, Photographer Sound Score for Opaque Projector, No Jazz, Jazz Music Session V, 1962 Water-based pigments on paper, mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.005 M. Lee Fatherree, Photographer Sound Score for Opaque Projector, No Jazz, Jazz Music Session VII, 1962 Water-based pigments on paper, mounted on linen-covered board 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.007 M. Lee Fatherree, Photographer

199

Split Image, 1962 Steel, oil-based pigments 40 in. × 40 in. × 30 in.

101.6cm × 101.6cm × 76.2cm Trust I.D.# CG.1962.Steel.003 M. Lee Fatherree, Photographer

Wall Relief, 1962 Steel, oil-based pigments 40 in. × 43 in. × 17 in.

101.6cm × 109.2cm × 43.2cm Trust I.D.# CG.1962.Steel.006 M. Lee Fatherree, Photographer

1963 Floater, 1963 Steel, oil-based pigments 60 in. × 72 in. × 60 in.

152.4cm × 182.9cm × 152.4cm Trust I.D.# CG.1963.Steel.004 M. Lee Fatherree, Photographer

200

Floater Drawing Study, 1963 Ink on paper 81/2 in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1963.DWG.002 Collection Susan Ginnever Indianapolis, IN M. Lee Fatherree, Photographer Painted Steel Maquette II, 1963 Steel, oil-based pigments 6¼ in. × 8 in. × 4¼ in.

15.9cm × 20.3cm × 10.8cm Trust I.D.# CG.1963.Steel.003 M. Lee Fatherree, Photographer

Painted Steel Maquette III, 1963 Steel, oil-based pigments 7½ in. × 5 in. × 5½ in.

19.0cm × 12.7cm × 14.0cm Trust I.D.# CG.1963.Steel.012 M. Lee Fatherree, Photographer

Rolling Fog, 1963 Steel, oil-based pigments 34½ in. × 34¼ in. × 25¾ in.

87.6cm × 86.9cm × 65.4cm Trust I.D.# CG.1963.Steel.005 M. Lee Fatherree, Photographer

Warp Series IV, 1963 Stainless steel, wire 24 in. × 30 in. × 24 in.

60.9cm × 76.2cm × 60.9cm Trust I.D.# CG.1963.SSteel.004 M. Lee Fatherree, Photographer

T.P., 1963 Steel, oil-based pigments 50 in. × 45 in. × 12 in.

127.0cm × 114.3cm × 30.5cm Trust I.D.# CG.1963.Steel.001 Anne-Marie Muscari, Photographer

Warp Series V, 1963 Stainless steel, wire 24 in. × 30 in. × 24 in.

60.9cm × 76.2cm × 60.9cm Trust I.D.# CG.1963.SSteel.005 M. Lee Fatherree, Photographer

Warp Series I, 1963 Stainless steel, wire 24 in. × 30 in. × 24 in.

60.9cm × 76.2cm × 60.9cm Trust I.D.# CG.1963.SSteel.001 M. Lee Fatherree, Photographer

1964 Balance, 1964 Steel, oil-based pigments 13 in. × 22 in. × 15 in.

33.0cm × 55.9cm × 38.1cm Trust I.D.# CG.1964.Steel.004 M. Lee Fatherree, Photographer

201

Banzai Fabrication Notes, 1964 Ink, graphite on paper 81/2 in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1964.DWG.013 M. Lee Fatherree, Photographer

Banzai, 1964 Wood, steel 48 in. × 43 in. × 40 in.

122.0cm × 109.2cm × 101.6cm Trust I.D.# CG.1964.Wood.001 Robert Duncan, Photographer

202

Bird Bath, 1964 Steel, chrome-plated steel, oil-based pigments 14¼ in. × 15½ in. × 13 in.

36.2cm × 39.4cm × 33.0cm Trust I.D.# CG.1964.Steel.001 Collection Ronnie Ginnever New York, NY M. Lee Fatherree, Photographer

Gesture Maquette, 1964 Steel, oil-based pigments 10 in. × 6 in. × 4 in.

25.4cm × 15.2cm × 10.2cm Trust ID.# CG.1964.Steel.008 M. Lee Fatherree, Photographer Jezabel, 1964 Wood, steel, chrome-plated steel 54 in. × 32 in. × 42 in.

137.2cm × 81.3cm × 106.7cm Trust I.D.# CG.1964.Wood.002 Unknown Photographer

Drawing Notes for Jezabel, 1964 Ink, graphite on paper 5¼ in. × 7 7∕8 in.

13.3cm × 20.0cm Trust I.D.# CG.1964.DWG.012 M. Lee Fatherree, Photographer

203

Painted Steel Maquette VI, 1964 Steel, oil-based pigments 13¼ in. × 15¾ in. × 7¼ in.

33.7cm × 40.0cm × 18.4cm Trust I.D.# CG.1964.Steel.007 M. Lee Fatherree, Photographer

Painted Steel Maquette VI Drawing, 1964/2008 Graphite on paper 51/4 in. × 7 7∕8 in.

13.3cm × 20.0cm Trust I.D.# CG.1964.DWG.001 Collection Susan Ginnever M. Lee Fatherree, Photographer

204

Painted Steel Maquette VII, 1964 Steel, oil-based pigments 6¾ in. × 5½ in. × 4 in.

17.2cm × 14.0cm × 10.1cm Trust I.D.# CG.1964.Steel.006 M. Lee Fatherree, Photographer

Drawing Notes for Sen Sen, 1964 Ink, graphite on paper 51/4 in. × 7 7∕8 in.

13.3cm × 20.0cm Trust I.D.# CG.1964.DWG.011 M. Lee Fatherree, Photographer

Sen Sen, 1964 Steel 41 in. × 48 in. × 49 in.

104.1cm × 122.0cm × 124.5cm Trust I.D.# CG.1964.Steel.003 Unknown Photographer

Timebridge, 1964 Steel, oil-based pigments 15 in. × 25½ in. × 22 in.

38.1cm × 64.8cm × 55.9cm Trust I.D.# CG.1964.Steel.005 Collection Susan Ginnever Indianapolis, IN M. Lee Fatherree, Photographer

205

GINNEVER FOLDED FORMS AUGUST 23 – DECEMBER 17, 2021

CHRISTIAN PETERSEN ART MUSEUM IOWA STATE UNIVERSITY, AMES, IA

360-362. Zag, for Walter Davis, Jr., 1980

NOTE: The exhibition checklist is arranged in chronological order and within each year, alphabetically.

1955

Paris BeBop I, 1955 Charcoal, oil-based pigments on paper 17¾ in. × 1111∕16 in.

45.1cm × 29.7cm Trust I.D.# CG.1955.DWG.020 M. Lee Fatherree Photographer

208

Paris BeBop II, 1955 Charcoal, oil-based pigments on paper 20 7∕8 in. × 14 7∕8 in.

53.0cm × 27.8cm Trust I.D.# CG.1955.DWG.002 M. Lee Fatherree Photographer

Paris BeBop IX, 1955 Charcoal, oil-based pigments on paper 17¾ in. × 11 7∕8 in.

45.1cm × 30.2cm Trust I.D.# CG.1955.DWG.011 M. Lee Fatherree Photographer

Paris BeBop III, 1955 Charcoal, oil-based pigments on paper 17¾ in. × 11 11∕16 in.

45.1cm × 29.7cm Trust I.D.# CG.1955.DWG.016 M. Lee Fatherree Photographer

Paris BeBop XVIII, 1955 Charcoal, oil-based pigments on paper 14¼ in. × 18¾ in.

36.2cm × 46.7cm Trust I.D.# CG.1955.DWG.018 M. Lee Fatherree Photographer

209

1960s

Aquabee Sketchbook, 1960s Spiral-bound sketchbook: wire, cardboard, graphite, ink on paper 8 in. × 5½ in. × ¾ in.

20.3cm × 14.0cm × 1.9cm Trust I.D.# CG.1965.SKBK.001 M. Lee Fatherree, Photographer

210

1964–1965

Dante’s Rig, 1964–65 Aluminum, steel, oil-based pigments 9 ft. × 23 ft. × 8 ft.

2.7m × 7.0m × 2.4m Trust I.D.# CG.1965.Aluminum.001 Installation, Vermont Farm Neil A. Lukas, Photographer

211

1965 Dante’s Rig Study No. 6, 1965 Ink on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965. DWG.011 M. Lee Fatherree, Photographer

Dante’s Rig Study No. 9, 1965 Ink on paper 7 5∕8 in. × 9 7∕8 in.

19.4cm × 25.1cm Trust I.D.# CG.1965.DWG.015 M. Lee Fatherree, Photographer

Dante’s Rig Study No. 11, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.005 M. Lee Fatherree, Photographer Dante’s Rig Study No. 12, 1965 Ink on paper 411∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.004 M. Lee Fatherree, Photographer Dante’s Rig Study No. 13, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.003 M. Lee Fatherree, Photographer

Dante’s Rig Study No. 8, 1965 Ink on paper 7 5∕8 in. × 9 7∕8 in.

19.4cm × 25.1cm Trust I.D.# CG.1965.DWG.016 M. Lee Fatherree, Photographer

212

Dante’s Rig Study No. 14, 1965 Ink on paper 7 5∕8 in. × 9 7∕8 in.

19.4cm × 25.1cm Trust I.D.# CG.1965.DWG.002 M. Lee Fatherree, Photographer

Fabrication Notes for Aluminum Sails on Dante’s Rig, 1965 Triptych: Ink, graphite, collage on paper 11 in. × 243/4 in.

27.9cm × 62.9cm Trust I.D.# CG.1965.DWG.007 M. Lee Fatherree Photographer

LEF T

Dante’s Rig Study No. 4, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.007.01 CENTER

Dante’s Rig Study No. 10, 1965 Graphite, collage on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965.DWG.007.02 RIGHT

Dante’s Rig Study No. 15, 1965 Ink on paper 7 5∕8 in. × 9 7∕8 in.

19.4cm × 25.1cm Trust I.D.# CG.1965.DWG.001 M. Lee Fatherree, Photographer

Dante’s Rig Study No. 5, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.007.03

Dante’s Rig Study No. 16, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.006 M. Lee Fatherree, Photographer

213

Fabrication Notes for Dante’s Rig, 1965 Triptych: Ink on paper 11 in. × 18 in.

27.9cm × 45.7cm Trust I.D.# CG.1965.DWG.010 M. Lee Fatherree Photographer

LEF T

Dante’s Rig Study No. 1, 1965 Ink on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965.DWG.010.01 CENTER

Dante’s Rig Study No. 2, 1965 Ink on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965.DWG.010.02 RIGHT

Dante’s Rig Study No. 3, 1965 Ink on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965.DWG010.03

214

Gothic Series Number 3 Mid-size Maquette, 1965–79 Steel, epoxy primer, Urethane 34½ in. × 27½ in. × 10½ in.

87.6cm × 70.0cm × 26.7cm Trust I.D.# CG.1965.Steel.003 Karen and Robert Duncan Collection Lincoln, NE Bill Ganzel, Photographer

The Bird (for Charlie Parker) Mid-size Maquette, 1965–81 Steel, epoxy primer, Urethane 34½ in. × 27½ in. × 10½ in.

87.6cm × 70.0cm × 26.7cm Trust I.D.# CG.1965.Steel.002 Karen and Robert Duncan Collection Lincoln, NE Bill Ganzel, Photographer

215

1977

1979

Proposal for Wisconsin Blue Cross Building, 1977 Ink, colored-pencil on vellum overlay in exhibition catalogue, Ginnever: 20 Years/20 Works, published by Sculpture Now, Inc., New York, NY, 1975 8 7∕8 in. × 11 7∕8 in.

22.5cm × 30.2cm Trust I.D.# CG.1977.DWG.005 Jon and Molly Ott Collection, California M. Lee Fatherree, Photographer

Drawing Study for Goddard’s Dream, 1979 Colored-paper collage, ink on paper 9 in. × 8 in.

22.9cm × 20.3cm Trust I.D.# CG.1979.DWG.020 M. Lee Fatherree, Photographer

Fabrication Notes for Goddard’s Dream, 1979 Ink on printed paper 11 in. × 8½ in.

27.9cm × 21.6cm Trust I.D.# CG.1979.DWG.021 M. Lee Fatherree, Photographer

216

1980 Dansa Sculpture Study, 1980 Graphite on paper 11 in. × 13 7∕8 in.

27.9cm × 35.2cm Trust I.D.# CG.1980.DWG.006 M. Lee Fatherree, Photographer

Goddard’s Dream Mid-size Steel Maquette I, 1979–81 Steel, epoxy primer, Urethane 35 in. × 211/2 in. × 191/2 in.

88.9cm × 54.6cm × 49.5cm Trust I.D.# CG.1979.Steel.016 Bill Ganzel, Photographer

Dansa Steel Maquette, 1980 Steel, bronze-plated surface with patina 11½ in. × 44 in. × 18 in.

29.2cm × 111.8cm × 45.7cm Trust I.D.# CG.1980.Steel.004 M. Lee Fatherree, Photographer

217

Drawing Study for Folded Forms Sculpture, 1980 Graphite on paper 13 7∕8 in. × 11 in.

35.2cm × 27.9cm Trust I.D.# CG.1980.DWG.017 M. Lee Fatherree, Photographer

Folded Forms Sculpture Studies II, 1980 Diptych: Ink on paper 14 in. × 21 in.

35.6cm × 53.3cm Trust I.D.# CG.1980.DWG.016 M. Lee Fatherree, Photographer Folded Forms Sculpture Studies I, 1980 Triptych: Ink on paper

CENTER

LEF T

RIGHT

Trust I.D.# CG.1980.DWG.015 M. Lee Fatherree, Photographer

Folded Forms Sculpture Study II, 1980 Ink on paper 10 7∕8 in. × 8 3∕8 in.

27.6cm × 21.3cm Trust I.D.#CG.1980.DWG.015.02

Folded Forms Sculpture Study IV, 1980 Ink on paper 10 7∕8 in. × 8 3∕8 in.

27.6cm × 21.3cm Trust I.D.# CG.1980.DWG.016.01

Folded Forms Sculpture Study V, 1980 Ink on paper 10 7∕8 in. × 8 3∕8 in.

27.6cm × 21.3cm Trust I.D.# CG.1980.DWG.016.02

LEF T

RIGHT

Folded Forms Sculpture Study I, 1980 Ink on paper 10 7∕8 in. × 8 3∕8 in.

27.6cm × 21.3cm Trust I.D.#CG.1980.DWG.015.01

Folded Forms Sculpture Study III, 1980 Ink on paper 10 7∕8 in. × 8 3∕8 in.

27.6cm × 21.3cm Trust I.D.#CG.1980.DWG.015.03

14 in. × 30 in.

35.6cm × 76.2cm

218

1981 Luna Moth Walk I, Verso, Mid-size Maquette, 1981 Steel, epoxy primer, Urethane Uniquely Painted 26 in. × 24 in. × 19 in.

66.0cm × 61.0cm × 48.3cm Trust I.D.# CG.1981.Steel.009 Karen and Robert Duncan Collection Lincoln, NE M Lee Fatherree, Photographer

Luna Moth Walk II, Mid-size Maquette, 1981 Steel, epoxy primer, Urethane Uniquely Painted 26 in. × 24 in. × 19 in.

66.0cm × 61.0cm × 48.3cm Trust I.D.# CG.1981.Steel.010 Karen and Robert Duncan Collection Lincoln, NE M Lee Fatherree, Photographer

Zag for Walter Davis Jr., 1980 Steel, oil-based pigments 37 1∕8 in. × 17 in. × 10 3∕8 in.

94.3cm × 43.2cm × 26.4cm Trust I.D.# CG.1980.Steel.014 M. Lee Fatherree, Photographer

Luna Moth Walk III, Mid-size Maquette, 1981 Steel, epoxy primer, Urethane Uniquely Painted 26 in. × 24 in. × 19 in.

66.0cm × 61.0cm × 48.3cm Trust I.D.# CG.1981.Steel.008.02 Karen and Robert Duncan Collection Lincoln, NE M Lee Fatherree, Photographer

219

2001

2012

Pastel Folded Forms, 2001 Charcoal, graphite, oil-based pigments on paper Closed: 7 1∕8 in. × 31/4 in. × 3∕8 in.

18.1cm × 8.3cm × 1.0cm Open: 7 1∕8 in. × 15 7∕8 in.

18.1cm × 40.3cm Trust I.D.# CG.2001.ARTBK.001 Collection Jodi Ginnever M. Lee Fatherree, Photographer

Multus, 2012 Folded Sculpture: Three-color etching Printer’s ink on 500g, 3-ply Somerset paper 12 in. × 20 in. × 18 in.

30.5cm × 50.8cm × 45.7cm Printed in an edition of 20 by Landfall Press, Santa Fe, NM Trust I.D.# CG.2012.ETCH.001.05 Collection University Museums Iowa State University, Ames IA Peter Ellzey, Photographer

220

Origami Series I, 2012 Aluminum, acrylic lacquer 11 in. × 5¼ in. × 4¼ in.

27.9cm × 13.3cm × 10.8cm Trust I.D.# CG.2012.Aluminum.007 M. Lee Fatherree, Photographer

Multus - Unfolded State, 2012

Origami Series II, 2012 Aluminum, acrylic lacquer 11½ in. × 6½ in. × 5½ in.

29.2cm × 16.5cm × 14.0cm Trust I.D.# CG.2012.Aluminum.008 M. Lee Fatherree, Photographer

Origami Series III, 2012 Aluminum, acrylic lacquer 11 in. × 5 in. × 5 in.

27.9cm × 12.7cm × 12.7cm Trust I.D.# CG.2012.Aluminum.009 M. Lee Fatherree, Photographer

Folding Instructions for Multus, 2012 Ink on paper 18 in. × 20 in.

45.7cm × 50.8cm Trust I.D.# CG.2012.ETCH.021 M. Lee Fatherree, Photographer

221

Origami Series IV, 2012 Aluminum, acrylic lacquer 8 in. × 9 in. × 7¾ in.

20.3cm × 22.9cm × 19.7cm Trust I.D.# CG.2012.Aluminum.005 M. Lee Fatherree, Photographer

Origami Series XI, 2012 Aluminum, acrylic lacquer 11½ in. × 7½ in. × 6 in.

27.9cm × 19.1cm × 15.2cm Trust I.D.# CG.2012.Aluminum.011 M. Lee Fatherree, Photographer

Origami Series VI, 2012 Aluminum, acrylic lacquer 9½ in. × 12 in. × 12 in.

24.1cm × 30.5cm × 30.5cm Trust I.D.# CG.2012.Aluminum.006 M. Lee Fatherree, Photographer

Origami Paper Maquette for Origami Series II, 2012 Graphite, metallic ink on paper 16 in. × 8 in.

40.6cm × 20.3cm Trust I.D.# CG.2012.DWG.001 M. Lee Fatherree, Photographer

Origami Series VII, 2012 Aluminum, acrylic lacquer 11½ in. × 73/4 in. × 6 in.

29.2cm × 19.7cm × 15.2cm Trust I.D.# CG.2012.Aluminum.010 M. Lee Fatherree, Photographer

222

Origami Paper Maquette for Origami Series XI, 2012 Graphite, colored ink on paper 16 in. × 8 in.

40.6cm × 20.3cm Trust I.D.# CG.2012.DWG.002 M. Lee Fatherree, Photographer

2016

2018–2019 Origami Series No. 1, 2018–19 Aluminum, acrylic lacquer 17½ in. × 18 in. × 14½ in.

44.5cm × 45.7cm × 36.8cm Trust I.D.# CG.2018.Aluminum.001 M. Lee Fatherree, Photographer

Traveling Case with Charles Ginnever Sculpture Models, 2016 Printed linen fabric, cardboard, metal corners, leather handle, linen-covered foam insert with paper maquettes, water-based pigments 15 in. × 29 in. × 8 in.

38.1cm × 73.7cm × 20.3cm Trust I.D.# CG.2016.MM.001 M. Lee Fatherree, Photographer 2018 Origami Paper Maquette for Origami Series No. 5, 2018 Graphite, colored ink on paper 15 7∕8 in. × 8 in.

40.3cm × 20.3cm Trust I.D.# CG.2018.DWG.002 M. Lee Fatherree, Photographer

Origami Series No. 2, 2018–19 Aluminum, acrylic lacquer 19¼ in. × 13½ in. × 9½ in.

48.9cm × 34.3cm × 24.1cm Trust I.D.# CG.2018.Aluminum.002 M. Lee Fatherree, Photographer

Origami Series No. 3, 2018–19 Aluminum, acrylic lacquer 17½ in. × 16 in. × 16½ in.

44.5cm × 40.6cm × 41.9cm Trust I.D.# CG.2018.Aluminum.003 M. Lee Fatherree, Photographer

223

224

Origami Series No. 4, 2018–19 Aluminum, acrylic lacquer 16¼ in. × 17½ in. × 10½ in.

41.3cm × 44.5cm × 26.7cm Trust I.D.# CG.2018.Aluminum.004 M. Lee Fatherree, Photographer

Origami Series No. 7, 2018–19 Aluminum, acrylic lacquer 12 in. × 12 in. × 12 in.

30.5cm × 30.5cm × 30.5cm Trust I.D.# CG.2018.Aluminum.007 M. Lee Fatherree, Photographer

Origami Series No. 5, 2018–19 Aluminum, acrylic lacquer 24 in. × 13 in. × 13½ in.

61.0cm × 33.0cm × 34.3cm Trust I.D.# CG.2018.Aluminum.005 M. Lee Fatherree, Photographer

Origami Series No. 8, 2018–19 Aluminum, acrylic lacquer 15¼ in. × 21 in. × 16 in.

38.7cm × 53.3cm × 40.6cm Trust I.D.# CG.2018.Aluminum.008 M. Lee Fatherree, Photographer

Origami Series No. 6, 2018-19 Aluminum, acrylic lacquer 12 in. × 12 in. × 12 in.

30.5cm × 30.5cm × 30.5cm Trust I.D.# CG.2018.Aluminum.006 M. Lee Fatherree, Photographer

Origami Series No. 9, 2018–19 Aluminum, acrylic lacquer 16½ in. × 15 in. × 14 in.

41.9cm × 38.1cm × 35.6cm Trust I.D.# CG.2018.Aluminum.009 M. Lee Fatherree, Photographer

Origami Series No. 10, 2018–19 Aluminum, acrylic lacquer 13½ in. × 21 in. × 10 in.

34.3cm × 53.3cm × 25.4cm Trust I.D.# CG.2018.Aluminum.010 M. Lee Fatherree, Photographer

Origami Series No. 13, 2018–19 Aluminum, acrylic lacquer 19¼ in. × 14 in. × 10½ in.

48.9cm × 35.6cm × 26.7cm Trust I.D.# CG.2018.Aluminum.013 M. Lee Fatherree, Photographer

Origami Series No. 11, 2018–19 Aluminum, acrylic lacquer 18½ in. × 16½ in. × 8 in.

47.0cm × 41.9cm × 20.3cm Trust I.D.# CG.2018.Aluminum.011 M. Lee Fatherree, Photographer

Origami Series No. 14, 2018–19 Aluminum, acrylic lacquer 18 in. × 16 in. × 19 in.

45.7cm × 40.6cm × 48.3cm Trust I.D.# CG.2018.Aluminum.014 M. Lee Fatherree, Photographer

Origami Series No. 12, 2018–19 Aluminum, acrylic lacquer 10 in. × 21 in. × 8¾ in.

25.4cm × 53.3cm × 22.2cm Trust I.D.# CG.2018.Aluminum.012 M. Lee Fatherree, Photographer

Origami Series No. 15, 2018–19 Aluminum, acrylic lacquer 19½ in. × 14½ in. × 10½ in.

49.5cm × 36.8cm × 26.7cm Trust I.D.# CG.2018.Aluminum.015 M. Lee Fatherree, Photographer

225

GINNEVER SCULPTURE INSTALLATIONS SEPTEMBER 10, 2020 – JUNE 15, 2022

Organized by CLARINDA CARNEGIE ART MUSEUM CLARINDA, IA

363-365. Azuma, 1987

NOTE: Exhibition checklist is arranged in chronological order.

1980

Bop and Crazed, 1980 Steel, oil-based pigments Bop: 62 in. × 48 in. × 54 in.

157.5cm × 121.9cm × 137.2cm Crazed: 44 in. × 64 in. × 62 in.

111.8cm × 162.6cm × 157.5cm Trust I.D.# CG.1980.Steel.003 Installation, Lincoln Children’s Zoo Lincoln, NE 2018 Jodi Ginnever, Photographer 1982 Goddard’s Dream, 1982 Aluminum, acrylic-polymer pigments 14 ft. × 15 ft. × 11 ft.

4.3m × 4.6m × 3.4m Trust I.D.# CG.1982.Aluminum.002 Installation, Clarinda Regional Health Center, Clarinda, IA 2018 Heather Marsh, Photographer

228

1984

1985

Luna Moth Walk I, Verso; Luna Moth Walk II; Luna Moth Walk III, 1982–85 Steel Each: 10 ft. × 9 ft. × 8 ft.

3.0m × 2.7m × 2.4m Trust I.D.# CG.1985.Steel.007 Installation, City of Clarinda Airport.

Collection Clarinda Carnegie Art Museum, Clarida, IA M. Lee Fatherree, Photographer

High Rise, 1984 Steel 19 ft. × 22 ft. × 10 ft.

5.8m × 6.7m × 3.0m Trust I.D.# CG.1984.Steel.001 Installation, Nodaway County Park, Clarinda, IA 2018 Heather Marsh, Photographer

229

1986

Medusa, 1986 Steel 12 ft × 38 ft. × 32 ft.

3.7m × 11.6m × 9.8m Trust I.D.# CG.1986.Steel.001 Installation, Nodaway Conservation Station, Highway 71, Clarinda, IA 2018 Heather Marsh, Photographer

230

1987

2010

Azuma, 1987 Bronze with patina 11 ft. × 6 ft. × 9 ft.

3.4m × 1.8m × 2.7m Trust I.D.# CG.1987.BRZ.001 Installation, Nodaway Valley Historical Museum, Clarinda, IA 2018 Photograph courtesy of Walla Walla Foundry, Walla Walla WA

1991 Pas de Deux, 1991 Steel 7 ft. × 13 ft. × 8 ft.

2.1m × 4.0m × 2.4m Trust I.D.# CG.1991.Steel.002 Installation, Clarinda Carnegie Art Museum, Clarinda, IA Cole Sartore, Photographer

1998 Dementia, 1998 Steel 9.0 ft. x 16.0 ft. x 6.0 ft.

2.7m x 4.9m x 1.8m Trust.I.D.# CG.1998.Steel.001 Installation, Holmes Lake Park Lincoln, NE Cole Sartore, Photographer

Double Dutch, 2010 Steel 9 ft. × 17 ft. × 2 ft.

2.7m × 5.2m × 0.6m Trust I.D.# CG.2010.Steel.001 Installation, Clarinda Carnegie Art Museum, Clarinda, IA Heather Marsh, Photographer Transfer, 2010 Steel 16 ft. × 14 ft. × 12 ft.

4.9m × 4.3m × 3.7m Trust I.D.# CG.2010.Steel.002 Installation, Highway 2, Justin Walter Property, Clarinda, IA 2018 Robert Duncan, Photographer

231

GINNEVER TRANSFORMING PERSPECTIVES SEPTEMBER 10, 2020 – JULY 29, 2022

UNIVERSITY MUSEUMS IOWA STATE UNIVERSITY, AMES, IA

366-368. Slant Rhyme #22, 1992

NOTE: The exhibition checklist is arranged in chronological order and within each year, alphabetically.

1966 Midas and Fog, 1966 Steel, acrylic lacquer 7 ft. × 18 ft. × 6 ft.

2.1m × 5.5m × 1.8m Trust I.D.# CG.1966.Steel.001 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Jon and Molly Ott Collection, CA Christopher Gannon, Photographer 1968 Untitled [Flat Illusion], 1968 Steel 5 ft. × 10 ft. × 7 ft.

1.5m × 3.0m × 2.1m Trust I.D.# CG.1968.Steel.006 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Art on Campus Collection, University Museums, Iowa State University, Ames, IA Gift of Jon and Molly Ott in Memory of Freide Gorewitz, Holocaust survivor who was responsible for saving the lives of at least 18 children as a member of the Belgian resistance.

Christopher Gannon, Photographer

234

1984

1992

Cobra, 1984 Steel 6 ft. × 12 ft. × 2 ft.

1.8m × 3.7m × 0.6m Trust I.D.# CG.1984.Steel.002 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Art on Campus Collection, University Museums, Iowa State University, Ames, IA Christopher Gannon, Photographer

Slant Rhyme #20, 1992 Steel 8 ft. × 7 ft. × 6 ft.

2.4m × 2.1m × 1.8m Trust I.D.# CG.1992.Steel.001 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Karen and Robert Duncan Collection, Lincoln, NE Christopher Gannon, Photographer

1987

Slant Rhyme #22, 1992 Steel 8 ft. × 7 ft. × 6 ft.

2.4m × 2.1m × 1.8m Trust I.D.# CG.1992.Steel.007 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Jon and Molly Ott Collection, CA Christopher Gannon, Photographer

Walkabout, 1987 Bronze with patina 5 ft. × 16 ft. × 3 ft.

1.5m × 4.9m × 0.9m Trust I.D.# CG.1987.BRZ.003 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Jon and Molly Ott Collection, CA Christopher Gannon, Photographer

235

GINNEVER BIOGRAPHY, BIBLIOGRAPHY & ILLUSTRATED CHRONOLOGY

369. Charles Ginnever’s Work Table Landfall Press, Santa Fe, NM 2012

BIOGRAPHY 1931 San Mateo, California — 2019, Putney, Vermont

EDUCATION 1949–51

San Mateo Junior College, San Mateo, CA, A.A.

1953

Alliance Française, Paris, France

1954

Universitá per Stranieri, Perugia, Italy

1953–55

Académie de la Grande Chaumière, Paris, France, studies with Ossip Zadkine

1955

Atelier 17, Paris, France, studies with Stanley W. Hayter

1955–57

California School of Fine Arts (San Francisco Art Institute), San Francisco, CA, B.A. 1957

1957–59

Cornell University, Ithaca, NY, M.F.A. 1959

TEACHING 1957–59

Cornell University, Ithaca, NY

1963

Pratt Institute, Brooklyn, NY

1964

The New School for Social Research, New York, NY

OPPOSITE, LEF T/RIGHT

370. Photograph of Charles Ginnever, Perugia, Italy, 1954 Unknown Photographer 371. Charles Ginnever with classmates and Ossip Zadkine, Académie de la Grande Chaumière, Paris, c.1953–55 372. Charles Ginnever with his sculpture Satyr Pushing Girl in Swing, 1956 North Beach, San Francisco, CA 1957 373. Charles Ginnever, Stanley W. Hayter’s Class, Atelier 17, Paris, 1955

239

1964–65

Brooklyn Museum School, Brooklyn, NY

1965

Newark School of Fine and Industrial Art, Newark, NJ

1966

Dayton Art Institute, Dayton, OH, Artist-in-Residence

1977

National Endowment for the Arts Commission for the University of Michigan, Ann Arbor, MI, Daedalus

Aspen School of Contemporary Art, Aspen, CO, Head of Sculpture Department, Summer Session Orange County Community College, Middletown, NY, Fall

Knox Foundation Sculpture Competition for the City of Houston, TX, Pueblo Bonito

Wisconsin Blue Cross Building, Sculpture proposal for painted steel version of Gothic Series Number 3 1978

State University of New York, Albany, NY, Koronos

1967–75

Windham College, Putney, VT. Head of Art Department, 1970–71

1974

Hobart School of Welding Technology Summer Sculpture Program, Troy, OH

1979

Virlane Foundation, K & B Plaza, New Orleans, LA, The Bird (for Charlie Parker)

1987

Vermont Studio School, Johnson, VT, Summer

1980

1989

University of California, Berkeley, CA, Visiting Artist, Winter

Dayton Art Institute and the City Beautiful Council, Dayton, OH, Movin’ Out (for Jesse Owens)

1996

Vermont Studio Center, Johnson, VT, Visiting professor, Summer

AWARDS

University of Houston, Houston, TX, Troika

Kanawa Arts Alliance and the National Endowment for the Arts, Charleston, WV, Charleston Arch 1981

State University of New York, Buffalo, NY, Atlantis

1983

Hurd Development Corporation, Dallas, TX, Pisa

1985

Hewlett-Packard Corporation, Palo Alto, CA, Untitled [In Homage to My Father]

1957

California School of Fine Arts, San Francisco, CA, Sculpture Award

1972

Vermont State Council on the Arts, Grant for sculpture fabrication

1987

Koll-Bernal Associates, Pleasanton, CA, Squared II

1974

John Simon Guggenheim Fellowship

1996

1975

National Endowment for the Arts, Individual Artist Grant

1998

Pollock-Krasner Foundation Grant

President’s Choice, U.S. gift of Nike, 1986, to National Commission for Culture and the Arts, APEC Sculpture Garden, Philippine International Convention Center, Pasay City (Manila), Philippines

2005

Voigt Family Foundation, Geyserville, CA, Zip

2015

City of San Mateo, San Mateo, CA, San Mateo Bridge

1999–2001 Lee Krasner Foundation, Lifetime Achievement Award 2004

Pollock/Krasner Foundation Emergency Grant (studio fire) Gottlieb Foundation Emergency Grant (studio fire)

2007

Vermont Art Council, Walter Cerf Award for Lifetime Achievement

COMMISSIONS 1976

General Services Administration Commission for St. Paul Courthouse, St. Paul, MN, Protagoras National Endowment for the Arts Commission for Walker Art Center, Minneapolis, MN, Nautilus

240

SCULPTURE DANCES/PERFORMANCES 1962

Ergo Suits Artists’ Carnival, Woodstock and East Hampton, NY, August 18 and 25

1963

Fluxus Festival, George Segal Farm, South Brunswick, NJ, May 19

1966

Dayton Art Institute, Dayton, OH

1969

Windham Carnival, Windham College, Putney, VT, May 9–11

SOLO EXHIBITIONS 1959 1961 1965

Franklin Hall Gallery, Cornell University, Ithaca, NY, Charles Ginnever: Sculpture & Drawings, March 2–12

1983

Marlborough Gallery, New York, NY, Charles Ginnever: Large Scale Sculpture, May 7–July 2. Catalogue

1984

Fuller Goldeen Gallery, San Francisco, CA, Charles Ginnever, February 15–March 10

Allan Stone Gallery, New York, NY, Chuck Ginnever: Sculpture, November

Lee Park, Dallas, TX, Charles Ginnever: Large Scale Sculpture, March–September

New Gallery, Bennington College, Bennington, VT, Chuck Ginnever: Major Works 1963–64, November 4–15

Hurd Development, Dallas, TX, May–August

1966

Park Place Gallery, New York, NY, Charles Ginnever: Dante’s Rig, November 27–December 8

1986

Fuller Goldeen Gallery, San Francisco, CA, Charles Ginnever: New Bronze Sculpture, June 11–July 3

1968

Washington Square Park, New York, NY

1986–87

1970

Battery Park, New York, NY (on extended exhibit)

Max Hutchinson’s Sculpture Fields, Kenoza Lake, NY, Charles Ginnever: Large Scale Sculpture, May 1986–1987. Catalogue

Paula Cooper Gallery, New York, NY, October 24–November 17

1987

Jewish Museum, New York, NY, Disposable Monument for W. Eugene Smith, February 2–April 4

Dorothy Goldeen Gallery, Santa Monica, CA, Charles Ginnever: Bronze and Steel Sculpture, October 14–November 7

1987–88

Esprit Sculpture Garden, San Francisco, CA, Charles Ginnever: Large Scale Sculpture, May 4, 1987–April 1988

1989

Riva Yares Gallery, Scottsdale, AZ, Installation of Gallop-A-Pace, 1979, and High Rise,1984.

1971

Paula Cooper Gallery, New York, NY 1972

Paula Cooper Gallery, New York, NY Windham College Fine Arts Gallery, Putney, VT, Charles Ginnever Sculpture, October 10–21

Gerald Peters Gallery, Santa Fe, NM, Charles Ginnever: Bronze and Steel, October 13–November 3

1972–73

Hammarskjöld Plaza Sculpture Garden, New York, NY, Charles Ginnever, December 1972–February 1973

1990

1975

Sculpture Now, Inc., New York, NY, Charles Ginnever, 20 Years–20 Works, November–December. Catalogue

Dorothy Goldeen Gallery, Santa Monica, CA, Charles Ginnever: Bronze Sculpture, August 4–September 1

1991

1978

Max Hutchinson Gallery, Houston, TX

Gerald Peters Gallery, Santa Fe, NM, Charles Ginnever: The Moonwalker Series, October 10–November 3

Max Hutchinson Gallery, New York, NY, Charles Ginnever: Hellenic Series, March 28–April 22

1992–93

Runnymede Sculpture Farm, Woodside, CA, Charles Ginnever.

Catalogue

Smith Andersen Gallery, Palo Alto, CA, Charles Ginnever: Recent Sculpture, April 15–May 27

1995

Smith Andersen Gallery, Palo Alto, CA, Charles Ginnever: Sculptures & Etchings, 1993–1994, January 12–February 15

Long Beach Museum of Art, Long Beach, CA, Charles Ginnever: The Hellenic Series Sculptures, November 5–28

1997

Academy of Art College, San Francisco, CA, Charles Ginnever: Sculpture, February 16–March 22

Galerie Simonne Stern, New Orleans, LA, Charles Ginnever— Metal Sculpture

1998

Gerlald Peters Gallery, Santa Fe, NM, Charles Ginnever: Rashomon, August 15–October 10

1979–80

ConStruct, Chicago, IL, November 30, 1979–January 14, 1980

2000

1980

Storm King Art Center, Mountainville, NY. Catalogue

Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA, Rashomon. Catalogue

2001

Brian Gross Fine Art, San Francisco, CA, Charles Ginnever: Recent Sculpture, May 3–June 2

Max Hutchinson Gallery, New York, NY 1981

ConStruct, Chicago, IL, Charles Ginnever: New Sculpture, April 3–May 23

241

2002

Brattleboro Museum & Art Center, Brattleboro VT, Charles Ginnever Sculpture, August 23–December 15

2003–05

MOVA (Sonoma County Museum of Visual Art), Luther Burbank Center, Santa Rosa, CA, Charles Ginnever Sculpture, May 2003–May 2005 Fields Sculpture Park, ART OMI, Ghent, NY, Charles Ginnever Sculpture, July 2003–Spring 2005

2004

Wooster Arts Space, New York, NY, Charles Ginnever: Rashomon Series Mid-size Maquettes, April 24–May 29

2012–13

San Jose Institute of Contemporary Art, San Jose, CA, Charles Ginnever: Rashomon, November 17, 2012–February 16, 2013

2013

Montalvo Arts Center, Saratoga, CA, Charles Ginnever— The Pleasures of Challenged Perception: Rashomon, March 13–September 15

2013–14

Riverside Park, New York, NY, Charles Ginnever: High Rise and Medusa

2014

Center for Contemporary Arts (CCA), Munoz-Waxman Gallery, Santa Fe, NM, New Perspectives: Sculptures by Chuck Ginnever, August 22–November 2

2014–15

University Museums, Iowa State University, Ames, IA, New Perspectives: Sculptures by Chuck Ginnever and Rashomon (15 units), November 20, 2014–July 1, 2015

2018

Michael S. Currier Center Gallery, The Putney School, Putney, VT, Chuck Ginnever: Sculptures & Prints, April 1–May 18 Clarinda Carnegie Art Museum, Clarinda, IA, Charles (Chuck) Ginnever: Folded Forms, June 24–December 4. Catalogue

2020

Clarinda Carnegie Art Museum, Clarinda, IA, Ginnever: Sculpture Installation

2020–22

University Museums, Iowa State University, Ames, IA, Ginnever: Transforming Perspectives, Outdoor sculpture installation, September 10, 2020–July 29, 2022

2021

Christian Petersen Art Museum, University Museums, Iowa State University, Ames, IA, Ginnever: Folded Forms, August 23–December 17. Catalogue Assemblage, Lincoln, NE, Ginnever: The Art of Perspective, September 21, 2021–March 27, 2022. Catalogue

242

374. Slant Rhyme #22, 1992; Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA 2020

375. Midas and Fog, 1966; Walkabout, 1987; and Cobra, 1984 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University Ames, IA 2020 376. Slant Rhyme #20, 1992 Installation, Elizabeth and Bryon Anderson Sculpture Garden, Iowa State University, Ames, IA, 2020 377. Untitled [Flat Illusion], 1968 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA 2020

243

GROUP EXHIBITIONS 1955

The Six Gallery, San Francisco, CA

1956

San Francisco Museum of Art, San Francisco, CA, Bay Area Sculpture The Six Gallery, San Francisco, CA

1957

San Francisco Museum of Art, San Francisco, CA, 76th Annual Painting and Sculpture Exhibition of the San Francisco Art Association, February 28–March 31. Catalogue Richmond Art Center, Richmond, CA, Sculpture Annual The Six Gallery, San Francisco, CA

1958

Spatsa Gallery, San Francisco, CA

1960

Martha Jackson Gallery, New York, NY, New Forms, New Media, Part I, June 6–24. Catalogue

American Express Pavilion, New York World’s Fair, Flushing, NY, Art ‘65—Lesser Known and Unknown Painters, Young American Sculpture East to West. Catalogue World House Gallery, New York, NY, Sculpture from All Directions, November 3–27 1966

Park Place Gallery, New York, NY, Installation Invitational: Villa, Montgomery, Ginnever, Krebs, Smithson, June 12–July

1967

Cultural Affairs Department for Gracie Mansion, New York, NY, Sculpture in Environment, October 1–31. Catalogue

1968

Greene Street Studio Loft, New York, NY, 10 Downtown, April 20–May 6 Picker Gallery, Charles A. Dana Creative Art Center, Colgate University, Hamilton, NY, 10 Downtown, October 18– November 17. Catalogue

Martha Jackson Gallery, New York, NY, New Forms, New Media, Part II, September 28–October 22

1961

Brata Gallery, New York, NY, The New Brata Group, October 23–November 9

1969

Andrew Dickson White Museum, Cornell University, Ithaca, NY, Young New York Artists

Paula Cooper Gallery, New York, NY, Drawing Exhibition, January 11–February 4

1970

Indianapolis Museum of Art, Indianapolis, IN

Green Gallery, New York, NY, Group Show: Jean Follett, Charles Ginnever, Claes Oldenburg, Lucas Samaras, Myron Stout, Mark di Suvero, September 19–October 14 1962

Riverside Museum, New York, NY, 12 New York Sculptors, April 8–29 Allan Stone Gallery, New York, NY, Coliseum Show: Contemporary American Art, May 11–22

1963

Sun Gallery, Provincetown, MA, two-artist exhibition

1964

Park Place Gallery, New York, NY Royal Marks Gallery, New York, NY, Sculptors’ Toys, November 27–December

1965

Los Angeles County Museum of Art, Los Angeles, CA American Federation of the Arts, Color Sculpture. Travel through 1966

244

Paula Cooper Gallery, New York, NY, Group Exhibition, November

New Gallery, Cleveland, OH Paula Cooper Gallery, New York, NY, Chuck Ginnever and Louis Kahn, April 1–29 1971

Van Saun Park, Paramus, NJ, Sculpture in the Park: An Exhibition of American Sculpture, June 13–September 26. Catalogue

1972

Greenwich Library, Greenwich, CT, New York Artists from the Paula Cooper Gallery Storm King Art Center, Mountainville, NY, Painting and Sculpture 1972, April 8–June 11

1974–75

Sculpture Now, Inc., New York, NY, Group Exhibition, through January 1975

1975

MoMA P.S.1, New York, NY, Artists Make Toys, January 1–25 Sculpture Now, Inc., New York, NY, Group Exhibition, September–November

1976

Walker Art Center, Minneapolis, MN, Sculpture Made in Place—Dill, Ginnever, Madsen, April 25–June 6. Catalogue

Nassau County Museum of Fine Arts, Roslyn, NY, Nine Sculptors—On the Ground, In the Water, Off the Wall, May 2– July 25 New Orleans Museum of Art, New Orleans, LA, Fine Arts in New Federal Buildings, organized by the U. S. General Services Administration. Catalogue

Laumeier Sculpture Park, St. Louis, MO, Beginnings University of Wisconsin, Oshkosh, WI ConStruct, Chicago, IL, Group Show 1979–81

ConStruct travelling exhibition, Mark di Suvero, Charles Ginnever, John Henry, Linda Howard, Lyman Kipp, Frank McGuire, Jerry Peart. Travel through 1981: The Fine Arts Museum of Long Island, Hempstead, NY; Grant Park, Chicago, IL; The Arts Festival of Atlanta, Atlanta, GA; Shidoni Gallery, Tesuque, NM. Catalogue

1980

ConStruct, Chicago, IL, Group Show

Central City Park, Atlanta, GA Greenwich Arts Council, Greenwich, CT, Sculpture ’76, June– October. Catalogue 1977

John Weber Gallery, New York, NY, Drawings for Outdoor Sculpture 1946–1977. Travel: Mead Art Gallery, Amherst, MA; University of California Art Galleries, Santa Barbara, CA; La Jolla Museum of Contemporary Art, La Jolla, CA; Hayden Gallery, Massachusetts Institute of Technology, Cambridge, MA. Catalogue

The Hyde Collection, Glen Falls, NY, Sculptors’ Studies: The Prospect Mountain Sculpture Show National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., Across the Nation: Fine Art for Federal Buildings, 1972–1979. Travel. Catalogue

Wave Hill Sculpture Garden, Bronx, NY, Inaugural Exhibition, September

Max Hutchinson Gallery, New York, NY, 10 Abstract Sculptures: American and European, 1940–1980, March 18–April 19.

Catalogue

MoMA P.S.1, New York, NY, 10 Downtown: 10 Years, September 11–October 2

Sun Gallery, Hayward, CA, Sculpture, May 6–June 21

Washington State University, Pullman, WA, Two Decades 1957–1977, American Sculpture from Northwest Collections

Middendorf/Lane Gallery, Washington, DC, The Sculptors of ConStruct: ConStruct Small Scale Travelling Exhibition, June 3– July 12. Travel: University of North Dakota, Grand Forks, ND; Columbus, IN

Sculpture Now, Inc., New York, NY, Sculpture Yesterday/Today: Mark di Suvero, Tom Doyle, Peter Forakis, Charles Ginnever, October 24–December 3. Catalogue.

1977–78

1978

Sculpture Now, Inc., New York, NY, Cornell Then, Sculpture Now, December 10, 1977–January 14, 1978. Travel: Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, May 24–July 9, 1978. Catalogue MoMA P.S.1, New York, NY, Indoor/Outdoor Sculpture Show, April 16–May 21 Max Hutchinson Gallery, Houston, TX

1979

Sonoma State University Art Gallery, Rohnert Park, CA, Nine Points of View: Sculpture, April 20–May 18 Lake George Arts Project, Lake George, NY, Prospect Mountain Sculpture Show, An Homage to David Smith, August 1–October 15. Catalogue

ConStruct, Chicago, IL, Drawings by Mark di Suvero, Charles Ginnever, John Henry, Linda Howard, Lyman Kipp, September 5–October 4 Philbrook Art Center, Tulsa, OK 1980–81

Denver Art Museum, Denver, CO, Reality of Illusion. Travel to museums 1980–81 ConStruct Outdoor Travelling Exhibition sponsored by Interpace Corporation, American Eight. Travel through 1981: Memorial Art Gallery, University of Rochester, Rochester, NY, July 16–August 20, 1980; Museum of American Art, New Britain, CT, August 28–October 31, 1980; Interpace Corporation Headquarters, Parsippany, NJ; Ashland College, Ashland, OH. Catalogue

245

Max Hutchinson Gallery, New York, NY, Varieties of Sculptural Ideas: Drawings and Maquettes, December 22, 1983–January 28, 1984

New Orleans, LA, Contemporary American Sculpture. Travel 1980–81 1981

Max Hutchinson Gallery, New York, NY, Sculptors’ Drawings, Maquettes,and Proposals

ConStruct Sculpture Park, North Miami, FL, ConStruct Group Show

Tallgrass/Crown Center, Kansas City, MO, 10: A Spectrum City of Cleveland, OH, Sculpture Outside in Cleveland, July 18–­October 25. Catalogue

1984

ConStruct South, Miami, FL, ConStruct Group Show

Max Hutchinson Gallery at Grand Palais, Paris, France, FIAC Art Fair

Robert Hull Fleming Museum, University of Vermont, Burlington, VT, Contemporary Artists in Vermont, September 25–December 30

Fort Mason, San Francisco, CA, Public Sculpture/Public Sites Quay Gallery, San Francisco, CA, Sculptors’ Work on Paper, November 3–28 1981–82

Fort Mason, San Francisco, CA, Public Sculpture/Public Sites

Diane Brown Gallery, New York, NY, The Success of Failure, December 12, 1984–January 12, 1985. Catalogue

1985

American Academy and Institute of Arts and Letters, New York, NY, Paintings and Sculpture by Candidates for Art Awards, March 4–31

1986

Palo Alto Cultural Center, Mitchell Park, Palo Alto, CA, Palo Alto Outdoor Sculpture Invitational, June 15, 1982–June 30, 1983

Fuller Goldeen Gallery, San Francisco, CA, at Los Angeles Contemporary Art Fair, Los Angeles, CA, December 3–5

1986–87

ConStruct Sculpture Park, North Miami, FL, November 21, 1982–Spring 1983

The Art Store Gallery, Oakland, CA, Shoebox Show, December 11, 1986–January 15, 1987

1987

Anne Reed Gallery, Ketchum, ID, Group Exhibition, June 29– October 1

Chicago Art Fair, Chicago, IL, Mile of Sculpture, May Laumeier Sculpture Park, St. Louis, MO John Berggruen Gallery, San Francisco, CA, Aspects of Sculpture

1982–83

1983

Marlborough Gallery, New York, NY, Masters of Modern and Contemporary Sculpture, November 8–December 4 1984–85

Park West Galleries, Southfield, MI, from Max Hutchinson Gallery, New York, NY, Sculpture Now: Contemporary American Sculpture, November 19, 1981–January 15, 1982 1982

Metropolitan Museum and Art Center, Coral Gables, FL, ConStruct South, January 16–March 15

Seattle Art Museum, Seattle, WA, Recent Modern Acquisitions, August 27–October 18

Navy Pier, Chicago, IL, Chicago Sculpture International: Mile 2, May. Catalogue ConStruct Sculpture Park, North Miami, FL, ConStruct Group Show 1983–84

Virginia Museum, Richmond, VA, Sculpture in the Garden, August 10, 1983–August 10, 1984 Nassau County Museum of Art, Roslyn Harbor, NY, Sculpture: The Tradition in Steel, October 9, 1983–January 22, 1984.

Catalogue

246

Miami-Dade Community College Gallery, Miami, FL, ConStruct, March 8–29

Dorothy Goldeen Gallery, Santa Monica, CA, Gallery Artists, September 10–October 10 1987–88

Laumeier Sculpture Park, St. Louis, MO, The Success of Failure, February 15–March 29, 1987. Travel by Independent Curators, Inc.: University Art Gallery, North Texas State University, Denton, TX, August 31–September 25, 1987; Johnson Gallery, Middlebury College, Middlebury, VT, October 25–December 13, 1987; University of Arizona Museum of Art, Tucson, AZ, January 31–March 12, 1988. Catalogue

Cold Spring Laboratory, Cold Spring Harbor, NY, Nothing But Steel, June 1, 1987–March 31, 1988

Dorothy Goldeen Gallery, Santa Monica, CA, Monochrome, March 31–May 11

Anchorage Museum of History and Art, Anchorage, AK, Sculpture:Looking Into Three Dimensions, June 28, 1987–May 29, 1988. Travel: Alaska State Museum, Juneau, AK, July 1–August 7, 1988; University of Alaska Museum, Fairbanks, AK, August 19–October 16, 1988. Catalogue

Anne Reed Gallery, Ketchum, ID, Sculpture: Visions Transformed III, July 5–August 9

Anne Reed Gallery, Ketchum, ID, Group Exhibition, June 29– October 1

Andre Emmerich Gallery, New York, NY, Table Sculpture, July 8–August 16 1992

Gallery Camino Real, Boca Raton, FL, Bronze, January 16– February 8

Seattle Art Museum, Seattle, WA, Recent Modern Acquisitions, August 27–October 18

Andre Emmerich Gallery, New York, NY, Table Sculpture, May 2–June 26

Dorothy Goldeen Gallery, Santa Monica, CA, Gallery Artists, September 10–October 10 1988

Walnut Creek Civic Arts Gallery, Walnut Creek, CA, Bay Area Bronze, January 13–March 12 Palo Alto Cultural Center, Palo Alto, CA, Bay Area Sculpture: Metal, Stone and Wood, February 21–April 24 Sheehan Gallery, Whitman College, Walla Walla, WA, Cast in Walla Walla, November 14–December 16 Dorothy Goldeen Gallery, Santa Monica, CA, Private Reserve, December 1–31

1989

Anne Reed Gallery, Ketchum, ID, Sculpture: Visions Transformed, July 1–August 1 Sabbeth Art Gallery, Wunsch Arts Center, Glen Cove, NY, A Salute to the Gateway Public Sculpture, August 4–13

1990

Ann Jaffe Gallery, Bay Harbor, FL, 27 Anniversary Show, January 7–31

Anne Reed Gallery, Ketchum, ID, Visions Transformed IV, July 8–August 5 1993

Contract Design Center, San Francisco, CA, Line, Mass, Process, March 4–May 31 Anne Reed Gallery, Ketchum, ID, March 5–April 15

1995

The Sculpture Gallery, San Francisco, CA, Selected Artists/ Selected Works, January 19–March 7 Anne Reed Gallery, Ketchum, ID, August 1–31

1995–96

Palo Alto Cultural Center, Palo Alto, CA, Concept in Form: Artists’ Sketchbooks & Maquettes, October 5, 1995–January 7, 1996

1997

Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY, Neuberger Museum of Art 1997 Biennial Exhibition of Public Art, May 10–October 26

Marvin Seline Gallery, Houston, TX, From California, April 21–May 19

Grounds for Sculpture, Hamilton, NJ, Summer 1997 Exhibition, Summer. Catalogue

Chicago International Art Exhibition, Chicago, IL, May 10–15 Anne Reed Gallery, Ketchum, ID, Sculpture: Visions Transformed II, July 6–August 4

1999

Nassau County Museum of Art, Roslyn, NY, 20th Century Sculpture, March 28–May 3

1990–91

Socrates Sculpture Park, Long Island City, NY, No Man’s Land: Opening Celebration, April 8, 1990­–April 1, 1991. Catalogue

2000

1991

Natsoulas/Novelozo Gallery, Davis, CA, The Spatsa Gallery: 1958–1961, January 11–February 3. Catalogue

Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY, Welded! Sculpture of the Twentieth Century, May. Catalogue Cooper Union, New York, NY, Art & Mathematics 2000, November 7–December 15. Catalogue

247

378. Untitled [Flat Illusion], 1968; Installation, Sonoma Valley Museum of Art, Sonoma, CA 2019

248

2001

Koussevitzky Art Gallery, Berkshire Community College, Pittsfield, MA, Art & Mathematics 2001, February 1–March 30 Chicago Art Fair, Chicago, IL, Pier Walk 2001 Art in Public Places Program, Town of Vail Outdoor Sculpture Exhibition, Ford Park, Vail, CO, Art in Nature Nature in Art, June 29–September 5

2002

Wright State University Art Galleries, Dayton, OH, With a View Toward the Public, April 7–May 5. Catalogue Chelsea Studio Gallery, New York, NY, unforgettable (Ground Zero Proposals), September 5–28

2004

National Academy of Design Museum, New York, NY, 179th Annual, May 5–June 20 Smith Andersen Editions, Palo Alto, CA, Hot Off the Press: New Editions by Jens Birkemose, Charles Ginnever, Daniel Phill, Gustavo Ramos Rivera, June 23–August 9

379. Untitled [Flat Illusion], 1968; Installation, Sonoma Valley Museum of Art, Sonoma, CA 2019

The Lodz Biennale, Lodz, Poland, Construction in Process, International Invitational Exhibition, October 2–31 2004–05

Gerald Peters Gallery, Santa Fe, NM, Landfall Press: A Singular Vision, December 10, 2004–January 29, 2005

2006

Wooster Arts Space, New York, NY

2007

Broadbent Gallery, London, England, Sculpture/Drawing Show— Willard Boepple, Charles Ginnever and John Henry, February 2– March 3

2009

Allan Stone Gallery, New York, NY, Bay Area to New York, October 28–December 22

2013

Allan Stone Projects, New York, NY, Fall Selections, September 6–October 31

2016–17

Paradise Ridge Ranch, Santa Rosa, CA, Geometric Reflections, through April 2017

2019

Sonoma Valley Museum of Art, Sonoma, CA, Sonoma Modern/ Contemporary, April 20–June 16 380. Exhibition opening, Sonoma Valley Museum of Art, Sonoma, CA 2019

249

BIBLIOGRAPHY ARTISTS’ BOOKS Akutagawa, Ryūnosuke. Introduction by John Yau. Rashomon. Limited edition artists’ book with the stories “Rashomon” and “In a Bamboo Grove” by Ryūnosuke Akutagawa (1892–1927), translated by Jay Rubin; eleven etchings by Charles Ginnever printed by the fellows of the Landfall Institute of the Graphic Arts. Letterpress printing and binding designed and executed by Larry Van Velzer and Peggy Gotthold at Foolscap Press, Santa Cruz, CA. Santa Fe, NM: Landfall Press, 2014.

OPPOSITE

381. Charles Ginnever working on cardboard models for Multus Maquette at Landfall Press Santa Fe, NM 2012 382. Rashomon (III/X ), 2014 Deluxe edition with bronze maquette 383. Rashomon (15/40), 2014

251

BOOKS Albright, Thomas. Art in the San Francisco Bay Area, 1945–1980. Berkeley, CA: University of California Press, 1985.

Alloway, Lawrence. “Kline’s Estate” in Abstract Expressionism: A Critical Record. Cambridge, England, and New York, NY: Cambridge University Press, 1990.

Andersen, Wayne. American Sculpture in Process, 1930–1970. Boston, MA: New York Graphic Society, 1975.

Babington Smith, Veronica (ed.). International Directory of Exhibiting Artists, vol. 2. Oxford, England: Clio Press, Ltd., 1982.

Baker, Alyson, and Mestrovic, Ivana (eds.). Socrates Sculpture Park. Princeton, NJ: Yale University Press, 2006. Illus.: Knossos, 1990.

Barros, Ricardo. Facing Sculpture. Morrisville, PA: Image Spring Press, 2004.

Beardsley, John. A Landscape for Modern Sculpture: Storm King Art Center.

New York, NY: Abbeville Press, 1996.

Judd, Donald. The Complete Writings of Donald Judd. Halifax, Nova Scotia: Press of the Nova Scotia College of Art and Design; New York, NY: New York University Press, 1975.

Kelley, Jeff. Foreword by David Antin. Childsplay: The Art of Allan Kaprow.

Oakland, CA, and London, England: University of California Press, 2004.

Kostelanetz, Richard. A Dictionary of the Avant-Gardes. New York, NY: Schirmer Books, 1999.

Krantz, Les. The New York Art Review. Chicago, IL: American References Publishing, 1988. Illus.: Didymous, 1987; Apollo, 1985.

Kulterman, Ugo. The New Painting. Boulder, CO: Westview Press, 1977.

Kuspit, Donald. Redeeming Art: Critical Reveries. New York, NY: Allworth Press, 2000.

Leibowitz, J. R. Hidden Harmony, The Connected Worlds of Physics and Art. Baltimore, MD: The Johns Hopkins University Press, 2008. Illus.

Marks, Claude. World Artists, 1950–1980. New York, NY: H.W. Wilson, 1984.

Boettger, Suzaan. Earthworks: Art and the Landscape of the Sixties. Berkeley and Los Angeles, CA: University of California Press, 2003.

Marter, Joan (Ed.). Off Limits: Rutgers University and the Avant Garde 1957–1963. New Brunswick, NJ: Rutgers University Press, 1999.

Clapp, Jane. Sculpture Index. Metuchen, NJ: Scarecrow Press, 1970.

Morris Little, Carol. A Comprehensive Guide to Outdoor Sculpture in Texas.

Austin, TX: University of Texas Press, 1996.

Cohen, Ronny H. Introduction by Pierre Restany. Charles Ginnever. San Francisco, CA: Anne Kohs & Associates, Inc., 1987.

Collischan, Judy. Welded Sculpture of the Twentieth Century. New York, NY: Hudson Hills Press; and Purchase, NY: Neuberger Museum of Art, 2000.

Cumming, Paul. Dictionary of Contemporary American Artists, 5th ed. New York, NY: St. Martin’s Press, 1988.

DuPont, Diane C. San Francisco Museum of Modern Art: The Painting and Sculpture Collection, Hamilton, NJ: Hudson Hills Press in association with San Francisco Museum of Modern Art, 1985.

Fisher, Doris, and Fisher, Donald. The Fisher Collection. San Francisco, CA: Doris and Donald Fisher, 2007.

Haftmann, Werner, and Leymarie, Jean. Art Since Mid-Century: The New Internationalism. Greenwich, CT: New York Graphic Society, 1971.

Harper, Glen, and Moyer, Twylene (eds.). A Sculpture Reader: Contemporary Sculpture Since 1980. Washington, DC: ISC Press, 2006.

Hutchinson, Peter. Dissolving Clouds: Writings of Peter Hutchinson.

Provincetown, MA: Provincetown Arts Press, 1994.

252

Naylor, Colin. Contemporary Artists. Chicago, IL, and London: St. James Press, 1989.

Nixon, Bruce. Curator’s Preface by Anne Pagel; Director’s Foreword by Lynette L. Pohlman; Introduction by Johannah Hutchison. Ginnever: The Art of Perspective. Lincoln, NE: Assemblage, 2021.

Parry, Pamela Jeffcott. Contemporary Art and Artists: An Index to Reproductions. Westport, CT: Greenwood Press, 1978.

Senie, Harriet F., and Webster, Sally. Critical Issues in Public Art: Content, Context, and Controversy. New York, NY: HarperCollins Publishers, 1992.

Stein, Judith E. Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art. New York, NY: Farrar, Straus and Giroux, 2016.

Stern, H. Peter and Collen, David. Sculpture at Storm King. New York, NY: Abbeville Press Inc., 1980. Illus.: 1971, 1971; “Fayette” (for Charles and Medgar Evers), 1971.

FILMS AND VIDEOS Film, Graffiti & Animation, 16mm film made with Peter Forakis, 1961.

Film, “Sculpture Dance” at Fluxus Festival, George Segal farm, South Brunswick, NJ, with Tom Doyle, Eva Hesse, and Peter Forakis, 1963.

Film, “Attack on the Colonnade, Windham College,” directed by Ginnever and edited by George Ladas, Windham Carnival, Windham College, Putney, VT, 1969. youtube.com/watch?v=jitSBb6dLwM Television program “American Art Forum with Richard Love” featuring Ginnever interview, 1988. youtube.com/watch?v=eV3ysptPqRM Video, Putney Public Library, Putney, VT, “Artists Talk Series,” featuring Ginnever, November 8, 2006. youtube.com/watch?v=zDRfs8QC-P0 Video by Gayle Maxon-Edgerton of exhibition installation, New Perspectives: Sculptures by Chuck Ginnever, Center for Contemporary Arts (CCA), Santa Fe, NM, August 22, 2014.

360-degree video of San Mateo Bridge, 1978, installed at Landing Green Park, San Mateo, CA, 2015. youtube.com/watch?v=su6JY0HynIM Video, Landmark College, Putney, VT, Dedication ceremony for installation of 4 the 5th (of Beethoven) (1972), 2018. youtube.com/ watch?v=4l5W1VpLu1c Film, “A Perspective is Not the Truth” by Brenden Hussey and Jonathan Berger, 2021. A documentary film on Charles Ginnever with multiple interviews with the artist at his studio/farm in Vermont over nearly a decade, and showing the artist on some of his large-scale installations and exhibitions throughout the country, providing a new perspective on his storied career, supported by interviews with the artist’s contemporaries, friends, family and others in the art world. The film includes rare footage shot by the artist in the 1960s as well as footage of Ginnever working in his studio in the last years of his prolific career.

CATALOGUES Alloway, Lawrence, and Kaprow, Allan. Foreword by Martha Jackson; photographs by Rudolph Burckhardt. New Forms—New Media I. New York, NY: Martha Jackson Gallery, 1960. Photography by Rudolph Burchkardt.

Andersen, Wayne, and O’Doherty, Brian. Art ‘65: Lesser Known and Unknown Painters, Young American Sculptors. Flushing, NY: American Express Pavilion, New York World’s Fair, 1965.

Anderson, Lydia; Moss, Jacqueline; and Rubin, Ida E. (Ed.). Sculpture 76.

Greenwich, CT: Greenwich Arts Council, 1976. Illus.: Daedalus, 1975.

Angel, Brian. Foreword to ICAF/LA86: The International Contemporary Art Fair, Los Angeles. Los Angeles, CA: ICAF/LA86 and Andry Montgomery California Inc., 1986.

Brown, J. Carter. Preface to Sculpture at Storm King. Mountainville, NY: Storm King Art Center, 1980. Photography by David Finn. Illus.: “Fayette” (for Charles and Medgar Evers), 1971; Untitled, 1971.

Bryant, Edward. 10 Downtown. Hamilton, NY: Picker Gallery, Charles A. Dana Creative Arts Center, Colgate University, 1968. Illus.: Untitled, 1967.

Collischan, Judy. Neuberger Museum of Art 1997 Biennial Exhibition of Public Art. Purchase, NY: Neuberger Museum of Art, 1997.

Cultural Affairs Department. Sculpture in Environment. New York, NY: New York City Cultural Affairs Department, 1967.

Dalrymple Henderson, Linda. Reimagining Space: The Park Place Gallery Group in 1960s New York. Austin, TX: Blanton Museum of Art, University of Texas at Austin, 2008.

Denton, Monroe. No Man’s Land. New York, NY: Socrates Sculpture Park, 1991. Illus.: Knossos, 1990.

Ebony, David; Yau, John, et al. Ginnever: Complexities of Minimalism. Clarinda, IA: Clarinda Carnegie Art Museum, 2018.

Emmerich, Andre. Sculpture Out of Doors. New York, NY: Andre Emmerich Gallery, 1989. Illus.: Satellite (for Ronald Bladen), 1987.

Everitt, John I. Foreword to Sculpture in the Park: An Exhibition of American Sculpture. Paramus, NJ: North Jersey Cultural Council, Bergen County Parks Commission, New Jersey State Council on the Arts, Board of Chosen Freeholders, 1971.

Fisher, Joel. The Success of Failure. New York, NY: Independent Curators, 1987. Illus.: Sound Score, 1962.

FitzGibbons, Ann. Sculpture: Looking into Three Dimensions. Anchorage, AK: Anchorage Museum of History and Art, 1987. Illus.: Untitled, 1986.

Friedman, Nathaniel, and Singer, Clifford. Art & Mathematics 2000. New York, NY: The Cooper Union for the Advancement of Science & Art, 2000.

Goldeen, Dorothy. American Eight. Parsippany, NJ: Corporate Headquarters, Interpace Corporation; Ashland, OH: Ashland College, 1980. Illus.: Nautilus, 1976; Gallop-A-Pace, 1979.

253

384. Selection of Charles Ginnever books and catalogues, 2020

254

Hinson, Tom E., and Lockhart, Anne I. Sculpture Outside in Cleveland.

Cleveland, OH: New Organization for the Visual Arts (NOVA), 1981.

Illus.: Olympus, 1976; Dansa, 1981; Wakandhi, 1976.

Hobbs, Robert. Cornell Then, Sculpture Now. Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University; New York, NY: Sculpture Now, Inc., 1977. Illus.: Troika, 1976.

Katsive, David H. Mark di Suvero, Charles Ginnever, John Henry, Linda Howard, Lyman Kipp, Frank McGuire, Jerry Peart. Hempstead, NY: Fine Arts Museum of Long Island, 1979. Illus.: Icarus, 1975.

Sandler, Irving. The Prospect Mountain Sculpture Show, An Homage to David Smith. Lake George, NY: Lake George Arts Project, Inc., 1979.

San Francisco Museum of Art. Seventy-Sixth Annual Painting and Sculpture Exhibition of the San Francisco Art Association. San Francisco, CA: San Francisco Museum of Art, 1957.

Schwartz, Constance, and Hill Perrell, Franklin. 20th Century Sculpture.

Roslyn Harbor, NY: Nassau County Museum of Art, 1999.

Sculpture Now. Charles Ginnever: 20 Years—20 Works. New York, NY: Sculpture Now, Inc., 1975.

Larson, Philip. Sculpture Made in Place: Dill, Ginnever, Madsen. Minneapolis, MN: Walker Art Center, 1976.

Shapiro, David. Drawings for Outdoor Sculpture 1946–1977. New York, NY: John Weber Gallery, 1977.

Maggini, Mary. Ginnever. Woodside, CA: Runnymede Sculpture Farm, 1993.

Illus.: Python, 1980; Didymous, 1987; Ibis, 1987; Kitsune, 1988; Zeus II, 1992.

_____. The Success of Failure. New York, NY: Diane Brown Gallery, 1984.

Max Hutchinson Gallery. 10 Abstract Sculptures: American and European 1940–1980. New York, NY: Max Hutchinson Gallery, 1980.

McCormick, Thomas. Chicago Sculpture International: Mile 2. Chicago, IL: Chicago International Sculpture Exhibition, 1983. Illus.: Crab, 1982.

Squiers, Carol. Sculpture Yesterday/Today. New York, NY: Sculpture Now, Inc., 1977. Illus.: Ithaca, 1959; Dante’s Rig, 1964; Three Steel Plates, 1977.

Storm King Art Center. Charles Ginnever. Mountainville, NY: Storm King Art Center, 1980. Photography by Harold Feinstein.

Meyer, Ruth K. Quintessence. Dayton, OH: City Beautiful Council, 1980. Illus.: Movin’ Out (for Jesse Owens), 1980.

Taylor, Joshua C. Across the Nation, Fine Art for Federal Buildings, 1972– 1979. Washington, DC: Smithsonian Institution Press, 1980. Illus.: Maquette for Protagoras, 1976.

Michalik, Mary. Chicago International Art Exposition, 1990. Chicago, IL: Chicago International Art Exposition, 1990. Illus.: Les Funambules, 1988.

Town of Vail Art in Public Places Program. Art in Nature Nature in Art. Vail, CO: Town of Vail Art in Public Places Program, 2001.

Nathanson, Carol A. With a View Toward the Public: Dayton’s Alternative Spaces Residence Program, 1977–1983. Dayton, OH: Wright State University Art Galleries, 2002.

Waller, Bret. Daedalus. Ann Arbor, MI: University of Michigan Museum of Art, 1978.

New Orleans Museum of Art. Fine Arts in New Federal Buildings. New Orleans, LA: New Orleans Museum of Art, 1976.

World House Gallery. Sculpture from All Directions. New York, NY: World House Gallery, 1965.

Nierengarten-Smith, Beej. Introduction to Laumeier Sculpture Park: First Decade, 1976–1986. St. Louis, MO: Laumeier Sculpture Park, 1986. Illus.: Crete, 1978.

BROCHURES

Nixon, Bruce. Charles Ginnever: Rashomon. Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2000.

Freedman, Doris C. Walking Tour of Public Art in Lower Manhattan. New York, NY: The Public Arts Council/Municipal Art Society and Lower Manhattan Cultural Council, 1977. Illus.

Parente, Janice, and Stigliano, Phyllis. Sculpture: The Tradition in Steel. Roslyn Harbor, NY: Nassau County Museum of Art, 1983. Illus.: Heavy Metal, 1983.

Rachleff, Melissa. Inventing Downtown: Artist-Run Galleries in New York City 1952–1965. New York, NY: Grey Art Gallery, New York University, 2017.

Ratcliff, Carter. Charles Ginnever: Large-Scale Sculpture. New York, NY: Marlborough Gallery, 1983.

Donadio, Emmie. Contemporary Artists in Vermont. Burlington, VT: Robert Hull Fleming Museum, University of Vermont, 1984.

Hixon, Nancy, and Shaw, Kim. Art on Campus. Houston, TX: University of Houston–University Park, 1986. Illus.: Troika, 1978.

U.S. General Services Administration. Art-In-Architecture Program.

Washington, DC: U.S. General Services Administration, 1978. Illus.: Protagoras, 1976.

255

ARTICLES Abbe, Mary. “Reinstallation of a St. Paul sculpture renews a decades-old question: Is it beauty, or a blot?” Star Tribune (Minneapolis, MN), Jul. 19, 2008. Illus.

Albright, Thomas. “Sculpture That Touches on Extraordinary.” San Francisco Chronicle, Sep. 2, 1982, p. 57. _____. “Our Public Sculpture—A Disgrace?” San Francisco Chronicle, Aug. 21, 1983, Review section, p. 11-12. _____. “A Monumental Side of Arneson.” San Francisco Chronicle, Feb. 22, 1984.

Alloway, Lawrence. “Chuck Ginnever: Space as a Continuum...” Artforum, Sep. 1967, p. 36-39. Illus.: Ithaca, 1959; Untitled, 1963; Blunderbus, 1963; Wipe Out, 1964; Dante’s Rig, 1964–65; Untitled, 1962.

Batti, Renee. “The art of nature: Artists challenge Runnymede visitors to think anew about the space around them.” The Almanac (Woodside, CA), Apr. 23, 2003.

Bell, David. “Beer, Parade, Flying Carnations Kick Off Art Show.” Albuquerque Journal, Jul. 4, 1981. _____. “400 Pieces on 13 Acres, 7th Shidoni Exhibition, Overwhelming, Exciting.” Albuquerque Journal, Jul. 12, 1981, p. D3. _____. “Exhibits Challenge, Define Artworks as Objects.” Journal North, Oct. 17, 1991.

Bissell, Therese. “The Art of Living Simply.” Architectural Digest, May 2007.

Illus. p. 280.

Braff, Phyllis. “Noted Works Highlight Sculpture Show.” New York Times, Nov. 6, 1983. Illus.: Heavy Metal, 1983.

Amore, B. “Charles Ginnever.” Art New England, vol. 38, no. 1, Jan./Feb. 2017, p. 16.

Brenson, Michael. “The State of the City as Sculptors See It.” New York Times, Jul. 27, 1990, p. C1, C22. Illus.: Knossos, 1990.

Anderson, Wayne. “California Funk and the American Express.” Journal of Art, vol. 4, no. 6, Jun./Jul./Aug. 1991, p. 65-66.

Bry, Charlene. “Sculpture Seems to Change Its Shape Everytime You See It.” St. Louis Globe Democrat, Jul. 7, 1982.

Ashbery, John. “Telling it on the Mountain.” New York Magazine, Aug. 27, 1979, p. 83.

Burkhart, Dorothy. “Outward Appearances: Palo Alto Puts Its Art Where the Public Eye Is.” San Jose Mercury News, Jun. 17, 1982, p. 1D, 4D.

Ayres, Jane. “Three Diverse Artists Showcase New Works in Garden.” Times Tribune, Dec. 21, 1990, Lifestyles section. Illus.: Cobra.

Baker, Kenneth. “Chuck Ginnever.” Artforum, Jan. 1972. Illus.: “Fayette” (for Charles and Medgar Evers), 1971; 1971, 1971. _____. (Review.) Christian Science Monitor, Dec. 20, 1971. Illus.: 1971, 1971; Untitled, 1971.

_____. “P.A. Show Follows Sculptural Tradition.” San Jose Mercury News, Mar. 18, 1988, p. 17E. Butterfield, Jan. “P.S.P.S., Project Sculpture/Public Sites.” Images & Issues, vol. 3, no. 3, Nov./Dec. 1982, p. 49.

_____. “Sculpture That’s Solid Paradox.” San Francisco Chronicle, Jun. 24, 1986, p. 46. Illus.: Split Shift, 1986.

“Chauffered Scavanger Hunt Up For Bid at Woodside Auction.” Country Almanac (Woodside, CA), May 10, 1989. Illus.: Python.

_____. “Esprit Sculpture Goes Public.” San Francisco Chronicle, Sep. 1, 1987, p. 39. Illus.: Ibis, 1987.

Cross, Miriam Dungan. “Trend in Bay Art Surveyed.” Oakland Tribune, 1958.

_____. “Home-Grown Sculpture.” San Francisco Chronicle, Mar. 31, 1988, p.

E2. _____. “In public art gets timid/With rare exceptions works on view in San Francisco tend to be cautious—or just mediocre.” San Francisco Chronicle, Dec. 23, 2002. _____. “Many ways to look at ‘Rashomon’.” San Francisco Chronicle, Nov. 25, 2012, Sunday Datebook, p. 37. Illus.

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“Charles Ginnever’s Rashomon and Amy Kaufman’s drawings on view at San Jose Institute of Contemporary Art.” Artdaily.org, Nov. 2012. Illus.

Crossley, Mimi. “Lyrical Beams.” Houston Post, Jun. 19, 1977. Illus.: Pueblo Bonito, 1977.

Curtis, Cathy. “Galleries.” Los Angeles Times, Oct. 23, 1987, part IV, p. 20, 22.

Daley, Dave. “Art or Rusty Metal? Sculpture Debated.” Minneapolis Star, Sep. 9, 1976. Illus.: Protagoras, 1976.

Dietz, Betty A. “13 Sculptors in Panel Get Lost in Word Maze.” Dayton Daily News (Dayton, OH), Mar. 9, 1977, p. 17.

campus.” Stanford Report (Stanford, CA), Jan. 28, 2004.

Doss, Margaret Patterson. “An Ex-Military Hike.” San Francisco Chronicle, Feb. 19, 1984, Sunday Punch section. Illus.: Python, 1980.

“Downtown Work of Art Goes Up.” Troy Daily News (Troy, OH), 1980.

Kane, Karla. “Mountain View sculpture may cross the border.” Palo Alto Weekly (Palo Alto, CA), Apr. 3, 2009.

Ehrich, Lisa. “Splendors in the Grass.” Luxury Homes of the Metroplex (Dallas, TX), Spring 1984, p. 52-60.

Kay, Alfred. “Esprit Company Hosts Art Bay Area Exhibit.” Daily Report (Ontario, CA), Jun. 8, 1987.

Ellenzweig, Allen. “Group Show.” Arts Magazine, Apr. 1975, p. 12-13. Illus.: Zeus, 1975; Daedalus, 1975; Icarus, 1975.

_____. “Esprit Headquarters Gets Into Spirit with Open-Air Art Exhibit.”

Daily News (Los Angeles, CA ), Jun. 12, 1987.

Falaschi, Susan. “Sculptures Grow at Runnymede Farm.” Country Almanac, vol. 23, no. 20, May 17, 1989.

_____. “Hi-tech Art Arises Amid the Warehouses.” Contra Costa Times, Jun. 14, 1987.

Foote, Nancy. “Three Sculptors: Mark di Suvero, Richard Nonas, Chuck Ginnever.” Artforum, no. 14, Feb. 1976, p. 41-51. Illus.: Zeus, 1975; Daedalus, 1975; Icarus, 1975.

Kelso, Jann. “Taking note...” Dallas Morning News, Apr. 3, 1984.

Frantzis, Peggy. “Triton Adds 3 Works to Sculpture Garden.” Santa Clara Valley Weekly, Jan. 3, 1991, p. 2. Illus.: Cobra.

“Gallery Hopping.” Pasatiempo (Santa Fe, NM), Oct. 18–24, 1991. Illus.: Moonwalker III, 1991.

Kleinfield, N. R. “8,000 New Battles at the 1040 Corral.” New York Times, Mar. 13, 1988.

Kohen, Helen. “Art Looks for a Place in the Sun.” Artnews, Feb. 1983, p.

62–65.

Gault, A. “Double Take: Sculptures Turning Japanese.” Santa Fe Reporter, Sep. 28, 1988, p. 20. Illus.: Kitsune, 1988.

Kozloff, Max. “The Further Adventures of American Sculpture.” Arts Magazine, Feb. 1965, p. 24–31. Illus.: Jezebel, 1964.

Genzlinger, Neil. Charles Ginnever, Sculptor of Geometric Shapes on a Grand Scale, Dies at 87. New York Times, June 27, 2019, p. A28.

Kramer, Hilton. “Month in Review.” Arts Magazine, Nov. 1960, p. 50–51.

Glueck, Grace. “A Garden Spot for Outdoor Sculpture: Chuck Ginnever work in Battery Park.” New York Times, May 2, 1970.

King, Mary. “New Sculpture at Laumeier.” St. Louis Post-Dispatcher, Aug. 8, 1982.

Kroll, Jack. “Reviews and Previews: New Names This Month.” Artnews, Dec. 1961, p. 21.

_____. “Art Notes.” New York Times, May 31, 1971.

Kuspit, Donald B. “Authoritarian Abstraction.” The Journal of Aesthetics and Art Criticism, vol. 36, no. 1, Autumn 1977, p. 25-38.

_____. “Art: Isamu Noguchi and his world of stone.” New York Times, May 21, 1983, Arts/Entertainment section.

Kutner, Janet. “Preview.” Dallas Morning News, Mar. 16, 1984, Guide section, p. 3.

Goldshlack, Joey. “The largest piece of art in the University’s collection: One big artistic statement.” Michigan Daily (Ann Arbor, MI), Apr. 1, 2007.

_____. “Landscape Geometrics—Sculptures Enliven Lee Park.” Dallas Morning News, Jul. 10, 1984, p. 1E-2E.

Grant, Daniel. “Types of Insurance that Sculptors Regularly Need to Obtain for their Studios, Employees, and Exhibitions.” Sculpture Magazine, vol. 24, no. 5, Jun. 2004.

Lavin, Sylvia. “Power to Heal.” Elle Decor, vol. 1, no. 5, Jun./Jul. 1990, p. 80–89.

Illus.: Dementia I, 1989.

Hicks, Nancy. “Two new sculptures being loaned to Lincoln for its parks.”

Lincoln Journal Star (Lincoln, NE), Jun. 1, 2018. Illus.

Lilly, Amy. “Renowned Vermont Sculptor Chuck Ginnever Thinks Big.” Seven Days: Vermont’s Independent Voice (sevendaysvt.com), Aug. 22, 2018.

Photographs by Zachary Stephens: Ginnever in studio; Ginnever with Mirage sculpture; Ginnever with Rashomon models.

Hurlburt, Roger. “Good Form.” Sun Sentinel New Mexico, Jan. 26, 1992. Illus.: Pas de Deux, 1991; Walkabout, 1989.

“In Johnson: ‘Success of Failure’.” The Middlebury Campus (Middlebury, VT), vol. 83, no. 6, Oct. 23, 1987.

Lubell, Ellen. “Charles Ginnever.” Arts Magazine, Jun. 1978, p. 45. Illus.: Atlantis, 1976.

Johnston, Theresa. “Don’t just take it for granite: Outdoor art abounds on

Mason, Clark. “Hanging out in Juilliard.” Press Democrat (Santa Rosa, CA),

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no. 18, Apr. 12–25, 1984, p. 1, 27.

McCaslin, Walt. “A Movin’ Piece Any Way You Look At It.” Journal Herald (Dayton, OH), Apr. 3, 1980. Illus.: Movin’ Out (for Jesse Owens), 1980.

Parker, Dian. “Steel Sculptures Amid Tendrils of Vine: The Legacy of Charles Ginnever.” Vermont Art Guide, Issue #3, Winter 2017, p. 24–30.

McGill, Douglas C. “Nature Provides the Gallery For the Sculpture at Storm King.” New York Times, May 31, 1985, p. 11-12.

Parks, Louis B. “Sculpture Softens Downtown Vistas.” Houston Chroncle, Feb. 19, 1981.

Pasatiempo (Santa Fe, NM), Oct. 18–24, 1991.

_____. “A Sculpture Gives Way to Petunias.” New York Times, Oct. 23, 1986, p. 22. Illus.

McGovern, Judy. “Bells welcome new University of Michigan Museum of Art and its $41.9 million addition.” Ann Arbor News/mlive.com (Ann Arbor, MI), Mar. 21, 2009.

McRae, Jacqueline. “Visions in Bronze.” Walla Walla Union-Bulletin (Walla Walla, WA), Nov. 17, 1988.

Meeker, Hubert. “Panel Explores Question of Sculpture’s Survival.” Journal Herald (Dayton, OH), Mar. 1966.

Megan, Kathy. “Field Narrowed for Post Office Sculptor.” Charleston Gazette (Charleston, WV), Nov. 22, 1979.

Meline, Gabe. “Qualities of Belonging.” Bohemian (Santa Rosa, CA), Feb. 20, 2008.

“Miami’s Sculpture Drive-In.” USA Today, Feb. 16, 1983, p. 4D. “Minimalist/Abstract Sculptor, Charles Ginnever ‘Rashomon’ at San Jose Institute of Contemporary Art.” Artcentron.com, Feb. 8, 2013. Illus.

Mintz, Howard. “13-ton Tribute to Dad.” Times Tribune (Palo Alto, CA), Mar. 31, 1986, p. A1, A10. Photo of the artist with Untitled (In Homage to My Father, Charles Ginnever), 1986.

Patri, Tamara. “Hill Garden Opens Display.” Potrero View (San Francisco, CA), vol. 18, no. 5, Jun. 1987, p. 12. Illus.: Shift, 1985; Didymous, 1987.

Perry, Rebecca. “Art in the Park—Charles Ginnever’s Sculpture Makes a Dynamic Open-air Exhibit.” Dallas Fort Worth Home & Garden, Aug. 1984, p. 50-54.

Peterson, Ivars. “Conference Report: ISAMA 2000.” Nexus Network Journal, vol. 2 no. 4, Oct. 2000.

Peterson, William. “ConStruct at Shidoni’s Sixth Annual Outdoor Sculpture Show.” Artspace, Sep. 1980, p. 54-58. Illus.: Forth Bridge, 1979.

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Prospero, Ann Reaban. “Reviews: ConStruct South.” Art Papers, Mar.–Apr. 1983, p. 24. _____. “Sculpture: Monumental Efforts.” Miami/South Florida Magazine, vol.

35, no. 7, May 1984, p. 78–85.

Ratcliff, Carter. “New York Letter.” Art International, vol. 19, no. 10, Dec. 20, 1975, p. 44. Illus.: Zeus, 1975.

Morch, Al. “S/12: Sculpture Around the Bay.” San Francisco Examiner, Aug. 4, 1982, p. E6.

_____. “Ginnever’s Daedalus: Beyond Right-Angled Space.” Art in America, May/Jun. 1976, p. 98-100. Illus.: Daedalus, 1975; Zeus, 1975.

Morris, Kenneth. “Rethinking Sculpture Conservation.” Sculpture, vol. 6, no. 6, Nov./Dec. 1987, p. 26-30. Illus.: Didymous, 1987.

_____. “Taking Off: Four Sculptors and the Big New York Gesture.” Art in America, Mar./Apr. 1978, p. 106-107. Illus.: Ithaca, 1959; Three Steel Plates, 1977.

“Museum Row, ‘Les Funambules’.” Art and Architecture–San Francisco, Jan. 12, 2012. Illus.

_____. “Charles Ginnever at Wooster Art Space.” Art in America, Feb. 2005.

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“News Headlines.” New England Journal of Aesthetic Research, May 8, 2008.

_____. “Sculpture Enhanced by a Dramatic Setting.” New York Times, Aug. 23, 1981, p. 18. Illus.: “Fayette” (for Charles and Medgar Evers), 1971.

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“Outdoor Sculpture on View.” The Times (San Mateo, CA), 1982, p. 25.

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_____. “Art: Explanations for ‘Success of Failure’.” New York Times, Dec. 21, 1984.

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25, Jul. 11, 1987, p. 6. Illus.: Didymous, 1987; Ibis, 1987.

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Smith, Robert F. “Absolutely Abstract: Sculptor Charles Ginnever Finds Respect on a Grand Scale.” Rutland Daily Herald (Rutland, VT), Aug. 22, 1996, Vermonters section, p. 5. Illus.: Photo of Ginnever; Rashomon; Goddard’s Dream, 1982; Levade, 1978.

“Sneak Preview of Upcoming Library Show.” Greenwich Times (Greenwich, CT), Nov. 26, 1971, p. 19.

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385. Charles Ginnever in Vermont studio with Ghost of Eisenheim, 1961

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142-145. Illus.: Zeus, 1975.

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“Wood Sculpture.” Cornell Alumni News (Ithaca, NY), Apr. 15, 1959. Illus.

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ILLUSTRATED CHRONOLOGY 1931 Charles Ginnever is born August 28 in San Mateo, California, to Charles and Helyne Ginnever.

1931– 49 Early impressions include San Francisco’s Chinatown and the Northern California landscape and coastline. From ages 10 to 14 he spends each summer at his uncle’s winery in the Napa hills, and is impressed by the open space and rural life. Draws incessantly but does not study art in school.

1949–51 Attends San Mateo Junior College and enrolls in art courses for the first time. Begins to focus his attention on sculpture. Earns Associate Degree in 1951.

1951–52 His Air Force/National Guard unit is called into active service during the Korean conflict.

Sent to Spokane, Washington, he does special services artwork, producing posters and advertisements.

OPPOSITE

386. Charles Ginnever with Troika (I of II), 1976 Vermont Farm, 2017

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1953

1954

First visit to Europe. Studies French in Grenoble.

Studies Italian language and culture for six months at the Universitá per Stranieri in Perugia, Italy.

1953–55

Travels extensively by car, from Scandinavia through Western Europe and across North Africa.

With support from the G.I. Bill, he travels to Paris, where he studies with Ossip Zadkine at the Académie de la Grande Chaumière, working in clay from the figure. From Zadkine he learns an enthusiasm for sculpture and an understanding of the architecture of sculptural form. Resides at the Hotel Liberia across from the Académie and meets George Sugarman, also a resident of the hotel and a former student of Zadkine. Frequents the Café Select at a time when major artists of the time are around — Giacometti, Brancusi, Léger, Miró — whose presence is intimidating for the younger students.

1955 Returning to Paris, he resumes his studies with Zadkine, and also studies printmaking with Stanley Hayter at Atelier 17. He later recalls that one day, as he was pulling a print, Hayter stood watching with a visitor, who he learned was Joan Miró.

Students working at Stanley Hayter’s Atelier 17, Paris

Completes series of drawings titled Paris BeBop, geometric studies made with oil-based pigments, ink, and graphite on paper.

Returning to the U.S., he plans to attend Black Mountain College, but finds it has recently closed. Instead, he travels to San Francisco and enrolls at the California School of Fine Arts (CSFA; now San Francisco Art Institute).

Above: Académie de la Grande Chaumière, Paris. Below: Left/Right: Charles Ginnever. c.1955; Students in Ossip Zadkine’s class, 1955

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1955–57

1956 –57

At CSFA, he studies photography with Ansel Adams, Imogen Cunningham, and Pirkle Jones, while doing independent study in sculpture. (Among his fellow students at CSFA are Bill Brown, Joan Brown, Jay deFeo, Dean Fleming, Peter Forakis, Art Grant, Wally Hedrick, Fred Martin, Mike Nathan, Manuel Neri, David Simpson, and Leo Valledor.)

Begins making series of figurative, welded-steel sculptures, including Male Head, Painted Indian, The Bird, Satyr Pushing Girl in Swing, and Bird Form.

Lives in a storefront in San Francisco’s North Beach neighborhood, and shares a basement studio with Manuel Neri, Peter Forakis, and Tom Hardy.

Joins the artist-run Six Gallery in San Francisco in 1955 and regularly participates in group exhibitions at the gallery over the next three years.

Left: Drawing for Male Head, 1957; Charcoal on cream wove paper, 10½ in. × 8 in./26.7cm × 20.3cm. Right: Male Head, 1957; Steel, 17½ in. × 8½ in. × 6 in./44.5cm × 21.6cm × 15.2cm

1957 February 28–March 31. Ginnever’s steel sculpture Satyr Pushing Girl in Swing, 1956, is included in the 76th Annual Painting and Sculpture Exhibition of the San Francisco Art Association, at the San Francisco Museum of Art. A catalogue accompanies the exhibition.

Ginnever outside North Beach studio, San Francisco, 1957, with his steel sculpture Satyr Pushing Girl in Swing, 1956

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Continues working with welded steel, completing Steel Relief of Battle Scene. Also completes series of Painted Plaster Columns.

Participates in group exhibitions at the Richmond Art Center, Richmond, CA, and the Six Gallery, San Francisco.

Earns Sculpture Award and receives B.F.A. in Sculpture from California School of Fine Arts.

Marries Mikell Jaquysh.

Accepts a teaching position at Cornell University in Ithaca, NY, and registers as a graduate student there.

Is introduced to Mark di Suvero in San Francisco by Manuel Neri. Ginnever and di Suvero spend a week driving across the country to New York.

During the trip, they discuss the weak state of contemporary sculpture vis-a-vis painting, and how to change it.

1957–59 While serving as a teaching assistant at Cornell, works in relative isolation with a variety of materials and ideas, exploring color, figurative and abstract works, and open and closed forms. Di Suvero visits his studio at Cornell.

Ginnever’s studio at Cornell University, Ithaca, NY

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1958 Group exhibition at the Spatsa Gallery in San Francisco.

At Cornell, he begins work on Ithaca, working out his ideas in a series of preparatory drawings.

Completes works constructed from found wood and steel, including Oxbow and a series of Totem sculptures, and begins work on Calligraphic Sculpture.

1959 March 2–12. Cornell University presents the exhibition Charles Ginnever: Sculpture & Drawings in the Franklin Hall Gallery. He exhibits a series of wood totem sculptures, including Oxbow, 1957–58, and a large sculpture constructed with railroad ties, Calligraphic Sculpture, 1959.

Left: Wood Totem II, 1957–58; Wood, iron with cast-steel reliefs, 7 ft. high/2.1m.

Right: Oxbow, 1957–58; Wood, iron and steel, 78 in. × 36 in. × 18 in./198.1cm × 91.4cm × 45.7cm

Announcement/Posters for exhibition, CHARLES GINNEVER: Sculpture & Drawings, 1959. Cornell University, Ithaca, NY

Franklin Hall Gallery exhibition, 1959. Left: Calligraphic Sculpture, 1959; Wood and steel, 9 ft. × 12 ft. × 2 ft./2.7m × 3.7m × 0.6m. Right: Oxbow, 1958; Wood, iron and steel, 80 in. × 36 in. × 18 in./203.2cm × 91.4cm × 45.7cm

Receives M.F.A. in Sculpture from Cornell University.

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Moves to New York City, and rents a loft at 110 Center Street. Finishes Ithaca, adding steel found around Manhattan demolition sites. Works as an art mover, meeting many New York artists and dealers. He is hired with Peter Forakis to paint Marcel Duchamp’s apartment.

1960 Two wood sculptures, including Oxbow, 1957–58, are included in consecutive New Forms—New Media exhibitions at Martha Jackson Gallery, New York (Part I, June 6–24; Part II, September 28–October 22). A catalogue is published, with essays by Lawrence Alloway and Allan Kaprow and photographs by Rudolph Burckhardt.

New Forms—New Media I, 1960, installation view, Martha Jackson Gallery.

Courtesy Martha Jackson Gallery Archives, University at Buffalo Anderson Gallery, State University of New York at Buffalo. Rudolph Burckhardt, Photographer

Left: Poster designed by Claes Oldenburg for New Forms—New Media Exhibition at Martha Jackson Gallery, NY

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New Forms—New Media I, 1960, installation view, Martha Jackson Gallery. Courtesy Martha Jackson Gallery Archives, University at Buffalo Anderson Gallery, State University of New York at Buffalo. Rudolph Burckhardt, Photographer

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October 23–November 9. Included in exhibition The New Brata Group at the Brata Gallery, one of several cooperative, artist-run galleries located on 10th Street between 3rd and 4th Avenues in New York that began opening in the early 1950s.

1961 Completes mixed-media painted sculptures including For Mark (di Suvero), Ghost of Eisenheim, Lumpline, Rocker, Splash, Watkins Glen, and three Wall Reliefs.

Group exhibition Young New York Artists at Andrew Dickson White Museum, Cornell University, Ithaca, NY. With Peter Forakis, makes a 16mm film on Graffiti & Animation.

September 19–October 14. Ginnever’s Calligraphic Sculpture, 1959, is included in Group Show: Jean Follett, Charles Ginnever, Claes Oldenburg, Lucas Samaras, Myron Stout, Mark di Suvero at Richard Bellamy’s Green Gallery in New York City.

After di Suvero is critically injured in an elevator accident, Ginnever assists him in gathering sculptural materials and constructing his works.

1960 – 61 Moves studio from Center Street loft to 145 Greene Street. Lives at 155 Prince Street.

Purchases a 16mm movie camera from Malcolm Morley, which he uses as one would use a sketchbook, to record images and ideas.

Begins to make cloth and metal painted sculptures and painted steel constructions out of found materials.

Meets Ronald Bladen, John Chamberlain, Tom Doyle, Al Held, and other artists. Peter Forakis and Neil Williams arrive in New York from California.

A nucleus of artists develops that includes di Suvero, Forakis, and Ginnever; they eventually do collaborative performances and events.

Installation of group exhibition at Green Gallery, New York: Clockwise, from left: di Suvero, Prison Dream, 1961; Oldenburg, The Big Man, 1960, and Sewing Machine, 1961; unidentified artwork; Ginnever Calligraphic Sculpture, 1959; and Samaras, Untitled, 1961. Rudolph Burckhardt, Photographer

Marriage with Mikell Jaquysh ends.

November. First solo exhibition in New York, Chuck Ginnever: Sculpture, at Allan Stone Gallery, where he shows Ithaca, 1959; Rocker, 1961; Splash, 1961; and Watkin’s Glen, 1961.

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Ithaca, 1959; Wood, steel, 12 ft. × 25 ft. × 15ft./3.7m × 7.6m × 4.6m

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1962 Constructs large, painted sculptures from steel and found materials.

Completes Blue Road, Fiat Ascending, Fresno Flat, Hole View, Ronnie, Shadow, Split Image, Wall Relief, 1962, Whalebird, White Flat, and Wipeout.

April 8–29. Participates in group exhibition 12 New York Sculptors at the Riverside Museum in New York City.

Participates with other artists in weekly “No Jazz, Jazz Music Sessions” at Peter Forakis’s West Village loft. Artists bring their musical instruments and other noise makers for spontaneous music sessions. Ginnever gives rolls of cash register tapes to artists, who are asked to make paintings on the rolls of paper. The paintings are then projected on the walls and followed by the musicians who are assigned colors as “sound scores.”

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Details: Sound Score for Opaque Projector, No Jazz, Jazz Music Session I, 1962; Water-based pigments on paper, mounted on linen-covered board, 9¼ in. × 87 in./23.5cm × 221.0cm

August. Ginnever and other artists produce Ergo Suits Carnival at Woodstock (August 18) and East Hampton, NY (August 25), in collaboration with Tom Doyle, Dean Fleming, Peter Forakis, Eva Hesse, Allan Kaprow, Phyllis Yampolsky, Peter Schumann’s Bread & Puppet Theater, and others.

Makes sculptural costumes for a “sculpture dance,” and uses his Sound Scores for Opaque Projector, No Jazz, Jazz Music Session for improvised musical performances.

Ergo Suits Carnival Costume Designs and Dance Notes for Performance, 1962; Triptych: Graphite on ruled paper, 13¾ in. × 23¾ in./34.9cm × 60.3cm

Ergo Suits Carnival, East Hampton, NY, 1962; War Dance Performance

Ergo Suits Carnival, East Hampton, NY, 1962; Worm Dance Performance

Ergo Suits Carnival, East Hampton, NY, 1962

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1963 Completes Painted Novaply Sculpture I and II, Painted Steel Maquettes I-III, Floater, Rolling Fog, T.P., and Warp Series I–V. Teaches night classes in welding at Pratt Institute, New York.

Two-artist exhibition at the Sun Gallery, Provincetown, MA. Works shown include Shadow, 1962; Lumpline, 1961 (purchased by Walter Chrysler for the Chrysler Museum), and a figurative relief purchased by Jack Tworkov.

May 19. Organizes and participates in a “Sculpture Dance” at the Fluxus Festival at George Segal’s farm in South Brunswick, NJ, along with Tom Doyle, Eva Hesse, and Peter Forakis. A film is made of the performance.

The Festival, sponsored by Smolin Gallery, is promoted as “An afternoon of Happenings, Dance and Music.”

Study for Fluxus Dance Costumes, 1963; Ink on paper; 8½ in. × 11 in./21.6cm × 27.9cm

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Cooperative Park Place Gallery is founded by artists, including Mark di Suvero and Peter Forakis. Ginnever decides not to join, preferring to remain independent; though not an official member, his work is included in group exhibitions during the gallery’s existence, until its closing in 1967.

Transports a truckload of his sculptures to the West Coast, where they are temporarily installed in John Chamberlain’s yard in Topanga Canyon, near Los Angeles. (The sculptures are later moved north to San Mateo, and in 1978 are exhibited at Smith Andersen Gallery in Palo Alto.)

1964 Completes painted, twisted-steel sculptures, including Balance, Bird Bath, Gesture Sculpture, Jelly Apple, Painted Steel Maquettes IV–VIII, and Timebridge; and larger wood and steel sculptures Banzai, Jezabel, and Sen Sen.

Balance, 1964; Steel, oil-based pigments, 13 in. × 22 in. × 15 in./33.0cm × 55.9cm × 38.1cm

Returns to New York and teaches sculpture at the New School for Social Research.

Marries Ronnie Weiss.

Shows in group exhibition at the Park Place Gallery, New York.

November 27–December. Exhibits in Sculptor’s Toys at Royal Marks Gallery, New York.

1964 – 65 Teaches sculpture at the Brooklyn Museum School.

Constructs Dante’s Rig in his Greene Street studio, a pivotal work in which fabricated geometric sections are introduced and combined with street-acquired structural elements. Creates numerous drawing studies while developing the sculpture.

Installation Greene Street studio, Dante’s Rig, 1964–65; Aluminum, steel, oil-based pigments; 9 ft. × 23 ft. × 8 ft./2.7m × 7.0m × 2.4m

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1965 Completes Dante’s Rig. Constructs Linear Series sculpture Green Mountain Blue.

February. Max Kozloff publishes an article in Arts magazine that associates Ginnever with a group of young sculptors working in New York, including George Sugarman, David Weinrib, Mark di Suvero, Tom Doyle, and Ronald Bladen, whose work, he writes, “showed the breadth of sculptors’ responses to contemporary conditions that acted against long-held visual and sculptural expectations.” The article illustrates Ginnever’s Jezabel, 1964.

Jezabel, 1964; Wood, steel, chrome-plated steel; 54 in. × 32 in. × 42 in./ 137.2cm × 81.3cm × 106.7cm

Participates in group exhibition organized by the American Federation of the Arts, Color Sculpture, which travels through 1966.

Teaches at the Newark School of Fine and Industrial Art, Newark, NJ, in addition to giving classes at the Brooklyn Museum School.

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Ginnever’s sculptures Sen Sen, 1964, and Wipeovut, 1962, are included in the exhibition Art ‘65—Lesser Known and Unknown Painters, Young American Sculpture East to West in the American Express Pavilion, New York World’s Fair, Flushing, NY. Ginnever’s works are discussed in the accompanying catalogue, with essays by Wayne Andersen and Brian O’Doherty.

November 3–27. Group exhibition Sculpture from All Directions at World House Gallery, New York, NY. A catalogue accompanies the exhibition.

November 4–15. Solo exhibition, Chuck Ginnever: Major Works 1963–64, at New Gallery, Bennington College, Bennington, VT, organized by Lawrence Alloway with the assistance of Paul Feeley. Barnett Newman helps select works for the show, including the outdoor installation of Fiat Ascending [Blunderbuss], 1962.

Right: Installation of Fiat Ascending [Blunderbuss], 1962, Bennington College Campus, Bennington, VT

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Installation photographs of exhibition Chuck Ginnever: Major Works 1963–64, New Gallery, Bennington College, Bennington, VT

At the end of the exhibition, Paul Feeley requests that Fiat Ascending [Blunderbuss] remain on the Bennington campus. (In 1967, Ginnever returns to Bennington to retrieve the sculpture and finds that after Feeley’s untimely death, Fiat Ascending was destroyed. Most of the remaining sculptures from the exhibition were left uncovered in a barn at Bennington, and were damaged.)

Participates in group exhibition at Los Angeles County Museum of Art, Los Angeles, CA. December 26. Daughter Jodi Melanie Ginnever is born in New York.

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1966

Begins a series of folded-form sculptures based on the triangular, aluminum “wings” of Dante’s Rig, completed in 1965. The first sculptures, titled Gothic Series, are created in translucent Plexiglas. Begins work on a mid-size painted steel maquette, The Bird, which is later realized as the large-scale sculpture, The Bird (for Charlie Parker) in 1979.

Begins Flat Illusion Series with Midas and Fog, Stack Maquette I, and several Untitled sculptures.

Serves as Artist in Residence at the Dayton Art Institute, Dayton, OH, for three months, where he fabricates Midas and Fog. At the end of his residence, performs a “sculpture dance” event with the aid of students.

June 12–July. Group exhibition Installation Invitational: Villa, Montgomery, Ginnever, Krebs, Smithson at Park Place Gallery in New York.

Park Place Gallery, New York; Installation Invitational: Villa, Montgomery, Ginnever, Krebs, Smithson. Geoffrey Clements, Photographer

Summer. Drives with his family to Aspen, CO, to head the Sculpture Department at the Aspen School of Contemporary Art during the summer session.

Above: Dante’s Rig Study No. 4, 1965; Ink on paper; 4 ∕16 in. × 8 in./11.9cm × 20.3cm. Below left: Gothic Series Number 3, 1965; Plexiglas, 13 in. × 12 in. × 12 in./33cm × 30.5cm × 30.5cm. Below right: The Bird (for Charlie Parker), Mid-size Maquette, 1965–81; Steel, Epoxy primer, Urethane, 23½ in. × 26 in. × 10 in./59.7cm × 66.0cm × 25.4cm 11

Fall. Accepts a teaching position at Orange County Community College in Middletown, NY. Separates from wife Ronnie. Moves to 145 Greene Street studio in Manhattan.

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November 27–December 8. Solo exhibition Charles Ginnever: Dante’s Rig at Park Place Gallery, New York. The exhibition is concurrent with an exhibition of sculpture by Peter Forakis.

1967 Completes several Flat Illusion sculptures, including 3 + 1 (which later sells to a private collector and in 1983 is donated to the The Metropolitan Museum of Art, New York).

Installation of Dante’s Rig, 1964–65; Aluminum, steel, oil-based pigments; 9 ft. × 23 ft. × 8 ft./2.7m × 7.0m × 2.4m. Park Place Gallery, New York, NY

3+1, 1967; Steel, 4 ft. × 14 ft. × 3 ft./1.2m × 4.3m × 0.9m. Collection The Metropolitan Museum of Art, New York, NY

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September. Artforum publishes Lawrence Alloway’s article “Chuck Ginnever: Space as a Continuum,” focusing on works exhibited in the 1965 exhibition at Bennington College.

Accepts a full-time position at Windham College in Putney, VT, to teach sculpture and drawing, as well as curate art shows for the college.

October 1–31. Participates in Sam Green’s Sculpture in Environment exhibition for Gracie Mansion, sponsored by the New York City Cultural Affairs Department, which places outdoor sculptures throughout central New York City. For the exhibition, he installs sculptures in Carl Schurz Park on the East River. A catalogue accompanies the exhibition.

Midas and Fog, 1966; Steel, acrylic lacquer, 7 ft. × 18 ft. × 6 ft./2.1m × 5.5m × 1.8m Sculpture in Environment Installation, Carl Schurz Park, New York, NY

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1968 Completed works include Abacuses, Ayatolla, Bow Tie |><|, Split, Untitled, 1968, several maquettes, and two Untitled Flat Illusion sculptures.

Exhibits two new large Untitled Flat Illusion sculptures in Washington Square Park in New York City.

Untitled Flat Illusion for Joseph H. Hirshhorn I, 1968; Steel, 5 ft. × 15 ft. × 4 ft./1.4m × 4.6m × 1.2m. Installation, Washington Square Park, New York, NY

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At Windham College, he organizes solo exhibitions of works by Peter Forakis, Michelle Stuart, Ronnie Ginnever, Harold Feinstein, Leo Valledor, and Carlos Villa.

April 20–May 6. Participates in group exhibition 10 Downtown, in which ten artists show works in their own studios in Manhattan. For the exhibition, Ginnever installs three large-scale sculptures in his loft/studio at 145 Greene Street—Green Mountain Blue, 1965; Untitled Flat Illusion, 1967; and Ayatolla, 1968, as well as smaller sculptures.

Opposite: Charles Ginnever with Flat Illusion sculptures installed in his studio at 145 Greene Street, New York, NY, for the exhibition 10 DOWNTOWN

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October 18–November 17. A version of the 10 Downtown exhibition is shown at Picker Gallery, Charles A. Dana Creative Art Center, Colgate University, Hamilton, NY. A catalogue with essay by Edward Bryant is published for the exhibition.

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November. Group exhibition at Paula Cooper Gallery, New York.

1969 Completes Tandem I, Tie, and several Untitled Flat Illusion maquettes.

January 11–February 4. Included in Drawing Exhibition at Paula Cooper Gallery, New York.

Appointed head of the Art Department at Windham College, Putney, VT. May 9–11. With his students, he produces and performs in a “sculpture dance” at the Windham Carnival, produced by the Windham College art students and faculty, along with Peter Forakis and David Rohn. As part of the dance, the students, in elaborate sculptural costumes, besiege Windham’s signature Edward Durell Stone-designed campus colonnade.

A short film, “Attack on the Colonnade, Windham College,” is made of the performance, directed by Ginnever and edited by George Ladas, which is now online at: www.youtube.com/watch?v=jitSBb6dLwM.

Windham Carnival; Attack on the Colonnade, performed in front of newly completed colonnade designed by Edward Durell Stone, Windham College, Putney, VT

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Unfolded Recto: Carnival Gazette, Vol. I, No. 1. Windham College, Putney, VT. Designed by Peter Forakis

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Unfolded Verso: Carnival Gazette, Vol. I, No. 1. Windham College, Putney, VT. Designed by Peter Forakis

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Spends six weeks during the summer working at the Nebato Factory in Bergeijk, Holland. He makes ten small works, and a large Flat Illusion sculpture, which are later reported lost by the factory.

Purchases a 44-acre farm on Quarry Road near Putney, VT. Daughter Jodi moves to the Vermont farm and lives there for the next five years.

1970 Completed works include the maquette and large-scale Linear sculpture Peace, and a large Untitled Flat Illusion sculpture.

Joins Paula Cooper Gallery in New York, and participates in exhibitions at the gallery.

April 1–29. Paula Cooper Gallery, New York, presents the two-artist exhibition Chuck Ginnever and Louis Kahn, which includes Ginnever’s sculpture Split, 1968.

Split, 1968; Steel, 6 ft. × 13 ft. × 8 ft./1.8m × 4.0m × 2.4m. Exhibition Chuck Ginnever and Louis Kahn, Paula Cooper Gallery, New York, NY

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Group exhibitions at Indianapolis Museum of Art, Indianapolis, IN; and New Gallery, Cleveland, OH. October 24–November 17. Solo exhibition at Paula Cooper Gallery includes the two Untitled Flat Illusion sculptures that were installed in Washington Square Park in 1968, which are purchased by Joseph Hirshhorn, and given to the Hirshhorn Museum in Washington, D.C. Untitled Flat Illusion for Joseph H. Hirshhorn I, 1968; Steel, 5 ft. × 15 ft. × 4 ft./1.4m × 4.6m × 1.2m

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Ginnever’s sculpture Bow Tie |><|, 1968, fails to fit in Paula Cooper Gallery for his exhibition. Ginnever loads the sculpture on a flatbed truck, which he parks in front of various Manhattan cultural sites, including the Whitney Museum, to promote his gallery exhibition.

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1970–71 Installs large-scale steel sculpture, Peace, 1970, in Battery Park, New York, in conjunction with his solo exhibition at Paula Cooper Gallery. Grace Glueck writes in the New York Times (May 2, 1970): “The work [is] simple, but with an amazingly powerful presence. ...It is the lyrical balance struck between raw, found material and humanly forged artifact that makes it so compelling a work.”

1971 Continues the Flat Illusion Series, completing 1971 (Shakantala) and two Untitled sculptures. Creates first large Planar Series sculpture, Fayette (for Charles and Medgar Evers).

February 2–April 4. Installation of Exit: Disposable Monument for W. Eugene Smith, 1970–71, at the Jewish Museum in New York. True to its title, the work is later disposed of by the museum, and collected by the New York Department of Sanitation.

June 13–September 26. Group exhibition Sculpture in the Park: An Exhibition of American Sculpture at Van Saun Park, Paramus, NJ, where he shows Green Mountain Blue, 1965. The sculpture installation is presented by the North Jersey Cultural Council, Bergen County Commission, Bergen Community College, New Jersey State Council on the Arts, and Board of Chosen Freeholders. The exhibition catalogue, with foreword by John L Everitt, includes works by 59 contemporary sculptors, with biographies and photographs of their sculptures.

Exit: Disposable Monument for W. Eugene Smith, 1970–71; Wood, lathe, concrete, 6 ft. × 8 ft. × 6 ft./1.8m × 2.4m × 1.8m. Installation, Jewish Museum, New York, NY. Harold Feinstein, Photographer

Solo exhibition at Paula Cooper Gallery, New York. Storm King Art Center purchases the large steel sculptures 1971 (Shakantala), 1971, and Fayette (for Charles and Medgar Evers), 1971, from the exhibition.

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1972 January. Artforum features an article on Ginnever by Kenneth Baker reviewing his recent exhibition at Paula Cooper Gallery. Baker writes: “Ginnever’s work has an important message to convey about modernist sculpture; it is not enough that a sculpture differentiate itself in kind from objects, the differentiation must take the form of an assurance that the experience of the work can be shared.”

March. Co-organizes with Seth Siegelaub the Windham II exhibition at Windham College, which commissions Carl Andre, Bob Barry, and Lawrence Weiner to install works on campus on a site of their choosing, on a budget not to exceed $50. A spirited symposium, moderated by Dan Graham, is held on March 20 in conjunction with the exhibition.

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April 8–June 11. Exhibition Painting and Sculpture 1972 at Storm King Art Center, Mountainville, NY.

October 10–21. Windham College Fine Arts Gallery in Putney, VT, presents solo exhibition Charles Ginnever Sculpture.

Makes large Linear Series work, 4 the 5th (of Beethoven), with the aid of a grant from the Vermont State Council on the Arts, and installs the sculpture at the Southern Vermont Arts Center, Manchester.

Solo exhibition at Paula Cooper Gallery, New York.

Completes the Flat Illusion sculpture Dovecotes.

Installation 1971 [Shakantala], 1970–71; Steel, 42 in. × 132 in. × 18 in./106.7cm × 402.6cm × 45.7cm

Group exhibition New York Artists from the Paula Cooper Gallery at Greenwich Library, Greenwich, CT. Dovecotes, 1972; Steel, 5 ft. × 171/2 ft. × 3½ ft./1.5m × 5.3m × 1.1m

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1974

December 1972–February 1973. Ginnever is one of several artists invited to install large-scale sculptures in sites in New York City newly designed for outdoor sculptures, which include Washington Square Park, Battery Park, and Hammarskjöld Plaza Sculpture Garden. Ginnever’s wood sculpture Ambush, 1972, is installed in the Sculpture Garden. Also installed in other New York parks are Abacuses, 1968, and Bow Tie |><|, 1968.

Continues the Planar Series with Detente and the maquette Troika. Creates first Hellenic Series sculpture, Marcel’s Wave (for Duchamp).

Teaches sculptural welding in the Summer Sculpture Program of the Hobart School of Welding Technology in Troy, OH. The Hobart School purchases his sculpture Split II, 1974, produced during his teaching residency.

During sabbatical from Windham College, travels around the world to major historical sites at Ryoan-ji (Kyoto, Japan), Burma, Nepal, India, the Pyramids of Egypt, Stonehenge, and elsewhere.

Visits Sam Francis in Tokyo. Meets renowned architect Arata Isozaki and visits buildings in Japan designed by him. Has long discussions with Isozaki on differences in Western and Eastern perceptions of architectural and sculptural form.

Awarded a Guggenheim Fellowship. He also receives an Individual Artist Grant from the National Endowment for the Arts, which is deferred until 1975.

Sculpture Now, Inc., opens in a Manhattan warehouse as an exhibition space for sculpture, founded by Max Hutchinson. Ginnever exhibits Detente, 1974, and Dovecotes, 1972, in the inaugural exhibition. He participates in solo and group exhibitions at the gallery over the next five years.

1973 Creates the maquette for a new Linear Series sculpture, Levade.

Travels by car with Linda Filippi to visit pre-Columbian sites, from Mexico City to the Yucatan peninsula.

Leaves Paula Cooper Gallery.

Détente, 1974; Steel, 9 ft. × 21 ft. × 7 ft./2.7m × 6.4m × 2.1m.

Inaugural exhibition, Sculpture Now, Inc., New York, NY

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Receives a commission from the U.S. General Services Administration to construct a large-scale sculpture for the Federal Courthouse in St. Paul, MN. The commission is delayed when Congress freezes G.S.A. funds during the Watergate scandal.

1975 Completes the Flat Illusion sculpture Harison Perspectives; the Planar Series sculpture Jax; the Linear sculpture Zeus; and the first Spinal Series sculptures, maquettes for Gyro and Gyro I. Working at Milgo/Bufkin in Brooklyn, NY, completes Hellenic Series sculptures Daedalus and Icarus.

January 1–25. Included in the exhibition Artists Make Toys at MoMA P.S.1, New York, where he installs a low tightrope.

Resigns from teaching position at Windham College.

September–November. Installs Zeus, 1975, in a group exhibition at Sculpture Now, Inc., New York, NY.

Above: Daedalus, 1975; Steel, 11 ft. × 30 ft. × 21 ft./3.4m × 9.1m × 6.4m.

Below: Icarus, 1975; Steel, 6 ft. 8 in. × 33 ft. 6 in. × 5 ft./2.0m × 10.2m × 1.5m. Exhibition Charles Ginnever: 20 Years—20 Works, Sculpture Now, Inc., New York, NY

Zeus, 1975; Steel, 30 ft. × 45 ft. × 75 ft./9.1m × 13.7m × 22.9m. Installation, Sculpture Now, Inc., New York, NY

November–December. Ginnever shows Daedalus, 1975, and Icarus, 1975, in the solo exhibition Charles Ginnever: 20 Years—20 Works at Sculpture Now, Inc. A catalogue is published to accompany the exhibition, with cover design by Lawrence Weiner.

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Ginnever is included in Donald Judd’s book, The Complete Writings of Donald Judd, published by New York University Press and the Press of the Nova Scotia College of Art and Design, Halifax, Nova Scotia.

Included in Wayne Andersen’s book, American Sculpture in Process, 1930– 1970, published in Boston by the New York Graphic Society.

1976 Charles Ginnever’s work represented in New York by Sculpture Now, Inc. February. Artforum features Zeus, 1975, on its cover. An article by Nancy Foote, “Three Sculptors: Mark di Suvero, Richard Nonas, Charles Ginnever,” assesses each sculptor’s recent installations at Sculpture Now, Inc.

Cover of Artforum Magazine featuring Zeus, 1975; Steel, 30 ft. × 45 ft. × 75 ft./9.1m × 13.7m × 22.9m. Installation, Sculpture Now, Inc., New York, NY

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Completes Planar Series sculptures Untitled (for L. Weiner), a large-scale Troika (I of II), and the Linear sculpture Wakandhi (for site-specific installation at the Walker Art Center, Minneapolis). Produces works from the Hellenic Series at Milgo/Bufkin in Brooklyn, NY, including Atlantis, Olympus, and Protagoras. The sections for Nautilus are also fabricated at Milgo/Bufkin, and the sculpture is assembled for the first time later that year at the Walker Art Center.

April 25–June 6. Installs Nautilus, 1976, and Wakandhi, 1976, at the Walker Art Center, Minneapolis, MN, for the exhibition Sculpture Made in Place— Dill, Ginnever, Madsen. A catalogue is published for the exhibition.

Ginnever installing Wakandhi, 1976, at Walker Art Center, Minneapolis, MN

Wakandhi, 1976; Steel, 18 ft. × 50 ft. × 90 ft./5.5m × 15.2m × 27.4 m.

Installation Walker Art Center, Minneapolis, MN

Walker Art Center purchases Nautilus, 1976, with funds from the National Endowment for the Arts. The sculpture is later installed at Gold Medal Park in Minneapolis, MN.

Nautilus, 1976; Steel, 11 ft. × 34 ft. × 22 ft./3.4m × 10.4m × 6.7m.

Installation Walker Art Center, Minneapolis, MN

May–June. Art in America publishes Carter Ratcliff ’s article, “Ginnever’s Daedalus: Beyond Right-Angled Space,” reviewing his 1975 exhibitions at Sculpture Now, Inc. Ratcliff writes: “One stays in the richly ambiguous space defined by Daedalus itself: that is, one stays in contact with one’s experience of the work. If Ginnever’s sculpture offers any reassurances, they lie in its power to reveal the viewer’s capacity for experience unsupported by reassurances of the usual kind.”

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May 2–July 25. Installs Olympus, 1976, outdoors for the exhibition Nine Sculptors—On the Ground, In the Water, Off the Wall at the Nassau County Museum of Fine Arts, Roslyn, NY.

Participates in group exhibition Fine Arts in New Federal Buildings at the New Orleans Museum of Art, organized by the U.S. General Services Administration. A catalogue accompanies the exhibition.

Exhibits Atlantis, 1976, in group exhibition at Central City Park, Atlanta, GA. June-October. Exhibits Daedalus, 1975, in Sculpture ‘76 at the Greenwich Arts Council, Greenwich, CT. A catalogue is published, edited by Lydia Anderson, Jacqueline Moss, and Ida E. Rubin, with an illustration of Daedalus.

Installs Protagoras, 1976, at the Federal Courthouse in St. Paul, MN, for the deferred 1974 G.S.A. commission. The sculpture creates some controversy, when a local artist spray-paints the selling price on the sculpture’s surface, and U.S. Senator William Proxmire (D-Wis.), in a crusade against perceived government waste, includes the commission among his “Golden Fleece” awards.

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Daedalus, 1975; Steel, 11 ft. × 30 ft. × 21 ft./3.4m × 9.1m × 6.4m.

Installation Greenwich Arts Council, Greenwich, CT

1977 Receives a commission from the Knox Foundation to produce the Spinal Series sculpture Pueblo Bonito for the city of Houston, TX. Sees fellow San Mateo native Sam Francis at the San Mateo High School 75th anniversary event, and the two artists agree to show in concurrent exhibitions at Smith Andersen Gallery in Palo Alto the following year.

Completes large-scale steel sculptures Pueblo Bonito and Three Parallelograms.

Daedalus, 1975; Steel, 11 ft. × 30 ft. × 21 ft./ 3.4m × 9.1m × 6.4m Three Parallelograms [3 Parallelograms], 1977; Steel, 6 ft. 3 in. × 16 ft.3 in. × 7 ft.

3 in./1.9m × 5.0m × 2.2m

September. Daedalus, 1975, is acquired by The University of Michigan Museum of Art through the generosity of contributors to the museum’s 30th Anniversary Fund with the assistance of the National Endowment for the Arts, and the sculpture is installed on campus. A catalogue is published, with text by Bret Waller, and installation photographs of Ginnever’s sculpture by Patrick Young/Michigan Imaging, Ann Arbor, MI.

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Ginnever’s drawing, Three Steel Plates, 1977; Ink on paper, 12 in. × 25 in./30.5cm × 63.5 cm, included in Drawings for Outdoor Sculpture 1946– 1977 at John Weber Gallery, New York. The exhibition travels to Mead Art Gallery, Amherst, MA; University of California Art Galleries, Santa Barbara; La Jolla Museum of Contemporary Art, La Jolla, CA; and Hayden Gallery, Massachusetts Institute of Technology, Cambridge, MA. A catalogue, with essay by David Shapiro, is published for the exhibition.

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September 11–October 2. Work is included in 10 Downtown: 10 Years at MoMA P.S.1 in New York.

September. Participates in Inaugural Exhibition at Wave Hill Sculpture Garden, Bronx, NY. The exhibition, with works by Alexander Calder, Willem De Kooning, Mark di Suvero, Barbara Hepworth, and other artists, is largely drawn from the collection of Mr. and Mrs. Joseph H. Hirshhorn.

Exhibits in Two Decades 1957–1977, American Sculpture from Northwest Collections at Washington State University, Pullman, WA. October 24–December 3. Curates and participates in the exhibition Sculpture Yesterday/Today at Sculpture Now, Inc., with Mark di Suvero, Tom Doyle, and Peter Forakis. He shows Ithaca, 1959, and Dante’s Rig, 1964–65, in the historical section of the exhibition, and creates Three Steel Plates, 1977, for the new works section. A catalogue with essay by Carol Squiers is published for the exhibition.

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1977–78 December 10, 1977–January 14, 1978. Exhibits Three Parallelograms, 1977, and Untitled (for L. Weiner), 1976, in the exhibition Cornell Then, Sculpture Now, at Sculpture Now, Inc., New York, which travels to the Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY, May 24–July 9, 1978. A catalogue accompanies the exhibition, with essay by Robert Hobbs, and an illustration of Troika, 1976.

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1978 Completes Flat Illusion Series sculpture San Mateo Bridge; continues Hellenic Series with Crete; fabricates Spinal Series sculptures Moonslip and Crescent Maquette; and the Linear sculpture Levade.

Receives a commission from the State University of New York at Albany to produce Koronos II, a circular Hellenic Series work, for permanent installation on the campus.

Koronos II, 1978; Steel, 12 ft. × 40 ft. × 40 ft./3.7m × 12.2m × 12.2m.

Installation State University of New York, Albany, NY

Spends two months in Houston working at Frank McGuire’s large outdoor studio, fabricating Troika (II of II), commissioned by the University of Houston for installation on campus, and Crete, for an exhibition at Max Hutchinson Gallery in Houston.

March 28–April 22. Solo exhibition at Max Hutchinson Gallery, New York, NY. The exhibition Charles Ginnever: Hellenic Series includes a group of maquettes made as studies for his series of large-scale sculptures that reference Greek history and mythology.

Atlantis Maquette, 1976; Steel, 9 in. × 25 in. × 27 in./22.9cm × 63.5cm × 69.0cm.

Exhibition Charles Ginnever Hellenic Series, Max Hutchinson Gallery, New York, NY

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April 15–May 27. Solo exhibition Charles Ginnever: Recent Sculpture at Smith Andersen Gallery in Palo Alto, CA, where he shows Calligraphic Sculpture, 1959; Split Image, 1962; Hole View, 1962, and other painted sculptures from the early 1960s; and the newly constructed San Mateo Bridge, 1978. The exhibition is paired with a concurrent exhibition of new works by Sam Francis.

April 16–May 21. Exhibits in Indoor/Outdoor Sculpture Show at MoMA P.S.1, New York.

May 24–July 9. The exhibition Cornell Then, Sculpture Now, organized by Sculpture Now, Inc., is shown at the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY. A catalogue is published for the exhibition.

His marriage to Ronnie ends.

Travels with Linda Filippi on a worldwide trip, visiting New Zealand, Bali, Kenya, Italy, and France. In Kenya, they accompany Carol Beckwith on a safari to Masai country as she prepares her book Masai.

November 5–28. Solo exhibition Charles Ginnever: The Hellenic Series Sculptures at Long Beach Museum of Art, Long Beach, CA, featuring maquettes for the large-scale Hellenic sculptures. Ginnever is present for opening events on November 5–6, including a reception and Q&A with the artist.

Ginnever is invited to Australia to produce two large works for John Kahlbetzer, Green Mountain Blue II and Midas II, which are fabricated at Steel Stocks in Sydney, Australia. Green Mountain Blue II is later donated to the National Gallery of Australia, Canberra.

Solo exhibition Charles Ginnever—Metal Sculpture at Galerie Simonne Stern in New Orleans, LA.

Green Mountain Blue II, 1978; Steel, oil-based pigments, 26 ft. × 70 ft. × 4 ft./7.9m × 21.3m × 1.2m. Collection National Gallery of Australia, Canberra

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1979 Receives commission from the Virlane Foundation in New Orleans to create first large-scale Origami Series sculpture, The Bird (for Charlie Parker), which he fabricates at American Lighting Standards near Houston.

Joins ConStruct, with founding members Mark di Suvero, John Henry, Lyman Kipp, and Kenneth Snelson, based in Chicago, IL, and Miami, FL. Participates in numerous group exhibitions of ConStruct artists.

Working at John Henry’s Chicago studio, produces Chicago Triangles, Forth Bridge, and Gallop-A-Pace.

April 20–May 18. Group exhibition Nine Points of View: Sculpture at Sonoma State University Art Gallery in Rohnert Park, CA.

The Bird (for Charlie Parker), 1979; Steel, oil-based pigments, 18 ft. × 20 ft. × 17 ft./5.5m × 6.1m × 5.2m. Installation K & B Plaza, New Orleans, LA

Continues Origami Series with fabrication of Blue and Black at Sculpture Space, NY. Develops ideas for Triangle Series sculptures; fabricates Westminster Triangles at his Vermont farm, and continues the series with Chicago Triangles and Prospect Mountain Project (for David Smith).

Completes Flat Illusion sculptures Burt’s Bridge, Firefly, Forth Bridge, and Gallop-A-Pace (built at David Kibbey’s studio in Oakland, CA); and maquettes that include Detente II, Vulva I, and Vulva II.

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August 1–October 15. Fabricates Prospect Mountain Project (for David Smith) for the Prospect Mountain Sculpture Show, An Homage to David Smith at Lake George Arts Project, Lake George, NY. A catalogue is published for the exhibition, with essay by Irving Sandler.

Prospect Mountain Project (for David Smith), 1979; Steel, 8 ft. × 14 ft. × 8 ft./ 2.4m × 4.3m × 2.4m. Collection Storm King Art Center, Mountainville, NY

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Participates in group exhibitions at ConStruct, Chicago, IL: Laumeier Sculpture Park, St. Louis, MO; and at the University of Wisconsin, Oshkosh, WI. Joins Fuller Goldeen Gallery, San Francisco, CA.

1979– 80 November 30, 1979–January 14, 1980. Solo exhibition Charles Ginnever at ConStruct in Chicago, IL. Exhibition includes installation of Ginnever’s sculpture Chicago Triangles, 1979.

Chicago Triangles, 1979; Steel, 7 ft. × 24 ft. × 5 ft./2.1m × 7.3m × 1.5m

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August 1–September 30, 1979. Included in ConStruct traveling exhibition Mark di Suvero, Charles Ginnever, John Henry, Linda Howard, Lyman Kipp, Frank McGuire, Jerry Peart, which opens in 1979 at The Fine Arts Museum of Long Island, Hempstead, NY, and tours through 1981 to Grant Park, Chicago, IL; The Arts Festival of Atlanta, GA; and Shidoni Gallery, Tesuque, NM. A catalogue accompanies the exhibition, with essay by David H. Katsive, and illustration of Icarus, 1975.

1980 Awarded a sculpture commission to produce Charleston Arch for the City of Charleston, WV, sponsored by the Kanawa Arts Alliance and the National Endowment for the Arts.

Winter. Is invited by the City Beautiful Council of Dayton, OH, and Wright State University Department of Art and Art History to participate in their Alternative Spaces Residency Program. The program invites artists to Dayton to collaborate on the fabrication of a sculpture to be installed in downtown Dayton. Tom Doyle was the first artist to participate in the Residency Program, in the Fall of 1979. Ginnever participates in the Winter of 1980. Anne Healy, Edward Mayer, and Joshua Neustein were invited for the Spring of 1980. While there, Ginnever works with Hobart Welding in Troy, OH, to fabricate Movin’ Out (for Jesse Owens). The sculpture is installed in downtown Dayton, and is later purchased by the Dayton Art Institute.

The Alternative Spaces Residency Program publishes a catalogue, QUINTESSENCE, that documents each artist’s collaborative process.

Movin’ Out (for Jesse Owens), 1980; Steel, 7 ft. × 35 ft. × 11 ft./2.1m × 10.7m × 3.4m. Installation Dayton Art Institute, Dave Hall Plaza, Dayton, OH

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Completes Flat Illusion sculptures Charleston Arch and Looking In, Looking Out; continues Hellenic Series with Charities and Python; creates Triangle Series sculptures and painted Origami Series sculptures Bop and Crazed, Red and Sand, and Zag, for Walter Davis, Jr. Makes numerous small drawings, particularly studies for the Triangle Series.

Works at Sculpture Space in Utica, NY, to fabricate Bali, Bop and Crazed, and Red and Sand.

Fabricates Texas Triangles at Frank McGuire’s studio in Houston, TX.

Texas Triangles, 1980; Steel, 10 ft. × 21 ft. × 10 ft./3.0m × 6.4m × 3.0m Charleston Arch, 1980; Steel, 14 ft. × 18 ft. × 8 ft./4.3m × 5.5m × 2.4m

Spends time in the San Francisco Bay Area, working at Peter Voulkos’s dome studio in Oakland, where he fabricates an Untitled Planar Series sculpture.

Solo exhibition at Storm King Art Center, Mountainville, NY, on the occasion of their 20th anniversary. To mark the anniversary, Abbeville Press issues the book Sculpture at Storm King by H. Peter Stern and David Collen.

The book illustrates Ginnever’s sculptures 1971, 1971; Fayette (for Charles and Medgar Evers), 1971; and Prospect Mountain Project (for David Smith), 1979, in the Storm King collection. The exhibition also includes Ayatolla, 1968, and the new 1980 sculptures Bop and Crazed, Looking In, Looking Out, Texas Triangles, and Python (which he assembles for the first time on site for this exhibition).

Study for Texas Triangles III [Five Triangles], 1980; Graphite on paper, 11 in. × 13 7∕8 in./27.9cm × 35.2cm

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March 18–April 19. Group exhibition 10 Abstract Sculptures: American and European, 1940–1980 at Max Hutchinson Gallery, New York. A catalogue accompanies the exhibition, with illustration of Ginnever’s Gothic Series #2, 1965–79.

May 6–June 21. Group exhibition Sculpture at the Sun Gallery, Hayward, CA. June 3–July 12. Works are included in the exhibition The Sculptors of ConStruct at Middendorf/Lane Gallery, Washington, D.C. The exhibition later travels to the University of North Dakota, Grand Forks, ND; and to Columbus, IN.

Concurrent with his exhibition at Storm King, he shows Bali, 1980, and Blue and Black, 1979, in a solo exhibition at Max Hutchinson Gallery, New York, NY.

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Nautilus, 1976, and Gallop-A-Pace, 1979, are included in the ConStruct outdoor exhibition American Eight, sponsored by Interpace Corporation.

The exhibition travels through 1981 to the Memorial Art Gallery, Rochester, NY, July 16–August 20, 1980; Museum of American Art, New Britain, CT, August 28–October 31, 1980; Interpace Corporation Headquarters, Parsippany, NJ; and Ashland College, Ashland, OH. Ginnever is included in the exhibition catalogue, with essay by Dorothy Goldeen.

Gallop-A-Pace, 1979; Steel, 6 ft. × 17 ft. × 6 ft./1.8m × 5.2m × 1.8m

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September 5–October 4. Group exhibition Drawings by Mark di Suvero, Charles Ginnever, John Henry, Linda Howard, Lyman Kipp at ConStruct in Chicago, IL.

Installs Crete, 1978, for group exhibition at the Philbrook Art Center, Tulsa, OK. Included in exhibition Across the Nation, Fine Art for Federal Buildings, 1972–1979 at the National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., which travels to other venues. The catalogue, with essay

by Joshua C. Taylor, illustrates Maquette for Protagoras, 1976.

Participates in group exhibitions Sculptors’ Studies: The Prospect Mountain Sculpture Show at The Hyde Collection, Glen Falls, NY; Contemporary American Sculpture, in New Orleans, LA, through 1981; and Reality of Illusion at the Denver Art Museum, Denver, CO, which travels through 1981.

1981 Fabricates large sculptures Dansa and Stretch at Sidney Feldman’s London Iron and Metal Co., in Pennsylvania, for the collection of Sidney Feldman.

Stretch is later donated to the County of Allegheny, PA, and installed at Hartwood Acres Park.

Completes Hellenic Series sculpture Three Graces. Makes three maquettes for Goddard’s Dream, and six maquettes for Luna Moth Walk sculptures.

Begins working with Anne Kohs, Business Advisor and Agent.

The State University of New York at Buffalo purchases Atlantis, 1976, which is installed at the Amherst campus.

Crete, 1978, is installed at Laumeier Sculpture Park in St. Louis, MO, on long-term loan from the collection of Adam Aronson.

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The Public Sculpture/Public Sites program in San Francisco installs Python, 1980, at Fort Mason, where it remains on exhibit until the fall of 1986.

April 3–May 23. Solo exhibition Charles Ginnever: New Sculptures at ConStruct, Chicago, IL.

July 18–October 25. Ginnever is an invited artist/juror for the exhibition Sculpture Outside in Cleveland, along with co-jurors Winifred Lutz and Clement Meadmore. He installs his large-scale Dansa, 1981, outdoors in Cleveland, OH, for the exhibition, which is sponsored by the New Organization for the Visual Arts (NOVA). The catalogue, with text by Tom E. Hinson and Anne I. Lockhart, illustrates Olympus, 1976; Wakandhi, 1976, and Dansa, 1981.

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Works are exhibited by Max Hutchinson Gallery at the FIAC Art Fair in Paris. Participates in group exhibitions Sculptors’ Drawings, Maquettes, and Proposals at Max Hutchinson Gallery, New York; and 10: A Spectrum at Tallgrass/Crown Center, Kansas City, MO.

November 3–28. Exhibition Sculptors’ Work on Paper at Quay Gallery, San Francisco, CA.

1981– 82 November 19, 1981–January 15, 1982. Exhibits Blue and Black, 1979, in Sculpture Now: Contemporary American Sculpture at Park West Galleries, Southfield, MI, organized by Max Hutchinson Gallery.

1982 Works at Malleable Metals in Bethany, CT, to fabricate full-scale Goddard’s Dream, as well as Dansa maquette and Untitled, fabricated from bronze plate.

Establishes winter quarters at John Henry’s studio in North Miami, FL, where he constructs Hangover, commissioned by Martin Z. Margulies for the Grove Island Sculpture Garden in Coconut Grove, FL. Also fabricates Crab, Luna Moth Walk I, and Luna Moth Walk III. May. Installs Chicago Triangles, 1979, for the Chicago Art Fair’s Mile of Sculpture.

Atlantis Drawing V, 1978; Ink, crayon on paper, 18¾ in. × 23 7∕8 in./47.6cm × 60.6cm

Returns to Vermont for the summer and fall, and constructs Rubinstein and Gyro I. Joins Marlborough Gallery, New York.

November. Arts magazine publishes Corinne Robins’ article on Ginnever’s sculpture. Reflecting back on his 1975 New York exhibitions at Sculpture Now, Inc., she writes: “Zeus [1975] became a cultural fact positing a wholly new terrain. It seemed an environmental gesture, a gesture inseparable from the gallery wall space that became its shell. Zeus existed in opposition to minimal and constructivist ideas of the dignity and hierarchical importance of the right angle.” Of Daedalus, 1975, and Icarus, 1975, she observes: “The mystery...lies in their individuality, their breaking free of aesthetic schools, and their emphasis on exploring physical boundaries.”

Group exhibitions at Laumeier Sculpture Park, St. Louis, MO; and Aspects of Sculpture at John Berggruen Gallery, San Francisco, CA.

1982– 83 June 15, 1982–June 30, 1983. Chicago Triangles, 1979, is installed at Mitchell Park, Palo Alto, CA, for Palo Alto Outdoor Sculpture Invitational, organized by the Palo Alto Cultural Center.

November 21, 1982–Spring 1983. Group exhibition at ConStruct Sculpture Park, North Miami, FL.

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1983 Returns to John Henry’s North Miami studio to make Hangover II, Heavy Metal, Luna Moth Walk I, Verso, and Luna Moth Walk II. Also completes Stack, Steel Squared, Texas Triangles I, and an Untitled Planar Series sculpture. Makes the small bronze Flat Illusion sculpture Cantilever at Malleable Metals in Bethany, CT.

January 16–March 15. Group exhibition ConStruct South at Metropolitan Museum and Art Center, Coral Gables, FL. May 7–July 2. Solo exhibition Charles Ginnever: Large Scale Sculpture opens at Marlborough Gallery, New York, including Goddard’s Dream, 1982; Rubinstein, 1982; Hangover II, 1983; Heavy Metal, 1983; and Luna Moth Walk I, 1983. In a New York Times review, critic Grace Glueck writes: “Working in heavy metal, Mr. Ginnever is lighter than air.” A catalogue with essay by Carter Ratcliff is published for the exhibition.

Steel Squared, 1983; Steel, 8 ft. 3 in. × 5 ft. 6 in. × 2 ft./2.5m × 1.7m × 0.6m

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May. Installs Crab, 1982, on the Navy Pier in Chicago for Chicago Sculpture International: Mile 2. Crab is illustrated in the catalogue, with essay by Thomas McCormick.

Receives commission from Hurd Development to make Pisa, a large-scale sculpture for the firm’s new offices in Dallas, TX (installed 1984).

Exhibits Forth Bridge, 1979, in ConStruct Group Show at ConStruct Sculpture Park, North Miami, FL.

1983– 84 August 10, 1983–August 10, 1984. Group exhibition Sculpture in the Garden at Virginia Museum, Richmond, VA. October 9, 1983–January 22, 1984. Installs Heavy Metal, 1983, for the group exhibition Sculpture: The Tradition in Steel at Nassau County Museum of Art, Roslyn Harbor, NY. The sculpture is illustrated in the catalogue, with essays by Janice Parente and Phyllis Stigliano.

Heavy Metal, 1983; Steel, 16 ft. × 22 ft. × 10 ft./4.9m × 6.7m × 3.0m

December 22, 1983–January 28, 1984. Group exhibition Varieties of Sculptural Ideas: Drawings and Maquettes at Max Hutchinson Gallery, New York, NY.

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1984 January. Returns to Miami to fabricate works, and completes High Rise, Low Rider, Low Rider II, and Pisa.

Fabricates Cobra at David Kibbey’s studio in Oakland, CA. Fabricates bronze maquettes Glide and Low Rider.

Shows High Rise, 1984, at ConStruct South in Miami, FL. February 15–March 10. Solo exhibition at Fuller Goldeen Gallery, San Francisco, CA, where he shows Cobra, 1984, and Low Rider, 1984.

Cobra, 1984; Steel, 6 ft. × 12 ft. × 2 ft./1.8m × 3.7m × 0.6m. Installation, Fuller Goldeen Gallery, San Francisco, CA

March 8–29. ConStruct group exhibition at Miami-Dade Community College Gallery, Miami, FL. March–September. Solo exhibition, Charles Ginnever: Large Scale Sculpture, outdoors at Lee Park, Dallas, TX, organized by Sharon Corgan Leeber of Architectural Arts, Inc., and sponsored by the Bank of Dallas. Installation includes Low Rider, 1984; Low Rider II, 1984; Bop and Crazed, 1980; GallopA-Pace, 1979; and Luna Moth Walk I, Verso, 1983.

May–August. Installs commissioned sculpture Pisa, 1984, and other works in solo exhibition at Hurd Development in Dallas, TX.

Pisa, 1984; Steel, polymer-based pigments, 15 ft. × 12 ft. × 9 ft./4.6m × 3.7m × 2.7m Installation Spring Valley Center, Dallas, TX

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September 25–December 30. Exhibition Contemporary Artists in Vermont at Robert Hull Fleming Museum, University of Vermont, Burlington, VT. November 8–December 4. Exhibition Masters of Modern and Contemporary Sculpture at Marlborough Gallery, New York, NY.

1984 – 85 December 12, 1984–January 12, 1985. Participates in exhibition The Success of Failure at Diane Brown Gallery, New York, where he shows Sound Score Painting with Collage for No Jazz, Jazz Music Session, 1962. The work is illustrated in the exhibition catalogue, with essay by David Shapiro.

Sound Score Painting with Collage for No Jazz, Jazz Music Session, 1962; Collage with fabric, oil-based pigments, 32 ¾ in. × 44 in./83.2cm × 111.8cm

1985 Spends the winter working at Mark di Suvero’s studio in Petaluma, CA, and makes Shift, Stack, Stretch II, and a number of small works. Makes first maquettes for Kitsune.

Reworks Luna Moth Walk III to complete Luna Moth Walk series, 1982–85.

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Receives commission from Hewlett-Packard to create a large work for new corporate offices in Mountain View, CA. Begins construction of the sculpture, Untitled [In Honor of My Father, Charles Ginnever], at Abba Welding in Oakland, CA. (Installed in March 1986.)

March 4–31. Group exhibition at the American Academy and Institute of Arts and Letters, New York, NY, Paintings and Sculpture by Candidates for Art Awards.

Ginnever is included in Thomas Albright’s landmark book, Art in the San Francisco Bay Area, 1945–1980, published by the University of California Press, Berkeley, CA.

Sculpture included in Diane C. DuPont’s book, SAN FANCISCO MUSEUM OF MODERN ART: The Painting and Sculpture Collection, published by Hudson Hills Press, Hamilton, NJ, in association with San Francisco Museum of Modern Art, San Francisco, CA, 1985.

Returns to Vermont to prepare works for a solo exhibition at Sculpture Fields, Max Hutchinson’s farm in Kenoza Lake, NY. Constructs Apollo for that installation.

Bank of America installs Heavy Metal, 1983, outside its new computer center in Concord, CA.

Untitled [In Homage to My Father, Charles Ginnever], 1986; Steel, 22 ft. × 42 ft. × 42 ft./6.7m × 12.8m × 12.8m. Installation Google Campus, Mountain View, CA

1986 Completes Hellenic Series sculpture Medusa, and the Linear Series sculpture No Place to Hide.

Works at BronzeAglow in Walla Walla, WA (now Walla Walla Foundry), to fabricate bronze sculptures. Completes the large-scale bronze sculptures Nike, Squared, and Virgo; small sculptures Split Shift and Triad; and the editioned sculptures Echo and Untitled Maquette.

March. Completes Spinal Series sculpture Untitled [In Honor of My Father, Charles Ginnever], and installs the sculpture at Hewlett-Packard corporate offices in Mountain View, CA.

Heavy Metal, 1983; Steel, 16 ft. × 22 ft. × 10 ft./4.9m × 6.7m × 3.0m. Installation Bank of America Corporation, Swift Plaza, Concord, CA (2 Views)

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June 11–July 3. Solo exhibition Charles Ginnever: New Bronze Sculpture, at Fuller Goldeen Gallery, San Francisco, including the large bronze works Nike, Squared, and Virgo, 1986.

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July. Ginnever’s sculpture Crete, 1978, is included in Laumeier Sculpture Park: First Decade 1976–1986 celebration and catalogue, Laumeier Sculpture Park, St. Louis, MO.

The City of New York removes Ginnever’s sculpture Peace, 1970, which has been installed in Battery Park since 1970, destroying the work in the process.

October. Inaugural Season Featuring Two One-person Exhibitions: Charles Ginnever 14 Large Steel Sculptures and Ju Ming 26 Large Bronze Sculptures at Max Hutchinson’s Sculpture Fields, Kenoza Lake, NY, with opening event on October 5.

December 3–5. Works are exhibited by Fuller Goldeen Gallery at the Los Angeles Contemporary Art Fair, Los Angeles, CA.

1986 – 87 May 1986–1987. Ginnever returns to New York to install works at Max Hutchinson’s Sculpture Fields in Kenoza Lake, NY, including Apollo, 1985; Bop and Crazed, 1980; Gyro I, 1982; High Rise, 1984; Luna Moth Walk I, II, and III, 1982–85; Texas Triangles, 1983; and the new 1986 sculptures Medusa and No Place to Hide. Ginnever attends an exhibition preview at Sculpture Fields on May 25, 1986, and a second event on October 6, 1986, to celebrate the exhibition.

Gyro I, 1982; Steel, 12 ft. × 29 ft. × 19 ft./3.7m × 8.8m × 5.8m

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December 11, 1986–January 15, 1987. Participates in Shoebox Show at The Art Store Gallery, Oakland, CA. The book Charles Ginnever, with an Introduction by French critic Pierre Restany and essay by Ronny Cohen, is published with the texts in French, Japanese, and English. A catalogue raisonne of large-scale works is included in the book, published in conjunction with Max Hutchinson’s installation of Ginnever’s sculptures at Sculpture Fields in Kenoza Lake, NY.

Apollo, 1985; Steel, oil-based pigments, 22 ft. × 50 ft. × 127 ft./6.7m × 15.2m × 38.7m. Installation Max Hutchinson’s Sculpture Fields, Kenoza Lake, NY

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1987 Koll-Bernal Associates commissions Planar Series sculpture Squared II for their headquarters in Pleasanton, CA. Constructs Didymous, Gemini, Ibis, Satellite (for Ronald Bladen), Squared II, and Untitled Steel Sculpture, 1987. Completes Bronze Texas Triangles (Maquette) and large bronze sculptures Azuma and Walkabout.

February 15–March 29. Laumeier Sculpture Park, St. Louis, MO, presents The Success of Failure, based on the 1984 exhibition at Diane Brown Gallery. Organized by Independent Curators, Inc., the exhibition travels through March 1988 to University Art Gallery, North Texas State University, Denton, TX; Johnson Gallery, Middlebury College, Middlebury, VT; and University of Arizona Museum of Art, Tucson, AZ. The catalogue, with essay

by Joel Fisher, illustrates Ginnever’s Sound Score Painting with Collage for No Jazz, Jazz Music Session, 1962.

Sound Score Painting with Collage for No Jazz, Jazz Music Session, 1962; Collage with fabric, oil-based pigments, 32¾ in. × 44 in./83.2cm × 111.8cm

Summer. Visiting Artist at Vermont Studio School, Johnson, VT. June 29–October 1. Group exhibition at Anne Reed Gallery, Ketchum, ID. August 27–October 18. Included in Recent Modern Acquisitions at Seattle Art Museum, Seattle, WA.

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Joins Riva Yares Gallery, Scottsdale, AZ, and Dorothy Goldeen Gallery, Santa Monica, CA. September 10–October 10. Group exhibition Gallery Artists at Dorothy Goldeen Gallery, Santa Monica, CA. October 14–November 7. Solo exhibition, Charles Ginnever: Bronze and Steel Sculptures, at Dorothy Goldeen Gallery, Santa Monica, CA.

Glide, 1984; Bronze with patina, 15¼ in. × 36 in. × 10 in./38.7cm × 91.4cm × 25.4cm (2 Views)

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1987– 88 May 4, 1987–April 1988. Installs Didymous, 1987; Ibis, 1987; Nike, 1986; and Shift, 1985, for Charles Ginnever: Large Scale Sculpture, the inaugural exhibition of Esprit Sculpture Garden at Esprit Park in San Francisco, CA, sponsored by Fuller Gross Gallery. Following the exhibition, Shift is moved across the Bay and installed at the Berkeley Marina.

Nike, 1986; Bronze with patina, 8 ft. × 10 ft. × 7 ft./2.4m × 3.0m × 2.0m.

Installation Esprit Park, San Francisco, CA

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June 1, 1987–March 31, 1988. Group exhibition Nothing But Steel at Cold Spring Laboratory, Cold Spring Harbor, NY. June 28, 1987–May 29, 1988. Exhibits Untitled Bronze Maquette, 1988, in Sculpture: Looking Into Three Dimensions at Anchorage Museum of History and Art, Anchorage, AK. The exhibition travels to Alaska State Museum, Juneau, July 1–August 7, 1988; and University of Alaska Museum, Fairbanks, August 19–October 16, 1988. The catalogue, with essay by Ann FitzGibbons, discusses Ginnever’s work.

Untitled Bronze Maquette (A/P), 1988; Bronze with patina, 14¼ in. × 31 in. × 3¾ in./36.2cm × 78.7cm × 9.5cm

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1988 Completes the Multi-position sculpture Kitsune, two identical forms placed together in different positions, and the bronze sculpture Les Funambules.

January 13–March 12. Group exhibition Bay Area Bronze at Walnut Creek Civic Arts Gallery, Walnut Creek, CA. February 21–April 24. Exhibition Bay Area Sculpture: Metal, Stone and Wood at Palo Alto Cultural Center, Palo Alto, CA. February 29. The television program American Art Forum with Richard Love features Ginnever as its subject in a half-hour interview, now online: www.youtube.com/watch?v=eV3ysptPqRM. April 22. Marries Susan Prather in San Francisco.

Joins Gerald Peters Gallery, Santa Fe, NM. September. Installs the twin steel sculptures Kitsune, 1988, outdoors in Santa Fe, NM, sponsored by Gerald Peters Gallery.

November 14–December 16. Included in exhibition Cast in Walla Walla at Sheehan Gallery, Whitman College, Walla Walla, WA. November 18. Daughter Chloe Ginnever is born.

Kitsune (2 Units), 1988; Steel, Vertical Position: 13 ft. × 19 ft. × 31 ft./4.0m × 5.8m × 9.4m. Horizontal Position: 12 ft. × 15 ft. × 30 ft./3.7m × 4.6m × 9.1m

Didymous, 1987, and Apollo, 1985, are illustrated in the book The New York Art Review, edited by Les Krantz and published by American References Publishing, Chicago.

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December 1–31. Group exhibition Private Reserve at Dorothy Goldeen Gallery, Santa Monica, CA.

1989 Constructs steel sculptures Canada and Tandem II. BronzeAglow (Walla Walla Foundry) in Walla Walla, WA, fabricates bronze maquette editions Chloe, Dansa, Dementia, Gemini, Les Funambules, Kitsune, Moonslip, Moonwalker Series I–VI, Reds, Satellite I and II, and Stack.

Winter. Serves as Visiting Artist at the University of California, Berkeley.

Installation of large-scale sculptures Gallop-A-Pace, 1979, and High Rise, 1984, in Scottsdale, AZ, sponsored by Riva Yares Gallery.

High Rise, 1984; Steel, 19 ft. × 22 ft. × 10 ft./5.8m × 6.7m × 3.0m. Installation Riva Yares Gallery, Scottsdale, AZ

July 1–August 1. Group exhibition Sculpture: Visions Transformed at Anne Reed Gallery, Ketchum, ID. August 4–13. Group exhibition A Salute to the Gateway Public Sculpture at Sabbeth Art Gallery, Wunsch Arts Center, Glen Cove, NY.

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October 13–November 3. Solo exhibition, Charles Ginnever: Bronze and Steel, at Gerald Peters Gallery, Santa Fe, NM. The two-part sculpture Kitsune, 1988, is installed outdoors in Santa Fe for the exhibition.

Andre Emmerich begins representation of Ginnever’s work and installs several of his sculptures at his Top Gallant Farm in Pawling, NY. Emmerich’s book, Sculpture Out of Doors (published by Andre Emmerich Gallery, New York) illustrates Ginnever’s Satellite (for Ronald Bladen), 1987.

Satellite (for Ronald Bladen), 1987; Steel, 12 ft. 6 in. × 17 ft. × 3 ft./3.8m × 5.2m × 0.9m. Installation Andre Emmerich’s Top Gallant Farm, Pawling, NY

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1990 Creates Hellenic Series sculpture Knossos II for the inaugural exhibition at Socrates Sculpture Park, Long Island City, NY. The sculpture is later acquired by the Nelson-Atkins Museum of Art, Kansas City, MO. Produces bronze sculptures Ascension, Scorpio, and Torque.

Knossos, 1990; Cor-Ten Steel, 13 ft. × 50 ft. × 30 ft./4.0m × 15.2m × 9.1m.

Installation Nelson-Atkins Museum of Art, Kansas City, MO

April 21–May 19. Group exhibition, From California, at Marvin Seline Gallery, Houston, TX. May 10-15. Les Funambules, 1988, is exhibited at Gerald Peters Booth at Chicago International Art Exposition, and is illustrated in the catalogue published for the art fair.

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July 6–August 4. Included in exhibition Sculpture: Visions Transformed II at Anne Reed Gallery, Ketchum, ID.

Moves to rural Petaluma, CA, with Susan and Chloe, and sets up a studio there.

August 4–September 1. Solo exhibition, Charles Ginnever: Bronze Sculpture, at Dorothy Goldeen Gallery, Santa Monica, CA.

1990 –91 April 8, 1990–March 1991. Hellenic Series sculpture Knossos II, 1990, is installed in No Man’s Land: Opening Celebration, the inaugural exhibition at Socrates Sculpture Park in Long Island City, NY. Reviewing the show in the New York Times (July 27, 1990), Michael Brenson writes that Ginnever’s sculpture “suggests something prehistoric, in this case an irregular ancient house with many rooms, or the skeleton of a dinosaur, except that the material is steel and the row of plates seems capable of collapsing like a house of cards.”

Included in the book No Man’s Land by Monroe Denton, published by Socrates Sculpture Park, Long Island City, NY, to mark its inaugural exhibition. Knossos II, 1990, is illustrated in the book.

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1991 Completes steel sculptures Ascension III and Pas de Deux. Creates large bronze Les Funambules II, and a bronze version of Pas de Deux.

January. Cobra, 1984, is installed outdoors on long-term loan at the Triton Museum of Art, Santa Clara, CA.

Cobra, 1984; Steel, 6 ft. × 12 ft. × 2 ft./1.8m × 3.7m × 0.6m. Installation Triton Museum of Art, Santa Clara, CA

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January 11–February 3. Included in exhibition and catalogue, The Spatsa Gallery: 1958–1961, at Natsoulas/Novelozo Gallery, Davis, CA.

March 31–May 11. Group exhibition Monochrome at Dorothy Goldeen Gallery, Santa Monica, CA. July 5–August 9. Group exhibition Sculpture: Visions Transformed III at Anne Reed Gallery, Ketchum, ID. July 8–August 16. Group exhibition Table Sculpture at Andre Emmerich Gallery, New York.

October 10–November 3. Solo exhibition of bronze sculptures, Charles Ginnever: The Moonwalker Series, at Gerald Peters Gallery, Santa Fe, NM, where he also exhibits Medusa, 1986.

Moonwalker Series II (A/P), 1989; Bronze with patina, 19 in. × 36 in. × 13 in./ 48.3cm × 91.4cm × 33.0cm

1992 Completes six large steel sculptures in the Slant Rhyme series, and 20 bronze Slant Rhyme maquettes.

Constructs Zeus II for Mr. and Mrs. John N. Rosekrans, Jr., which he installs at their Runnymede Sculpture Farm in Woodside, CA.

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January 7–31. Group exhibition, 27 Anniversary Show, at Ann Jaffe Gallery, Bay Harbor, FL. January 16–February 8. Group exhibition Bronze at Gallery Camino Real, Boca Raton, FL. May 2–June 26. Included in Table Sculpture exhibition at Andre Emmerich Gallery, NY. July 8–August 5. Exhibition Visions Transformed IV at Anne Reed Gallery, Ketchum, ID.

1992–93 Collection of Mr. and Mrs. John N. Rosekrans, Jr. completes the installation of five large-scale steel sculptures by Ginnever at Runnymede Sculpture Farm in Woodside, CA: Didymous, 1987; Ibis, 1987; Kitsune, 1988; Python, 1980; and Zeus II, 1992. Runnymede hosts a buffet lunch and walking tour of the exhibition with Ginnever on October 23, 1993. A catalogue, Ginnever at Runnymede, with essay by the Collection’s Director Mary Maggini, and her interview with Ginnever, is published in celebration of the installation.

Zeus II, 1992; Steel, Three 40 ft. I-beams/Three 12.2m I-beams. Installation Runnymede Sculpture Farm, Woodside, CA

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Python, 1980; Steel, 15 ft. × 50 ft. × 40 ft./4.6m × 15.2m × 12.2m. Installation Runnymede Sculpture Farm, Woodside, CA

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1993

March 5–April 15. Group exhibition at Anne Reed Gallery, Ketchum, ID.

March 4–May 31. Group exhibition Line, Mass, Process at Contract Design Center, San Francisco, CA.

1994 Develops ideas for Rashomon, an identical form that sits in various unique positions. Produces edition of three-unit Rashomon maquettes in steel; bronze Rashomon × maquette, and Rashomon (Table with 11 Maquettes), showing eleven possible orientations for the Rashomon form.

Rashomon Bronze Maquette X, 1994; Bronze with patina, 9 in. × 10 in. × 11 in./22.9cm × 25.4cm × 27.9cm (2 Views)

Works on series of etchings at Smith Andersen Editions, Palo Alto, CA, portraying Rashomon in varying positions. (The etching plates are later re-worked and reprinted at Landfall Press and used in Ginnever’s 2014 artists’ book, Rashomon.)

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1995

1996

Completes 10-foot steel prototype of Rashomon, as well as smaller maquettes, and the small two-unit sculpture Mirage. Produces five-foot bronze Rashomon in three units.

President Bill Clinton presents Ginnever’s Origami Series sculpture Nike, 1986, as the President’s Choice, U.S. Gift to the Philippine National Commission for Culture and the Arts. The sculpture is installed in the APEC (Asia-Pacific Economic Cooperation) Sculpture Garden at the Philippine International Convention Center in Pasay City (Manila), The Philippines.

Rashomon Table (with 11 Maquettes), 1994; Bronze with patina, 50 in. × 74 in. × 17 in./127.0cm × 188.0cm × 43.2cm

January 12–February 15. Solo exhibition Charles Ginnever: Sculptures & Etchings, 1993–1994 at Smith Andersen Gallery, Palo Alto, CA. January 19–March 7. Group exhibition Selected Artists/Selected Works at The Sculpture Gallery, San Francisco., CA. August 1–31. Group exhibition at Anne Reed Gallery, Ketchum, ID.

1995–96 October 5, 1995–January 7, 1996. Group exhibition Concept in Form: Artists’ Sketchbooks & Maquettes at Palo Alto Cultural Center, Palo Alto, CA.

Nike, 1986; Bronze with patina, 8 ft. × 10 ft. × 7 ft./2.4m × 3.0m × 2.0m.

Installation APEC (Asia-Pacific Economic Cooperation) Sculpture Garden, Philippine International Convention Center, Pasay City (Manila), The Philippines

Summer. Visiting Artist at Vermont Studio Center in Johnson, VT.

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Ginnever’s sculptures Pisa, 1984; Pueblo Bonita, 1977; and Troika (II/II), 1976-78 are included in Carol Morris Little’s book A Comprehensive Guide to Outdoor Sculpture in Texas, published by the University of Texas Press, Austin, TX.

1997 February 16–March 22. Solo exhibition of sculptures at the Academy of Art College, San Francisco, CA. May 10–October 26. Neuberger Museum of Art, Purchase, NY, presents Neuberger Museum of Art 1997 Biennial Exhibition of Public Art. The accompanying catalogue, with essay by Judy Collischan, includes discussion of Ginnever’s sculpture.

Above left: Pisa, 1984; Steel, polymer-based pigments, 15 ft. × 12 ft. × 9 ft./ 4.6m × 3.7m × 2.7m. Center: Pueblo Bonito, 1977; Steel, 12 ft. × 23 ft. × 30 ft./ 3.7m × 7.0 m × 9.1m. Below: Troika (II/II), 1976; Steel, 13 ft. × 20 ft. × 6 ft./ 4.0m × 4.0m × 6.0m × 2.0m

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Summer. Ginnever’s bronze sculpture Scorpio, 1990, is installed for Summer 1997 Exhibition at Grounds for Sculpture, Hamilton, NJ.

Scorpio, 1990; Bronze with patina, 7 ft. 9 in. × 14 ft. 6 in. × 3 ft. 6 in./2.4m × 4.4m × 1.1m. Installation Grounds for Sculpture, Hamilton, NJ

Left: Protagoras, 1976; Steel, 10 ft. × 30 ft. × 14 ft./3.0m × 9.1m × 4.3m.

Installation Warren E. Burger Federal Building, St. Paul, MN

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1998 Constructs steel Dementia and a 13-foot version of Rashomon in three parts. Creates small bronzes Narcissus I and Detente I (Maquette).

Receives grant from the Pollock-Krasner Foundation.

August 15–October 10. Solo exhibition Charles Ginnever: Rashomon at Gerald Peters Gallery, Santa Fe, NM.

1999 March 28–May 3. Group exhibition 20th Century Sculpture at Nassau County Museum of Art, Roslyn, NY. Installation of Ginnever’s large-scale steel sculpture Satellite (for Ronald Bladen), 1987.

Satellite (for Ronald Bladen), 1987; Steel, 13 ft. × 17 ft. × 3 ft./4.0m × 5.2m × 0.9m

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Completes 42-inch, 15-unit Rashomon sculpture. Each sculpture stands in a unique position. Also produces an edition of the 9½-inch, three-unit Rashomon Maquette. Constructs Transitions (for Thelonius Monk), a threepart large-scale sculpture with identical forms placed in different positions, and two smaller two-unit versions.

Three of Ginnever’s 13-foot steel Rashomon sculptures are exhibited on the grounds of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, CA. A catalogue is published, with essay by Bruce Nixon.

Rashomon (15 Mid-size Sculptures), 1999; Steel, Each: 42 in. high/106.7cm high

Ginnever is included in the book Off Limits: Rutgers University and the Avant Garde 1957–1963, edited by Joan Marter and published by Rutgers University Press.

Receives Lifetime Achievement Award from the Lee Krasner Foundation (1999–2001).

December. Marriage with Susan ends.

2000 Fabricates steel Détente Maquette No. 5, and the four-unit Giant Steps Maquette.

Crete, 1978, one of ten large-scale steel sculptures from the Hellenic series, is donated to Laumeier Sculpture Park, St. Louis, MO, by Adam Aronson, a committed supporter of sculptors and their work. The sculpture had been on loan at Laumeier since 1981.

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May. Included in group exhibition Welded Sculpture of the Twentieth Century at the Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY. Hudson Hills Press and Neuberger Museum of Art, Purchase, NY, publish Judy Collischan’s book, Welded Sculpture of the Twentieth Century, illustrating Ginnever’s Dante’s Rig, 1964–65.

Dante’s Rig, 1964–65; Aluminum, steel, oil-based pigments; 9 ft. × 23 ft. × 8 ft./ 2.7m × 7.0m × 2.4m

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Ginnever’s sculptures and a discussion of his work are included in Donald Kuspit’s book Redeeming Art: Critical Reveries, published by Allworth Press, NY.

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November 7–December 15. Ginnever’s work is included in the exhibition Art & Mathematics 2000 at Cooper Union, New York, NY. The accompanying catalogue, with essays by Nathaniel Friedman and Clifford Singer, is published by The Cooper Union for the Advancement of Science & Art, New York, NY.

2001 February 1–March 30. Koussevitzky Art Gallery, Berkshire Community College, Pittsfield, MA, presents the exhibition Art & Mathematics 2001, featuring works by 29 artists.

May. Sculpture installed in Chicago for Pier Walk 2001, in association with the Chicago Art Fair, Chicago, IL.

May 3–June 2. Solo exhibition, Charles Ginnever: Recent Sculpture, at Brian Gross Fine Art, San Francisco, CA. June 29–September 5. Exhibits Ascension III, 1991, in the Town of Vail Outdoor Sculpture Exhibition, Art in Nature Nature in Art, at Ford Park in Vail, CO, sponsored by the Vail Art in Public Places Program.

Ascension III, 1991; Steel, 12 ft. × 6 ft. × 4 ft. 9 in./3.7m × 1.8m × 1.4m (2 Views)

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2002 Fabricates steel 91/2-inch, three-unit Mirage maquettes, and a large Planar Series sculpture.

April 7–May 5. Group exhibition With a View Toward the Public: Dayton’s Alternative Spaces Residence Program, 1977–1983 at Wright State University Art Galleries, Dayton, OH. Ginnever’s sculpture Movin’ Out (for Jessie Owens), 1980, in the collection of the Dayton Art Institute, Dayton, OH, is included in the exhibition. The accompanying catalogue includes an essay by Carol A. Nathanson.

Movin’ Out (for Jesse Owens), 1980; Steel, 7 ft. × 35 ft. × 11 ft./2.1m × 10.7m × 3.4m. Installation Dayton Art Institute, Dave Hall Plaza, Dayton, OH

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August 23–December 15. Solo exhibition Charles Ginnever Sculpture at Brattleboro Museum and Art Center in Brattleboro, VT. The exhibition includes maquettes and photographs of large-scale sculptures, and invites visitors to the artist’s farm to view the sculptures installed there.

September 5–28. Participates in unforgettable (Ground Zero Proposals) at Chelsea Studio Gallery, New York, NY, organized by Judith Collischan.

October 11. Grandson Atticus Simon Vernacchio is born in Los Angeles to daughter Jodi.

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2003 Constructs a series of multi-position steel maquettes for large-scale sculptures: Giant Steps, Möbius, Mirage, and Triad. Fabricates an 8-foot steel version of Troika for a collector in Santa Fe, NM. The sculpture is titled Troika II.

Above: Giant Steps Maquettes, 2007; Steel, 18 in. × 18 in. × 18 in./45.7cm × 45.7cm × 45.7cm. Below: Troika II (I/II), 2003; Steel, 8 ft. × 14 ft. × 4 ft./2.4m × 4.3m × 1.2m. Private Collection, Santa Fe, NM

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May. Installation of large-scale sculptures, including Hangover II, 1983, on the grounds of MOVA (Sonoma County Museum of Visual Art) in Juilliard Park at the Luther Burbank Center in Santa Rosa, CA. The exhibition continues through May 2005.

Hangover II, 1983; Steel, 13 ft. × 37 ft. × 7 ft./4.0m × 11.3m × 2.1m

June. Large Hellenic Series sculpture Three Graces, 1981, is donated to Stanford University and joins Stanford’s earlier acquisitions of Luna Moth Walk I, 1982, and Chicago Triangles, 1979.

Three Graces, 1981; Steel, 9 ft. × 35 ft. × 17 ft./2.7m × 10.7m × 5.2m

Luna Moth Walk I, 1982; Steel, 8 ft. 6 in. × 8 ft. 6 in. × 7 ft. 6 in./2.6m × 2.6m × 2.3m

Chicago Triangles, 1979; Steel, 7 ft. × 24 ft. × 5 ft./2.1m × 7.3m × 1.5m

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June. When the lease on his Petaluma studio is not renewed, Ginnever rents a vacant barn nearby in rural Petaluma. He moves his artworks and studio storage into it, and travels to Vermont for the summer. A few weeks later, a crew hired to cut the grass around the Petaluma barn sets the field on fire with a spark from the lawnmower. By the time the fire department arrives, the barn and Ginnever’s works are lost, including numerous small bronze sculptures. In the aftermath of the fire, he returns from Vermont to California.

July. Installs large-scale sculptures, including the large, painted aluminum sculpture Goddard’s Dream, 1982, in Fields Sculpture Park at ART OMI in Ghent, NY. The installation is organized by Crosby Coughlin and continues through the spring of 2005.

Goddard’s Dream, 1982; Aluminum with pigmented polymer, 14 ft. × 15 ft. × 11 ft./4.3m × 4.6m × 3.4m. Installation Art OMI Fields Sculpture Park, Ghent, NY. Crosby Coughlin, Photographer

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Ginnever’s work is illustrated in Suzaan Boettger’s book Earthworks: Art and the Landscape of the Sixties, published by University of California Press, Berkeley and Los Angeles.

2004 Following the Petaluma studio fire, Ginnever is invited to live with Al and Judy Voigt in Geyserville, CA. Several of his large-scale sculptures are moved from other sites and installed on Voigt property in Geyserville. Facilities and equipment for the construction of maquettes, mid-size, and large-scale sculptures are made available for him to continue his work, as well as studio assistants. Al Voigt works with Ginnever to develop a computer program that can transfer Ginnever’s schematic drawings for sculptures, which helps facilitate the fabrication of subsequent sculptures.

May 5–June 20. Included in 179th Annual exhibition at the National Academy of Design Museum, New York, NY. Along with Ginnever, exhibiting artists include Polly Apfelbaum, Ida Applebroog, Mel Kendrick, Sol LeWitt, Joel Shapiro, Jessica Stockholder, and others.

June 23–August 9. Exhibition of prints at Smith Andersen Editions, Palo Alto, CA, Hot Off the Press: New Editions by Jens Birkemose, Charles Ginnever, Daniel Phill, Gustavo Ramos Rivera.

In response to the studio fire, the Pollock-Krasner Foundation and Gottlieb Foundation both award Emergency Grants to Ginnever.

Completes large steel sculpture Split II and Untitled steel maquettes.

April 24–May 29. Solo exhibition Charles Ginnever: Rashomon Series Mid-size Maquettes at Wooster Arts Space in New York City. A review by Carter Ratcliff appears in the January 2005 issue of Art in America.

Rashomon Bronzes (3 Units), 1995; Bronze with patina, Each: 5 ft. × 5 ft. × 5 ft./ Each: 1.5m × 1.5m × 1.5m

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October 2–31. Invited to participate in The Lodz Biennale exhibition Construction in Process, organized by The International Artists’ Museum. The three-part exhibition includes works by more than 100 international artists, Polish artists, and artists based in Lodz. While in residence in Lodz, Ginnever constructs the Linear sculpture Lodz Zip, which remained in Poland.

Lodz Zip, 2004; Steel, Three 20 ft. I-beams/Three 6.1m I-beams

Ginnever’s work is included in Ricardo Barros’s book, Facing Sculpture, published by Image Spring Press, Morrisville, PA.

Troika Drawing, 1977; Graphite on paper, 8½ in. × 11 in./21.6cm × 27.9cm

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Ginnever’s performances at the Ergo Suits Carnival in 1962 and at the Yam Festival in 1963 are discussed in Jeff Kelley’s book Childsplay: The Art of Allan Kaprow, published by University of California Press, Oakland, CA, and London, England.

2004 – 05 December 10, 2004–January 29, 2005. Group exhibition Landfall Press: A Singular Vision at Gerald Peters Gallery, Santa Fe, NM.

2005 The Voigt Family Foundation in Geyserville, CA, commissions the Linear sculpture Zip. Completes large steel sculpture Mirage; smaller Möbius Maquettes in various sizes; and seven configurations of Multi-Position Maquette, 2005.

Ginnever’s sculpture Shift, 1985, is Included in the book Sculpture from the Sheldon Memorial Art Gallery, published by the University of Nebraska, Lincoln, NE, which documents the University’s sculpture collection.

Shift, 1985; Steel, 10 ft. × 23 ft. × 7 ft./3.0m × 7.0m × 2.1m

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2006 The International Sculpture Center publishes the book, A Sculpture Reader: Contemporary Sculpture Since 1980, edited by Glenn Harper and Twylene Moyer, which includes an essay by Bruce Nixon on Ginnever’s sculpture.

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May. Santa Rosa Press Democrat publishes an article on Ginnever ‘s largescale steel sculpture Hangover II, 1983, installed at Juilliard Park, Santa Rosa, CA.

September. Yale University Press publishes Socrates Sculpture Park, a book on the outdoor sculpture park founded by Mark di Suvero in Long Island City, NY, in 1990. The book illustrates Ginnever’s installation of Knossos II, 1990, for the inaugural exhibition.

Included in group exhibition at Wooster Arts Space, New York, NY.

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November 8. The Putney Public Library, Putney, VT, interviews Ginnever for their series “Artists Talk.” The hour-and-a-half program is posted online at: www.youtube.com/watch?v=zDRfs8QC-P0

2007 Constructs the 18-foot steel sculpture Giant Steps, and a two-unit, 18-inch Giant Steps maquette in an edition of six.

Giant Steps, 2007; Steel, 18 ft. high/5.5m high, Installation, Vermont Farm (2 Views)

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February 2–March 3. Sculpture/Drawing Show—Willard Boepple, Charles Ginnever and John Henry at Broadbent Gallery, London.

Receives Walter Cerf Award for Lifetime Achievement from The Vermont Arts Council.

Collectors Doris and Donald Fisher issue a book on their collection, The Fisher Collection, which includes Ginnever’s sculpture Low Rider, 1984.

2008 July. Ginnever travels to St. Paul, MN, to oversee the reinstallation of Protagoras, 1976, originally installed in 1976 at the Warren E. Burger Federal Building in St. Paul, MN, following a three-year restoration of the sculpture and its setting, funded by the U.S. General Services Administration.

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Ginnever’s work is illustrated in the book Hidden Harmony, The Connected Worlds of Physics and Art by J. R. Leibowitz, published by The Johns Hopkins University Press, Baltimore, MD.

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2008 – 09 September 28, 2008–January I8, 2009. Exhibition REIMAGINING SPACE: The Park Place Gallery Group in 1960s New York organized by the Blanton Museum of Art, University of Texas at Austin. The exhibition focuses specifically on the Park Place Gallery Members. Although Ginnever was not an official member, his work is included in installation photographs of group exhibitions during the gallery’s existence, until its closing in 1967. A catalogue is published for the exhibition. Ginnever is quoted in the essay written by Linda Dalrymple Henderson, and is listed in the Gallery’s exhibition history.

2009 In Vermont, begins fabrication of a 12-foot steel version of Les Funambules.

August. Ginnever leaves Gerald Peters Gallery, Santa Fe, NM. October 28–December 22. Included in exhibition Bay Area to New York at Allan Stone Gallery, New York.

Works at Landfall Press in Santa Fe, NM, with Jack Lemon and Steve Campbell on Multus, a folding sculpture edition printed on a 20x18-inch sheet of three-ply Somerset paper, colored to recall the patina of weathered steel. The edition comes with instructions for assembling the folded sculpture.

November. Enters into agreement with Gayle Maxon-Edgerton, GMA LLC, regarding her role as Exclusive Sales Agent for Charles Ginnever’s artwork.

2010 Constructs large-scale steel sculpture Transfer and re-works steel sculpture Les Funambules, 2009, into a new two-unit sculpture Double Dutch.

2012 Working in aluminum, he produces ten Origami Series maquettes at Picture Car Warehouse in Northridge, CA. Each sculpture is uniquely painted.

Ten completed Origami maquettes displayed on table at Picture Car Warehouse, Northridge, CA

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2012–13 November 17, 2012–February 16, 2013. Solo exhibition, Charles Ginnever: Rashomon, at San Jose Institute for Contemporary Art (SJICA), San Jose, CA, including 15 Rashomon sculptures from 1999 and the Rashomon etching series of 1994.

Above: Fifteen Rashomon Mid-size Sculptures, 1999. Steel, Each: 42 in. × 42 in. × 42 in./Each: 106.7cm × 106.7cm × 106.7. Below: Installation of Ginnever steel maquettes and etchings. San Jose Institute of Contemporary Art, San Jose, CA

2013 March 13–September 15. Works from the Rashomon exhibition at SJICA are moved to Montalvo Arts Center in Saratoga, CA, for a solo exhibition, The Pleasures of Challenged Perception: Rashomon.

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2014 Large-scale sculptures High Rise, 1984, and Medusa, 1986, are installed for temporary exhibition at Riverside Park, New York City, organized by the New York City Department of Parks and Recreation “Art in the Parks” program, in association with Gayle Maxon-Edgerton, GME LLC, and Cynthia Reeves Projects. During the installation, the Muna Tseng Dance Group performs at the park on May 17 and 24, with the dancers interacting with the sculptural forms.

Installation of Rashomon Mid-size sculptures at Montalvo Arts Center, Saratoga, CA. (2 Views)

April. Temporary installation of Medusa, 1986, at Tallix Foundry in Beacon, NY. September 6–October 31. Group exhibition Fall Selections at Allan Stone Projects, New York, NY.

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Etching plates produced in 1994 at Smith Andersen Editions are printed by the fellows of the Landfall Institute of the Graphic Arts, Landfall Press, Santa Fe, NM, for the limited-edition artists’ book Rashomon. The book includes eleven original etchings by Ginnever, an Introduction by poet and art critic John Yau, and the re-told story “In a Bamboo Grove” by Ryunosuke Akutagawa (1892–1927), based on a 12th-century Japanese tale, translated

by Jay Rubin, which inspired the 1950 film Rashomon by Akira Kurosawa (1910–1998), and in turn inspired Ginnever’s title for his Rashomon series.

The layout, letterpress printing, and binding are designed and executed by Lawrence G. Van Velzer and Peggy Gotthold at Foolscap Press. Thomas Ingmire and Akiho Sugiyama create the Japanese calligraphy that identifies the characters giving their testimonies or confessions. The book is bound in black bookcloth using a Japanese binding structure, and is housed in a fabric-covered box. The edition is limited to a total of 60 copies: 40 copies are numbered in Arabic numbers, five artist’s proofs, five printer’s proofs, and ten deluxe copies numbered in Roman numerals. Each deluxe copy includes a bronze Rashomon maquette.

Rashomon, 2014; Limited-edition Artists’ Book with etching and letterpress printing, 12¼ in. × 16¼ in. × 1½ in./31.1cm × 41.3cm × 3.8cm

August 22–November 2. Solo exhibition, New Perspectives: Sculptures by Chuck Ginnever, at Center for Contemporary Arts (CCA), Munoz-Waxman Gallery, Santa Fe, NM. Installation of 15 mid-size steel Rashomon sculptures, 1999, at Iowa State University Campus, Ames, IA.

2015 May. Large-scale steel sculpture San Mateo Bridge, 1978, is installed at Landing Green Park in Ginnever’s hometown of San Mateo, CA, in the Bay Meadows development. A 360-degree video of the sculpture can be viewed at: www.youtube.com/watch?v=su6JY0HynIM

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2016 –17

2018

Large-scale sculptures Dementia, 1998, and Pas de Deux, 1991, are installed for outdoor exhibition, Geometric Reflections, at Paradise Ridge Ranch, Santa Rosa, CA, through April 2017.

Continuing with earlier ideas, Ginnever creates a series of folded-paper maquettes for Origami Series aluminum sculptures in different configurations. Fabrication is organized by Robert Duncan. The fabrication and painting project is coordinated by Steve Jensen. Doug Bohac works closely with Ginnever, who provides color samples and instructions for painting each of the maquettes.

Dementia, 1998; Steel, 9 ft. × 16 ft. × 6 ft./2.7m × 4.9m × 1.8m

Pas de Deux, 1991; Bronze with patina, 7 ft. 3 in. × 13 ft. 6 in. × 6 ft./2.2m × 4.1m × 1.9m

Origami Paper Maquette for Origami Series No. 5, 2018; Graphite on cut and folded paper, 16 in. × 12¼ in./40.6cm × 31.1cm

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April 1–May 18. Solo exhibition Chuck Ginnever: Sculptures & Prints at The Putney School in Putney, VT. June. Karen and Robert Duncan install Ginnever’s works in the sculpture garden of their property in Lincoln, NE, including the mid-size Rashomon sculptures. They also sponsor installations of Ginnever’s large-scale sculptures at parks and other locations in Lincoln, NE, and Clarinda, IA.

June 24–December 4. Solo exhibition Charles (Chuck) Ginnever: Folded Forms at Clarinda Carnegie Art Museum in Clarinda, IA, features sculptures, drawings, and etchings. Large-scale sculptures are installed at outdoor sites throughout Clarinda. The catalogue Ginnever: Complexities of Minimalism, with essays by David Ebony and John Yau, is published for the exhibition.

Above: Installation of Rashomon sculptures, Karen and Robert Duncan Sculpture Garden, Lincoln Lincoln, NE; Below: Clarinda Carnegie Art Museum, Clarinda, IA

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Constructs the Linear I-beam sculpture Poseidon for the Karen and Robert Duncan Collection in Lincoln, NE. September 28. Dedication ceremony at Landmark College in Putney, VT, for the installation of 4 the 5th (of Beethoven), 1972. The ceremony is online at: www.youtube.com/watch?v=4l5W1VpLu1c

4 the 5th (of Beethoven), 1972; Aluminum, 20 ft. × 40 ft. × 30 ft./6.1m × 12.2m × 9.1m

2019 April 20–June 16. Ginnever’s early steel sculpture Untitled [Flat Illusion], 1968, is included in group exhibition Sonoma Modern/Contemporary at Sonoma Valley Museum of Art, Sonoma, CA. The sculpture is on loan from the Jon and Molly Ott collection.

Untitled [Flat Illusion], 1968; Steel, 5 ft. × 10 ft. × 7 ft./1.5m × 3.0m × 2.1m

June 16. Ginnever, age 87, dies of natural causes on his farm in Putney, VT. June 27. The New York Times publishes obituary for Charles Ginnever, written by Neil Genzlinger.

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Ginnever’s obituary published in The New York Times. ©2019 The New York Times Company. All rights reserved. Used under license.

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2020 Jonathan Berger is appointed Exclusive Agent for the Charles Ginnever Trust.

Cobra, 1984, is gifted by a private collector to the permanent collection of the University Museums, Iowa State University, Ames, IA. The University Museums, Iowa State University, Ames, installs Ginnever: Transforming Perspectives, an outdoor exhibition in the Anderson Sculpture Garden featuring eight mid-size sculptures, presenting an overview of Ginnever’s steel sculptures from 1966 to 2010. The installation will remain on view until 2022.

Double Dutch, 2010; Steel, 9 ft. × 17 ft. × 2 ft./2.7m × 5.2m × 0.6m. Installation Clarinda Carnegie Art Museum, Clarinda, IA

Troika II Steel Maquette (II/II), 2003, is packed for shipment in canvaswrapped box fabricated by Jonathan Berger.

December 5. Gayle Maxon-Edgerton, who worked for Ginnever as his Exclusive Sales Agent for more than ten years, dies at home after a long battle with cancer.

Long-term loan of Ginnever’s large-scale steel sculptures installed in Clarinda, IA, and Lincoln, NE, parks and public spaces, sponsored by Karen and Robert Duncan and Duncan Aviation, Inc., is extended until 2022.

Right: Troika II Steel Maquette (II/II), 2003; Patinated steel, 8 in. × 111/2 in. × 4 in./ 20.3cm × 29.2cm × 10.2cm

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2021 January. Jon and Molly Ott gift the Ginnever sculpture Untitled [Flat Illusion], 1968, to the University Museums, Iowa State University, Ames, IA, in honor of Freide Gorewitz, Holocaust survivor, who was personally responsible for saving the lives of at least 18 children as a member of the Belgian resistance.

The sculpture is included in the exhibition Transforming Perspectives and is installed on campus in the Elizabeth and Byron Anderson Sculpture Garden.

Untitled [Flat Illusion], 1968; Steel, 5 ft. × 10 ft. × 7 ft./1.5m × 3.0m × 2.1m (2 Views)

Ginnever sculpture Troika II (II/II), 2003 is acquired by Kathy and Marc LeBaron for their sculpture collection, Lincoln, NE.

Troika II (II/II), 2003; Steel, 8 ft. × 14 ft. × 4 ft./2.4m × 4.3m × 1.2m (2 Views)

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Film “A Perspective is Not the Truth,” by Brenden Hussey and Jonathan Berger, is completed. The documentary includes multiple interviews with Ginnever at his studio/farm in Vermont over nearly a decade, and shows the artist with some of his large-scale installations and exhibitions throughout the country, providing a new perspective on his storied career, supported by interviews with the artist’s contemporaries, friends, family and others in the art world. The film includes rare footage shot by the artist in the 1960s as well as footage of Ginnever working in his studio in the last years of his prolific career.

Above: Brenden Hussey photographing Ginnever’s sculpture, Vermont studio.

Below: Ginnever and Frank Sansone rigging sculpture, Vermont studio Above left: Jonathan Berger and Brenden Hussey filming interview with Lawrence Weiner at his studio. Below left: Brenden Hussey filming Ginnever and Frank Sansone loading sculpture, Vermont studio

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August 23–December 17. Ginnever: Folded Forms, a solo exhibition of folded and painted sculptures from the late 1970s and Origami Series maquettes completed in 2019, opens at the Christian Petersen Art Museum, Iowa State University, Ames, IA.

Pastel Folded Forms, 2001; Accordion-fold Artists’ Book, Charcoal, graphite, oil-based pigments on paper with cloth-covered front and back covers, letterpress printing, Closed: 7 1∕8 in × 3¼ in. × 3∕8 in./18.1cm × 8.3cm × 1.0cm

Goddard’s Dream Mid-size Steel Maquette I, 1979–81; Steel, epoxy primer, Urethane, 35 in. × 21½ in. × 19½ in./88.9cm × 54.6cm × 49.5cm

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September 21, 2021–March 27, 2022. Solo exhibition of early works, Ginnever: The Art of Perspective opens at Assemblage, Lincoln, NE. The exhibition, organized and curated by Anne Pagel, focuses on Ginnever’s early artwork, including the wood and mixed-media sculpture Ithaca, 1959, with preparatory drawings; painted steel sculptures; and mixed-media sculptures constructed with cloth, painted steel, and a variety of materials found on the streets of New York.

Above left: Color Study for Rocker I, 1961; Graphite, colored pencil on paper, 9 7∕8 in. × 7½ in./25.1cm × 19.1cm. Above right: Calculation Notes for Rocker Fabrication, 1961; Graphite, colored pencil on paper, 9 7∕8 in. × 7½ in./25.1cm × 19.1cm

Ronnie, 1962; Steel, oil-based pigments, 16¼ in. × 30 in. × 21 ½ in./41.3cm × 76.2cm × 54.6cm Left: Rocker, 1961; Steel, oil-based pigments, 62 in. × 40 in. × 20 in./157.5cm × 101.6cm × 50.8cm

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The catalogue Ginnever: The Art of Perspective, with Curator’s Preface by Anne Pagel, Curator, Assemblage and the Karen and Robert Duncan Collection, Lincoln, NE; Director’s Foreword by Lynette Pohlman, Director and Chief Curator, University Museums, Iowa State University, Ames, IA; Introduction by Johannah Hutchison, Director, International Sculpture Center; and essays by Bruce Nixon, is published to accompany the exhibitions in Nebraska and Iowa.

Above left: Floater Drawing Study, 1963; Ink on paper, 81/2 in. × 11 in./ 21.6cm × 27.9cm. Below left: Floater, 1963; Steel, oil-based pigments, 60 in. × 72 in. × 60 in./152.4cm × 182.9xm × 152.4cm

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SELECTED PUBLIC & PRIVATE COLLECTIONS

OPPOSITE

387. Medusa, 1986 Installation, Riverside Park, New York, NY 2014

PUBLIC & PRIVATE COLLECTIONS A Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, San Francisco, California American Jewish University/Smalley Sculpture Garden, Los Angeles, California B Bank of America Corporation, Concord, California Bedford Properties, Napa, California Jack S. Blanton Museum of Art, University of Texas, Austin, Texas Boca Raton Museum of Art, Boca Raton, Florida The Bradley Foundation/Lynden Sculpture Garden, Milwaukee, Wisconsin C Cantor Arts Center, Stanford University, Stanford, California City of Charleston/U.S. Post Office, Charleston, West Virginia Chrysler Museum, Norfolk, Virginia Clarinda Carnegie Art Museum, Clarinda, Iowa City of Cleveland/Cleveland Lakefront State Park, Cleveland, Ohio

OPPOSITE

388. Luna Moth Walk I, Verso; Luna Moth Walk II; Luna Moth Walk III, 1982–85 Installation, City of Clarinda Airport Clarinda, IA 2018

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D, E

K

Dayton Art Institute, Dayton, Ohio DeCordova Museum and Sculpture Park, Lincoln, Massachusetts Delaware Art Museum, Wilmington, Delaware Di Rosa Center for Contemporary Art, Napa, California Karen and Robert Duncan Collection, Lincoln, Nebraska

Koll-Bernal Associates, Pleasanton, California

F Frost Art Museum, Florida International University, Miami, Florida G General Mills, Inc., Minneapolis, Minnesota Governor’s State University/ Nathan Manilow Sculpture Park, University Park, Illinois Lorrie and Richard Greene Collection, California Grounds for Sculpture, Hamilton, New Jersey H Hartwood Acres Park, Allegheny County, Pennsylvania Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York Hewlett Packard Corporation, Palo Alto, California Hirshhorn Museum and Sculpture Garden, Washington, DC Hobart School of Welding Technology, Troy, Ohio City of Houston, Texas Hughes Aircraft Company, Los Angeles, California I, J Iowa State University, Elizabeth and Byron Anderson Sculpture Garden, Ames, Iowa

L Lake George Art Project, Lake George, New York Laumeier International Sculpture Park, St. Louis, Missouri Kathy and Marc LeBaron Sculpture Collection, Lincoln, Nebraska M Martin Z. Margulies Collection, Florida International University Art Sculpture Park, Miami, Florida Gayle Maxon-Edgerton, Santa Fe, New Mexico Metropolitan Museum of Art, New York, New York N Nassau County Museum of Art, Roslyn, New York National Gallery of Australia, Canberra, Australia National Commission for Culture and the Arts/APEC Sculpture Garden, Manila, Philippines Nelson-Atkins Museum of Art, Kansas City, Missouri Neuberger Museum of Art, Purchase College, State University of New York, Purchase, New York New Orleans Museum of Art, New Orleans, Louisiana O Orange County Museum of Art, Newport Beach, California Jon and Molly Ott Collection, California P, Q Park 470 Foundation, Chicago, Illinois Park Central Hotel, San Francisco, California

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R

U

City of Reno, Nevada Mr. and Mrs. John N. Rosekrans, Jr., San Francisco, California JoAnn Sivley Ruppert Collection, New Mexico

U. S. General Services Administration/Warren E. Burger Federal Building, St. Paul, Minnesota University Museums, Iowa State University, Ames, Iowa University of Houston, Houston, Texas University of Michigan Museum of Art, Ann Arbor, Michigan

S,T San Francisco Museum of Modern Art, San Francisco, California City of San Mateo, California Seattle Art Museum, Seattle, Washington Sheldon Museum of Art, Lincoln, Nebraska Shey Sculpture Collection, Gainesville, Florida Smithsonian American Art Museum, Washington, DC Stanford University Libraries, Department of Special Collections, Stanford, California State University of New York, Albany, New York State University of New York, Buffalo, New York Storm King Art Center, Mountainville, New York Sunrise Museum, Charleston, West Virginia SVC Management, Dallas, Texas

V Virlane Foundation, New Orleans, Louisiana Voigt Family Sculpture Foundation, Geyserville, California W, XYZ Wadsworth Atheneum Museum of Art, Hartford, Connecticut Walker Art Center, Minneapolis, Minnesota City of Westport, Connecticut City of Winston-Salem, North Carolina

389. Daedalus, 1975, Installation, University of Michigan, Ann Arbor, MI 2018

379

PUBLIC SCULPTURE INSTALLATIONS A American Jewish University, Smalley Sculpture Garden Los Angeles, CA Echo, 1986

B Bank of America Corporation Swift Plaza Concord, CA Heavy Metal, 1983 OPPOSITE

390. Gyro I, 1982 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018

381

Bedford Properties Napa, CA Gemini, 1987

Iris & B. Gerald Cantor Center for Visual Arts Stanford University Campus Stanford, CA Luna Moth Walk I, 1982

Boca Raton Museum of Art Boca Raton, FL Stretch, 1994

The Bradley Foundation Lynden Sculpture Garden Milwaukee, WI Olympus, 1976

C Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Installation Redwood City Campus Stanford, CA Chicago Triangles, 1979

382

Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Installation Redwood City Campus Stanford, CA Three Graces, 1981

City of Charleston U.S. Post Office Charleston, WV Charleston Arch, 1980

City of Cleveland Cleveland Lakefront State Park Edgewater Park Cleveland, OH Dansa, 1981

City of Houston Knox Park, Houston, TX Pueblo Bonito, 1977

City of Mountain View Google Campus Mountain View, CA Untitled [In Homage to My Father, Charles Ginnever], 1985

City of Reno Wingfield Park Reno, NV Gallop-A-Pace, 1979

City of San Mateo Landing Green Park San Mateo, CA San Mateo Bridge, 1978

City of Westport Westport Library Jesup Green Westport, CT Charities, 1980

City of Winston-Salem Milton Rhodes Center for the Arts Winston-Salem, NC Dovecotes, 1972

Clarinda Carnegie Art Museum City of Clarinda Airport Clarinda, IA Luna Moth Walk I, Verso, Luna Moth Walk II, Luna Moth Walk III, 1982–85

County of Allegheny Hartwood Acres Park Hartwood, PA Stretch, 1981

D, E Dayton Art Institute Dave Hall Plaza Dayton, OH Movin’ Out (for Jesse Owens), 1980

383

G DeCordova Museum and Sculpture Park Lincoln, MA Texas Triangles, 1983

General Mills, Inc. James Ford Bell Research Center Minneapolis, MN Rubenstein, 1982

Di Rosa Center for Contemporary Art Napa, CA Crab, 1982

Governor’s State University Nathan Manilow Sculpture Park University Park, IL Icarus, 1975

Di Rosa Center for Contemporary Art Napa, CA Rashomon (Mid-size Bronze, 3 units), 1998

Grounds for Sculpture Museum Orchard Hamilton, NJ Scorpio, 1990

H F Frost Art Museum Florida International University Miami, FL Forth Bridge, 1979

Hirshhorn Museum and Sculpture Garden Washington, D.C. Untitled, 1968

Hirshhorn Museum and Sculpture Garden Washington, D.C. Untitled (for Joseph Hirshhorn), 1968

384

Hobart School of Welding Technology Hobart Urban Nature Preserve Troy, OH Split II, 1974

Iowa State University Elizabeth and Byron Anderson Sculpture Garden Ames, IA Untitled [Flat Illusion], 1968

K Hughes Aircraft Company Los Angeles, CA Stack, 1985

Koll-Bernal Associates Bernal Corporate Park Pleasanton, CA Squared II, 1987

I, J

L

Iowa State University Elizabeth and Byron Anderson Sculpture Garden Ames, IA Cobra, 1984

Landmark College Landmark College Campus Putney, VT 4 the 5th (of Beethoven), 1972

385

Laumeier International Sculpture Park St. Louis, MO Crete, 1978

Metropolitan Square Washington, D.C. Ascension II, 1991

N

Lincoln Children’s Zoo Lincoln, NE Bop and Crazed, 1980 M

National Commission for Culture and the Arts APEC (Asia-Pacific Economic Cooperation) Sculpture Garden Philippine International Convention Center Pasay City (Manila), Philippines Nike, 1986

Martin Z. Margulies Collection Florida International University Art Sculpture Park Miami, FL Hangover, 1982

Metropolitan Museum of Art New York, NY 3+1, 1967

386

National Gallery of Australia, Canberra Monaro Highway Cooma, New South Wales, Australia Green Mountain Blue II, 1978

R Nelson-Atkins Museum of Art Kansas City, MO Knossos, 1990

O Orange County Museum of Art Newport Beach, CA Stretch II, 1985

Runnymede Sculpture Farm Woodside, CA Didymous, 1987

Runnymede Sculpture Farm Woodside, CA Ibis, 1987

P, Q Park Central Hotel San Francisco, CA Les Funambules (Bronze), 1991

Runnymede Sculpture Farm Woodside, CA Kitsune, 1988

Runnymede Sculpture Farm Woodside, CA Python, 1980 Park 470 Foundation Chicago, IL Blue and Black, 1979 Runnymede Sculpture Farm Woodside, CA Zeus II, 1992

387

S,T Sheldon Museum of Art University of Nebraska Campus Lincoln, NE Shift, 1985

State University of New York SUNY Campus Purchase, NY Koronos II, 1978

Smithsonian American Art Museum Washington, D.C. Untitled, 1967

Storm King Art Center Mountainville, NY 1971 [Shakantala], 1971

SVC Management Spring Valley Center Dallas, TX Pisa, 1984

State University of New York Amherst Campus Amherst, NY Atlantis, 1976

388

Storm King Art Center Mountainville, NY Fayette: For Charles and Medgar Evers, 1971

Storm King Art Center Mountainville, NY Prospect Mountain Project (for David Smith), 1979

U U. S. General Services Administration Warren E. Burger Federal Building St. Paul, MN Protagoras, 1976

Voigt Family Sculpture Foundation Voigt Family Sculpture Grounds Geyserville, CA Geyserville Zip, 2005

University of Houston Science and Research Building 2 Houston, TX Troika (II/II), 1978

Voigt Family Sculpture Foundation Voigt Family Sculpture Grounds Geyserville, CA Pas de Deux (Bronze), 1991

University of Michigan Museum of Art Ann Arbor, MI Daedalus, 1975

W, XYZ Walker Art Center Gold Medal Park Minneapolis, MN Nautilus, 1976

V Virlane Foundation K & B Plaza New Orleans, LA The Bird (for Charlie Parker), 1979

389

ILLUSTRATIONS FRONT AND BACK COVERS Rolling Fog, 1963 Steel, oil-based pigments 34½ in. × 34¼ in. × 25¾ in.

87.6cm × 87.0cm × 65.4cm Trust I.D.# CG.1963.Steel.005 M. Lee Fatherree, Photographer p. ii Chuck Ginnever Vermont Studio, c.2017 Jonathon Berger, Photographer

p. iv Medusa, 1986 Steel 12 ft. × 38 ft. × 32 ft.

3.7m × 11.6m × 9.8m Trust I.D.# CG.1986.Steel.001 Installation, Nodaway Conservation Station Highway 71, Clarinda, IA 2018 Jodi Ginnever, Photographer CURATOR’S PREFACE p. viii Charles Ginnever, Runnymede Sculpture Farm, Woodside, CA 2012 Jonathan Berger, Photographer p. x Moving Medusa, 1986 (3 Views) De-installation, Riverside Park, New York, NY 2014 Brenden Hussey, Photographer

p. xi Moving Medusa, 1986 (3 Views) De-installation, Riverside Park, New York, NY 2014 Brenden Hussey, Photographer p. xii Dementia, 1998 (2 Views) Steel 9 ft. × 16 ft. × 6 ft.

2.7m × 4.9m × 1.8m Trust I.D.# CG.1998.Steel.001 Installation, Woods Park, Lincoln, NE 2018 Cole Sartore, Photographer Moving Dementia, 1998 Installation, Woods Park, Lincoln, NE 2018 Cole Sartore, Photographer

391. Drawings of Four Sculptures, 1979

391

p. xiii Bop and Crazed, 1980 Steel, oil-based pigments Bop: 62 in. × 48 in. × 54 in.

157.5cm × 121.9cm × 137.2cm Crazed: 44 in. × 64 in. × 62 in.

111.8cm × 162.6cm × 157.5cm Trust I.D.# CG.1980.Steel.003 Installation, Lincoln Children’s Zoo Lincoln, NE 2018 Jodi Ginnever, Photographer p. xiv Rashomon (15 Mid-size Sculptures), 1999 Steel Each: 42 in. high/106.7cm high Trust I.D.#CG.1999.Steel.004 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 Cole Sartore, Photographer p. xv Installation of Gyro I, 1982 Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 Cole Sartore, Photographer Gyro I, 1982 Steel 12 ft. × 29 ft. × 19 ft.

3.7m × 8.8m × 5.8m Trust I.D.# CG.1982.Steel.001 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 Cole Sartore, Photographer

392

No Place to Hide, 1986 Steel 20 ft. × 45 ft. × 30 ft.

6.1m × 13.7m × 9.1m Trust I.D.# CG.1986.Steel.002 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 Cole Sartore, Photographer p. xvi Charles Ginnever, Opening Reception for the Exhibition GINNEVER: Folded Forms Clarinda Carnegie Art Museum Clarinda, IA June 2018 Cole Sartore, Photographer Visitors to the Exhibition GINNEVER: Folded Forms Clarinda Carnegie Art Museum Clarinda, IA 2018 Trish Bergren, Photographer Installation, Origami Maquettes Exhibition GINNEVER: Folded Forms Clarinda Carnegie Art Museum Clarinda, IA 2018 Trish Bergren, Photographer Visitor to the Exhibition GINNEVER: Folded Forms Clarinda Carnegie Art Museum Clarinda, IA 2018 Trish Bergren, Photographer

p. xvii Karen and Robert Duncan with Charles Ginnever, Opening Reception for the Exhibition GINNEVER: Folded Forms Clarinda Carnegie Art Museum Clarinda, IA 2018 Cole Sartore, Photographer Charles Ginnever signing catalogue GINNEVER: Complexities of Minimalism Lincoln, NE 2018 Jodi Ginnever, Photographer p. xviii Goddard’s Dream, 1982 Aluminum, acrylic-polymer pigments 14 ft. × 15 ft. × 11 ft.

4.3m × 4.6m × 3.4m Trust I.D.# CG.1982.Aluminum.002 Installation, Clarinda Regional Health Center, Clarinda, IA 2018 Robert Duncan, Photographer Azuma, 1987 Bronze with patina 11 ft. × 6 ft. × 9 ft.

3.4m × 1.8m × 2.7m Trust I.D.# CG.1987.BRZ.001 Installation, Nodaway Valley Historical Museum, Clarinda, IA 2018 Photograph courtesy of Walla Walla Foundry, Walla Walla, WA

High Rise, 1984 Steel 19 ft. × 22 ft. × 10 ft.

5.8m × 6.7m × 3.0m Trust I.D.# CG.1984.Steel.001 Installation, Nodaway County Park Clarinda, IA 2018 Jodi Ginnever, Photographer Luna Moth Walk I, Verso; Luna Moth Walk II; Luna Moth Walk III, 1982–85 Steel Each: 10 ft. × 9 ft. × 8 ft.

3.0m × 2.7m × 2.4m Trust I.D.# CG.1985.Steel.007 Installation, City of Clarinda Airport 2018 Collection Clarinda Carnegie Art Museum Clarinda, IA M. Lee Fatherree, Photographer p. xix Pas de Deux, 1991 Steel 7 ft. × 13 ft. × 8 ft.

2.1m × 4.0m × 2.4m Trust I.D.# CG.1991.Steel.002 Installation, Clarinda Carnegie Art Museum Clarinda, IA 2018 Cole Sartore, Photographer Medusa, 1986 (2 Views) Steel 12 ft. × 38 ft. × 32 ft.

3.7m × 11.6m × 9.8m Trust I.D.# CG.1986.Steel.001 Installation, Nodaway Conservation Station Highway 71, Clarinda, IA 2018 Jodi Ginnever, Photographer

p. xx Transfer, 2010 Steel 16 ft. × 14 ft. × 12 ft.

4.9m × 4.3m × 3.7m Trust I.D.# CG.2010.Steel.002 Installation, Highway 2, Justin Walter Property, Clarinda, IA 2018 Heather Marsh, Photographer p. xxi Ithaca, 1959 (2 Views) Wood, steel 12 ft. × 25 ft. × 15 ft.

3.7m × 7.6m × 4.6m Trust I.D.# CG.1959.Wood.002 Installation, Vermont Farm Charles Ginnever, Photographer DIRECTOR’S FOREWORD p. xxii Medusa, 1986 Steel 12 ft. × 38 ft. × 32 ft.

3.7m × 11.6m × 9.8m Trust I.D.# CG.1986.Steel.001 Installation, Nodaway Conservation Station Highway 71, Clarinda, IA 2018 Jodi Ginnever, Photographer p. xxiv Midas and Fog, 1966 Steel, acrylic lacquer 7 ft. × 18 ft. × 6 ft.

2.1m × 5.5m × 1.8m Trust I.D.# CG.1966.Steel.001 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Jon and Molly Ott Collection, CA Christopher Gannon, Photographer

p. xxv Untitled [Flat Illusion], 1968 Steel 5 ft. × 10 ft. × 7 ft.

1.5m × 3.0m × 2.1m Trust I.D.# CG.1968.Steel.006 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Art on Campus Collection, University Museums, Iowa State University, Ames, IA. Gift of Jon and Molly Ott in Memory of Freide Gorewitz, Holocaust survivor who was responsible for saving the lives of at least 18 children as a member of the Belgian resistance.

Christopher Gannon, Photographer Slant Rhyme #22, 1992 Steel 8 ft. × 7 ft. × 6 ft.

2.4m × 2.1m × 1.8m Trust I.D.# CG.1992.Steel.007 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Jon and Molly Ott Collection, CA Christopher Gannon, Photographer Walkabout, 1987 Bronze with patina 5 ft. × 16 ft. × 3 ft.

1.5m × 4.9m × .9m Trust I.D.# CG.1987.Steel.003 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Jon and Molly Ott Collection, CA Christopher Gannon, Photographer

393

p. xxvi Slant Rhyme #20, 1992 Steel 8 ft. × 7 ft. × 6 ft.

2.4m × 2.1m × 1.8m Trust I.D.# CG.1992.Steel.001 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Karen and Robert Duncan Collection Lincoln, NE Christopher Gannon, Photographer p. xxvii Cobra, 1984 (3 Views) Steel 6 ft. × 12 ft. × 2 ft.

1.8m × 3.7m × 0.6m Trust I.D.# CG.1984.Steel.002 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Art on Campus Collection, University Museums, Iowa State University, Ames, IA Christopher Gannon, Photographer p. xxviii Rashomon (15 Mid-size Sculptures), 1999 Steel Each: 42 in. high/106.7cm high Trust I.D.#CG.1999.Steel.004 Installation, Food Sciences Courtyard, Iowa State University, Ames, IA 2014 Karen and Robert Duncan Collection Lincoln, NE Eric Sutherland, Photographer

394

p. xxix Mirage, 2005 (3 Views) Steel 17 ft. × 17 ft. × 17 ft.

5.2m × 5.2m × 5.2m Trust I.D.# CG.2005.Steel.001 Installation, Vermont Farm 2018 Brenden Hussey, Photographer p. xxx Giant Steps Maquettes – 4 Positions, 2000 Steel Each: 14 in × 12 in. × 16 in.

35.6cm × 30.5cm × 40.6cm Trust I.D.# CG.2000.Steel.001 Private Collection M. Lee Fatherree, Photographer Giant Steps Drawing No. 6, 2000–09 Graphite, charcoal on paper 8½ in. × 10½ in.

21.6cm × 26.7cm Trust I.D.# CG.2008.DWG.004 M. Lee Fatherree, Photographer Giant Steps Drawing No. 4, 2000–09 Graphite, charcoal on paper 8½ in. × 10½ in.

21.6cm × 26.7cm Trust I.D.# CG.2008.DWG.002 M. Lee Fatherree, Photographer Giant Steps Drawing No. 5, 2000–09 Graphite, charcoal on paper 8½ in. × 10½ in.

21.6cm × 26.7cm Trust I.D.# CG.2008.DWG.003 M. Lee Fatherree, Photographer

p. xxxi Möbius Bronze Maquette, 2008 (2 Views) Bronze with patina 30 in./76.2cm (Size varies with position) Trust I.D.# CG.2008.BRZ.001 Private Collection, San Francisco, CA Charles Ginnever, Photographer Möbius Drawing No. 2, 2009 Graphite, charcoal on paper 9 in. × 12 in.

22.9cm × 30.5cm Trust I.D.# CG.2009.DWG.001 M. Lee Fatherree, Photographer p. xxxii Luna Moth Walk I, Verso, Mid-size Maquette, 1981 (3 Views) Steel, epoxy primer, Urethane Uniquely Painted 26 in. × 24 in. × 19 in.

66.0cm × 61.0cm × 48.3cm Trust I.D.# CG.1981.Steel.009 M. Lee Fatherree, Photographer p. xxxiii Luna Moth Walk III Mid-size Maquette, 1981 (2 Views) Steel, epoxy primer, Urethane Uniquely Painted 26 in. × 24 in. × 19 in.

66.0cm × 61.0cm × 48.3cm Trust I.D.# CG.1981.Steel.008.02 M. Lee Fatherree, Photographer

p. xxxiv Manuel Neri Escalieta I, 1998 Marble 72 3∕8 in. × 26½ in. × 19½ in.

183.8cm × 67.3cm × 49.5cm Neri Trust I.D.# MN.1998.MBL.001 Installation, Gerdin Business Building Art on Campus Collection, University Museums, Iowa State University, Ames, IA Bob Elbert, Photographer Bill Barrett Bravo III, 2005 Bronze with patina 9 ft. × 61/2 ft. × 6 ft.

2.8m × 2.0m × 1.8m Installation, Gerdin Business Building Art on Campus Collection, University Museums, Iowa State University, Ames, IA Christopher Gannon, Photographer p. xxxv Beverly Pepper (1922–2020) Janus Agri Altar, 1986 Bronze with patina 14 ft. × 6 ft. × 1.5 ft.

4.3m × 1.8m × 0.5m Installation, Agronomy Building Art on Campus Collection, University Museums, Iowa State University, Ames, IA Photograph courtesy of University Museums, Iowa State University, Ames, IA

INTRODUCTION p. xxxvi Medusa, 1986 Steel 12 ft. × 38 ft. × 32 ft.

3.7m × 11.6m × 9.8m Trust I.D.# CG.1986.Steel.001 Installation, Nodaway Conservation Station Highway 71, Clarinda, IA 2018 Jodi Ginnever, Photographer p. xxxviii Calligraphic Sculpture, 1959 Wood, steel 9 ft. × 12 ft. × 2 ft.

2.7m × 3.7m × .6m Trust I.D.# CG.1959.Wood.001 Installation, Center Street, New York, NY 1959 Charles Ginnever, Photographer Ithaca, 1959 Wood, steel 12 ft. × 25 ft. × 15 ft.

3.7m × 7.6m × 4.6m Trust I.D.# CG.1959.Wood.002 Installation, Vermont Farm Charles Ginnever, Photographer p. xxxix Dante’s Rig Study No. 4, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.007.01 M. Lee Fatherree, Photographer

Dante’s Rig Study No. 5, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.007.03 M. Lee Fatherree, Photographer Dante’s Rig, 1964–65 (2 Views) Aluminum, steel, oil-based pigments 9 ft. × 23 ft. × 8 ft.

2.7m × 7.0m × 2.4m Trust I.D.# CG.1965.Aluminum.001 Installation, Greene Street Studio, New York, NY Charles Ginnever, Photographer p. xl Chicago Triangles, 1979 (3 Views) Steel 7 ft. × 24 ft. × 5 ft.

2.1m × 7.3m × 1.5m Trust I.D.# CG.1979.Steel.007 Installation, Stanford University Campus Stanford, CA, 2010 Collection Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA Given in honor of Gerhard Casper, President, Stanford University (1992–2000), by Mr. and Mrs. Milo Gates M. Lee Fatherree, Photographer

395

p. xli Daedalus, 1975 Steel 11 ft. × 30 ft. × 21 ft.

3.4m × 9.1m × 6.4 m Trust I.D.# CG.1975.Steel.005 Installation, University of Michigan Campus Ann Arbor, MI 2018 Collection University of Michigan Museum of Art, Acquired with Funds from the Thirtieth Anniversary Project and the National Endowment for the Arts Patrick Young/Michigan Imaging, Photographer Untitled [In Homage to My Father, Charles Ginnever], 1986 22 ft. × 42 ft. × 42 ft.

6.7m × 12.8m × 12.8m Trust I.D.# CG.1986.Steel.002 Installation, Google Campus City of Mountain View, CA 1986 M. Lee Fatherree, Photographer Levade, 1978 Steel 16 ft. × 40 ft. × 30 ft.

4.9m × 12.2m × 9.1m Trust I.D.# CG.1978.Steel.007 Installation, Vermont Farm Charles Ginnever, Photographer

p. xlii Didymous, 1987 Steel 13 ft. × 21 ft. × 4 ft.

4.0m × 6.4m × 1.2m Trust I.D.# CG.1987.Steel.002 Installation, Runnymede Sculpture Farm, Woodside, CA M. Lee Fatherree, Photographer p. xliii Didymous, 1987 (2 Views) Steel 13 ft. × 21 ft. × 4 ft.

4.0m × 6.4m × 1.2m Trust I.D.# CG.1987.Steel.002 Installation, Runnymede Sculpture Farm, Woodside, CA M. Lee Fatherree, Photographer Movin’ Out (for Jesse Owens), 1980 Steel 7 ft. × 35 ft. × 11 ft.

2.1m × 10.7m × 3.4m Trust I.D.# CG.1980.Steel.007 Collection Dayton Art Institute Dayton, OH, Museum purchase with funds provided by the National Endowment for the Arts Purchase Grant, the Honorable Jefferson Patterson, and Armco, Inc. p. xliv Study for Kitsune, 1988/1993 Graphite on paper 4 7∕8 in. × 8 in.

12.4cm × 20.3cm Trust I.D.# CG.1988.DWG.001 M. Lee Fatherree, Photographer

396

Kitsune, 1988 (5 Views) Steel Vertical: 13 ft. × 20 ft. × 31 ft.

4.0m × 6.1m × 9.4m Horizontal: 12 ft. × 15 ft. × 30 ft.

3.7m × 4.6m × 9.1m Trust I.D.# CG.1988.Steel.001 Installation, Runnymede Sculpture Farm, Woodside, CA M. Lee Fatherree, Photographer p. xlv Ibis, 1987 (2 Views) Steel, oil-based pigments 22 ft. × 11 ft. × 9 ft.

6.7m × 3.4m × 2.7m Trust I.D.# CG.1987.Steel.004 Installation, Runnymede Sculpture Farm, Woodside, CA M. Lee Fatherree, Photographer p. xlvi Ergo Suits Carnival, List of Participants (Recto), 1962 Ink, graphite, crayon on paper 11 in. × 7 in.

27.9cm × 17.8cm Trust I.D.# CG.1962.DWG.020 M. Lee Fatherree, Photographer Ergo Suits Carnival, List of Jobs (Verso), 1962 Ink on paper 11 in. × 7 in.

27.9cm × 17.8cm Trust I.D.# CG.1962.DWG.020v M. Lee Fatherree, Photographer

p. xlvii Ergo Suits Carnival Costume Designs and Dance Notes for Performance, 1962 Triptych: Graphite on paper 13¾ in. × 23¾ in.

34.9cm × 60.3cm Trust I.D.# CG.1962.DWG.012 M. Lee Fatherree, Photographer LEFT Ergo Suits Dance Notes for Performance, 1962 Graphite on ruled paper 8 in. × 6 in.

20.3cm × 15.2cm Trust I.D.# CG.1962.DWG.012.01 M. Lee Fatherree, Photographer CENTER Ergo Suits Carnival War Dance Costume Designs and Notes, 1962 Graphite on ruled paper 10 in. × 7¾ in.

25.4cm × 19.7cm Trust I.D.# CG.1962.DWG.012.02 M. Lee Fatherree, Photographer RIGHT Ergo Suits Worm Dance Costume Design and Dance Notes, 1962 Graphite on ruled paper 8 in. × 6 in.

20.3cm × 15.2cm Trust I.D.# CG.1962.DWG.012.03 M. Lee Fatherree, Photographer

Ergo Suits Carnival War Dance Costume Designs, 1962 Graphite on paper 8½ in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG.1962.DWG.011 M. Lee Fatherree, Photographer

p. l Windham Carnival Gazette, Vol. 1, No. 1, May 1969 Designed by Peter Forakis Offset lithograph: Printer’s ink on paper 35 in. × 22½ in.

89.0cm × 57.1cm M. Lee Fatherree, Photographer

p. xlviii Ergo Suits Carnival Worm Dance Performance East Hampton, NY 1962 Costume designed by Charles Ginnever Charles Ginnever, Photographer

Windham Carnival, Attack on the Colonnade Dance Performance, 1969 (2 Views) Windham College, Putney, VT Charles Ginnever, Photographer

Ergo Suits Carnival War Dance Performance East Hampton, NY 1962 (6 Views) Below Left: Costume designed by Charles Ginnever Below Center: Costume designed

by Eva Hesse Below Right: Costume designed by Tom Doyle Charles Ginnever, Photographer

p. li Sound Score for Opaque Projector, No Jazz, Jazz Music Session I, 1962 Water-based pigments on paper mounted on linen-covered board Frame size: 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.001 M. Lee Fatherree, Photographer

p. xlix Ergo Suits Carnival, East Hampton, NY 1962 Charles Ginnever, Photographer

Sound Score for Opaque Projector, No Jazz, Jazz Music Session III, 1962 Water-based pigments on paper mounted on linen-covered board Frame size: 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.003 M. Lee Fatherree, Photographer

Poster for Ergo Suits Carnival, 1962 Designed by Phyllis Yarnpolsky Offset lithograph: Printer’s ink on paper 117∕8 in. × 8 7∕8 in.

30.2cm × 22.5cm Trust ID# CG.1962.LITH.001 Collection Jonathan Berger M. Lee Fatherree, Photographer

397

Sound Score for Opaque Projector, No Jazz, Jazz Music Session IV, 1962 Water-based pigments on paper mounted on linen-covered board Frame size: 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.004 M. Lee Fatherree, Photographer Sound Score for Opaque Projector, No Jazz, Jazz Music Session VII, 1962 Water-based pigments on paper mounted on linen-covered board Frame size: 9¼ in. × 87 in.

23.5cm × 221.0cm Trust I.D.# CG.1962.DWG.007 M. Lee Fatherree, Photographer p. lii-liii Rashomon, 1998 (5 Views) Steel 13 ft. × 13 ft. × 13ft.

4.0m × 4.0m × 4.0m Trust I.D.# CG.1998.Steel.002 Installation, Stanford University Campus, Stanford, CA M. Lee Fatherree, Photographer EARLY WORK: LATE 1950S— EARLY 1960S p. liv Charles Ginnever, c.1960 155 Prince Street, New York, NY Unknown Photographer

398

1. Calligraphic Sculpture, 1959 Wood, steel 9 ft. × 12 ft. × 2 ft.

2.7m × 3.7m × .6m Trust I.D.# CG.Wood.1959.001 Installation, Center Street, New York, NY Charles Ginnever, Photographer 2-4. Ronnie, 1962 Steel, oil-based pigments 161/4 in. × 30 in. × 211/2 in.

41.3cm × 76.2cm × 54.6cm Trust I.D.# CG.1962.Steel.007 M. Lee Fatherree, Photographer 5. Dante’s Rig, 1964–65 Aluminum, steel, oil-based pigments 9 ft. × 23 ft. × 8 ft.

2.7m × 7.0m × 2.4m Trust I.D.# CG.1965.Aluminum.001 Installation, Vermont Farm Charles Ginnever, Photographer 6-8. Hole View, 1962 Steel, canvas, oil-based pigments 27 in. × 26 in. × 151/2 in.

68.6cm × 66.0cm × 39.4cm Trust I.D.# CG.1962.Steel.008 M. Lee Fatherree, Photographer 9. For Mark (di Suvero), 1961 Steel, canvas, oil-based pigments 30 in. × 24 in. × 12 in.

76.2cm × 61.0cm × 30.5cm Trust I.D.# CG.1961.Steel.002 Unknown Photographer

10. Wall Relief, 1962 Steel, oil-based pigments 40 in. × 43 in. × 17 in.

101.6cm × 109.2cm × 43.2cm Trust I.D.# CG.1962.Steel.006 M. Lee Fatherree, Photographer 11. Painted Steel Maquette VIII, 1964 Steel, oil-based pigments on silvered glass 12 in. × 14 in. × 10 in.

30.5cm × 35.6cm × 25.4cm Trust I.D.# CG.1964.Steel.013 Unknown Photographer 12-13. Painted Steel Maquette IV, 1964 Steel, oil-based pigments on silvered glass 12 in. × 10 in. × 10 in.

30.5cm × 25.4cm × 25.4cm Trust I.D.# CG.1964.Steel.011 Private Collection Unknown Photographer 14. Dante’s Rig Study No. 3, 1965 Ink on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965.DWG.010.03 M. Lee Fatherree, Photographer 15. Dante’s Rig Study No. 10, 1965 Graphite, collage on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965.DWG.007.02 M. Lee Fatherree, Photographer

16. Dante’s Rig Study No. 4, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.007.01 M. Lee Fatherree, Photographer

21. Dante’s Rig Study No. 14, 1965 Ink on paper 7 5∕8 in. × 9 7∕8 in.

19.4cm × 25.1cm Trust I.D.# CG.1965.DWG.002 M. Lee Fatherree, Photographer

17. Dante’s Rig Study No. 1, 1965 Ink on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965.DWG.010.01 M. Lee Fatherree, Photographer

22. Dante’s Rig Study No.15, 1965 Ink on paper 7 5∕8 in. × 9 7∕8 in.

19.4cm × 25.1cm Trust I.D.# CG.1965.DWG.001 M. Lee Fatherree, Photographer

18. Dante’s Rig Study No. 5, 1965 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.007.03 M. Lee Fatherree, Photographer

23. Study for Dante’s Rig V [Aquabee Sketchbook, 21], 1964 Graphite on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1964.DWG.008 M. Lee Fatherree, Photographer

19. Dante’s Rig Study No. 6, 1965 Ink on paper 8 in. × 4 11∕16 in.

20.3cm × 11.9cm Trust I.D.# CG.1965.DWG.011 M. Lee Fatherree, Photographer 20. Dante’s Rig Study No. 9, 1965 Ink on paper 7 5∕8 in. × 9 7∕8 in.

19.4cm × 25.1cm Trust I.D.# CG.1965.DWG.015 M. Lee Fatherree, Photographer

24. Study for Dante’s Rig VII [Aquabee Sketchbook, 24], 1964 Graphite on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D. # CG.1964.DWG.010 M. Lee Fatherree, Photographer

25. Eighteen Songs of a Nomad Flute: The Story of Lady Wenji, early 15th Century Hand Scroll: Ink, color, and gold on silk Image: 11¼ in. × 39 ft. 3 in./0.3m × 12.0m Overall with mounting: 11½ in. × 50 ft. 8 1∕16 in.

0.3m × 15.4m Unidentified Artist in the style of the Song emperor Gaozong (r.1127–62) Collection The Metropolitan Museum of Art Image Courtesy The Metropolitan Museum of Art, New York, NY 26. Drawing Study of Chinese Hand Scroll, c. 1964 Ink on paper 12 in. × 18 in.

30.5cm × 45.7cm Trust I.D.# CG.1964.DWG.014 Jonathan Berger, Photographer 27. Study for Dante’s Rig II [Aquabee Sketchbook, 18], 1964 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1964.DWG.005 M. Lee Fatherree, Photographer 28. Study for Dante’s Rig I [Aquabee Sketchbook, 17], 1964 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1964.DWG.004 M. Lee Fatherree, Photographer

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29. Dante’s Rig Study No. 8, 1965 Ink on paper 7 5∕8 in. × 9 5∕8 in.

19.4cm × 25.1cm Trust I.D.# CG.1965.DWG.016 M. Lee Fatherree, Photographer 30. Study for Dante’s Rig IV [Aquabee Sketchbook, 20], 1964 Ink on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D. # CG.1964.DWG.007 M. Lee Fatherree, Photographer 31. Dante’s Rig Study No. 16, 1965 Ink, graphite, colored pencil on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D.# CG.1965.DWG.006 M. Lee Fatherree, Photographer 32. Study for Dante’s Rig IX [Aquabee Sketchbook, 26], 1964 Ink, colored pencil on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D. # CG.1964.DWG.002 M. Lee Fatherree, Photographer 33. Study for Dante’s Rig VIII [Aquabee Sketchbook, 25v], 1964 Graphite on paper 4 11∕16 in. × 8 in.

11.9cm × 20.3cm Trust I.D. # CG.1964.DWG.003 M. Lee Fatherree, Photographer

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34. Dante’s Rig, 1964–65 Aluminum, steel, oil-based pigments 13 ft. × 25 ft. × 15 ft.

4.0m × 7.6m × 4.6m Trust I.D.# CG.1965.Aluminum.001 Installation, Vermont Farm Charles Ginnever, Photographer 35. Steel Squared, 1983 Steel 8 ft. 3 in. × 5 ft. 6 in. × 2 ft.

2.5m × 1.7m × 0.6m Trust I.D.# CG.1983.Steel.002 Installation, Vermont Farm Private Collection Unknown Photographer 36. White Flat, 1962 Steel, iron, cloth, oil-based pigments 36 in. × 83 in. × 22 in.

91.4cm × 210.8cm × 55.9cm Trust I.D.# CG.1962.Steel.009 Collection Wadsworth Atheneum Museum of Art, Hartford, CT Allen Phillips, Photographer NOTE: Information for Early Work Images (Illustration Numbers 37-180) is listed on Pages 24-97 with Early Works images.

FOLDED FORMS 181. Dansa Steel Maquette, 1980 Steel, bronze-plated surface with patina 111/2 in. × 44 in. × 18 in.

29.2cm × 111.8cm × 45.7cm Trust I.D.# CG.1980.Steel.004 M. Lee Fatherree, Photographer

182. Charles Ginnever Working at Landfall Press, Santa Fe, NM 2012 Peter Ellzey, Photographer 183. The Bird (for Charlie Parker) Mid-size Maquette, 1965–81 Steel, epoxy primer, Urethane 34½ in. × 271/2 in. × 10½ in.

87.6cm × 70.0cm × 26.7cm Trust I.D.# CG.1965.Steel.002 Karen and Robert Duncan Collection Lincoln, NE Bill Ganzel, Photographer 184. The Bird (for Charlie Parker), 1979 Steel, oil-based pigments 18 ft. × 20 ft. × 17 ft.

5.5m × 6.1m × 5.2m Trust I.D.# CG.1979.Steel.004 Installation, K&B Plaza, New Orleans, LA Collection The Virlane Foundation, New Orleans, LA Unknown Photographer 185-186. Bop and Crazed, 1980 Steel, oil-based pigments Bop: 62 in. × 48 in. × 54 in.

157.5cm × 121.9cm × 137.2cm Crazed: 44 in. × 64 in. × 62 in.

111.8cm × 162.6cm × 157.5cm Trust I.D.# CG.1980.Steel.003 Installation, Lincoln Children’s Zoo Lincoln, NE 2018 Left: Jodi Ginnever, Photographer Right: John Nollendorfs, Photographer

187-190. Zag, for Walter Davis, Jr., 1980 Steel, oil-based pigments 37 1∕8 in. × 17 in. × 10 3∕8 in.

94.3cm × 43.2cm × 26.4cm Trust I.D.# CG.1980.Steel.014 M. Lee Fatherree, Photographer 191-192. Goddard’s Dream, 1982 Aluminum, acrylic-polymer pigments 14 ft. × 15 ft. × 11 ft.

4.3m × 4.6m × 3.4m Trust I.D.# CG.1982.Aluminum.002 Installation, Clarinda Regional Health Center, Clarinda, IA 2018 Robert Duncan, Photographer 193. Pisa, 1984 Steel, polymer-based pigments 15 ft. × 12 ft. × 9 ft.

4.6m × 3.7m × 2.7m Trust I.D.# CG.1984.Steel.005 Installation, Spring Valley Center Dallas, TX Collection SVC Management Unknown Photographer 194. Azuma, 1987 Bronze with patina 11 ft. × 6 ft. × 9 ft.

3.4m × 1.8m × 2.7m Trust I.D.# CG.1987.BRZ.001 Installation, Esprit Sculpture Park San Francisco, CA 1987 M. Lee Fatherree, Photographer

195. Midas and Fog, 1966 Steel, acrylic lacquer 7 ft. × 18 ft. × 6 ft.

2.1m × 5.5m × 1.8m Trust I.D.# CG.1966.Steel.001 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA Jon and Molly Ott Collection, CA Christopher Gannon, Photographer 196. Icarus, 1975 Steel 6 ft. 8 in. × 33 ft. 6 in. × 5 ft.

2.0m × 10.2m × 1.5m Trust I.D.# CG.1975.Steel.006 Installation, Nathan Manilow Sculpture Park, Collection Governors State University University Park, IL Unknown Photographer 197. Crete, 1978 Steel 15 ft × 60 ft × 17 ft.

4.6m × 18.3m × 5.2m Trust I.D.# CG.1978.Steel.002 Collection Laumeier Sculpture Park St. Louis, MO Jonathan Berger, Photographer 198-199. Luna Moth Walk II Mid-size Maquette, 1981 Steel, epoxy primer, Urethane Uniquely Painted 26 in. × 24 in. × 19 in.

66.0cm × 61.0cm × 48.3cm Trust I.D.# CG.1981.Steel.010 Karen and Robert Duncan Collection Lincoln, NE M. Lee Fatherree, Photographer

200-202 Moonwalker Series I, 1989 Bronze with patina 17 in. × 17 in. × 8 in.

43.2cm × 43.2cm × 20.3 Trust I.D.# CG.1989.BRZ.014 M. Lee Fatherree, Photographer 203. Heavy Metal, 1983 Steel 16 ft. × 22 ft. × 10 ft.

4.9m × 6.7m × 3.1m Trust I.D.# CG.1983.Steel.003 Installation, Bank of America Offices Concord, CA Collection Bank of America Corporation San Francisco, CA M. Lee Fatherree, Photographer 204-205. No Place to Hide, 1986 Steel 20 ft. × 45 ft. × 30 ft.

6.1m × 13.7m × 9.1m Trust I.D.# CG.1986.Steel.002 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 Cole Sartore, Photographer 206-207. Slant Rhyme #5A, 1992 Steel 7 ft. 6 in. × 8 ft. × 5 ft. 6 in.

2.3m × 2.4m × 1.7m Trust I.D.# CG.1992.Steel.004 Private Collection Charles Ginnever, Photographer

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208. Charles Ginnever working at Landfall Press, Santa Fe, NM 2012 Peter Ellzey, Photographer 209. Charles Ginnever with Jack Lemon and Steve Campbell at Landfall Press Santa Fe, NM 2012 Peter Ellzey, Photographer 210-211. Multus, 2012 Folded Sculpture: Three-color etching Printer’s ink on 500g, 3-ply Somerset paper 12 in. × 20 in. × 18 in.

30.5cm × 50.8cm × 45.7cm Printed in an edition of 20 by Landfall Press, Santa Fe, NM Trust I.D.# CG.2012.ETCH.001 Peter Ellzey, Photographer 212. Folding Instructions for Multus, 2012 Ink on paper 18 in. × 20 in.

45.7cm × 50.8cm Trust I.D.# CG.2012.ETCH.021.EX.02 M. Lee Fatherree, Photographer 213. Origami Series X, 2012 Aluminum, acrylic lacquer 18 in. × 16 in. × 12 in.

45.7cm × 40.6cm × 30.5cm Trust I.D.# CG.2012.Aluminum.002 Private Collection M. Lee Fatherree, Photographer 214. Origami sculptures fabricated at Picture Car Warehouse Northridge, CA 2012

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215. Origami Series VII, 2012 Aluminum, acrylic lacquer 111/2 in. × 7¾ in. × 6 in.

29.2cm × 19.7cm × 15.2cm Trust I.D.# CG.2012.Aluminum.010 M. Lee Fatherree, Photographer 216. Origami Series V, 2012 Aluminum, acrylic lacquer 91/2 in. × 101/2 in. × 101/2 in.

24.1cm × 26.7cm × 26.7cm Trust I.D.# CG.2012.Aluminum.004 Private Collection M. Lee Fatherree, Photographer 217. Origami Series III, 2012 Aluminum, acrylic lacquer 11 in. × 5 in. × 5 in.

41.3cm × 12.7cm × 12.7cm Trust I.D.# CG.2012.Aluminum.009 M. Lee Fatherree, Photographer 218-221. Dementia, 1998 Steel 9 ft. × 16 ft. × 6 ft.

2.7m × 4.9m × 1.8m Trust I.D.# CG.1998.Steel.001 Installation, Woods Park, Lincoln, NE 2018 Cole Sartore, Photographer 222-227. Origami Series No. 3, 2018–19 Aluminum, acrylic lacquer 171/2 in. × 16 in. × 161/2 in.

44.5cm × 41.0cm × 41.9cm Trust I.D.# CG.2018.Aluminum.003 M. Lee Fatherree, Photographer

228. Shadow, 1962 Steel, oil-based pigments 17 in. × 38 in. × 24 in.

43.2cm × 96.5cm × 61.0cm Trust I.D.# CG.1962.Steel.004 M. Lee Fatherree, Photographer Destroyed in studio fire 2003 229. Blue Road, 1962 Copper, aluminum, cloth, oil-based pigments on wood base 22 in. × 241/2 in. × 231/2 in.

55.9cm × 62.2cm × 59.7cm Trust I.D.# CG.1962.MM.004 Private Collection M. Lee Fatherree, Photographer 230. Gothic Series Number 3, 1965 Plexiglas 13 in. × 12 in. × 12 in.

33.0cm × 30.5cm × 30.5cm Trust I.D.# CG.1965.MM.001 Unknown Photographer 231. Gothic Series Number 7, 1966 Plexiglas 24 in. × 36 in. × 12 in.

61.0cm × 91.4cm × 30.5cm Trust I.D.# CG.1966.MM.001 Unknown Photographer 232-235. Gothic Series Number 3 Mid-size Maquette, 1965–79 Steel, epoxy primer, Urethane 34½ in. × 271/2 in. × 10½ in.

87.6cm × 70.0cm × 26.7cm Trust I.D.# CG.1965.Steel.003 Karen and Robert Duncan Collection Lincoln, NE Bill Ganzel, Photographer

236-239. Moonwalker Series IV, 1989 (Cast A/P) Bronze with patina 13 in. × 29 in. × 13 in.

33.0cm × 73.7cm × 33.0cm Trust I.D.# CG.1989.BRZ.017 Destroyed in studio fire 2003 240. Fabrication Notes for Moonwalker Series IV, 1989 Graphite, collage on vellum overlay on printed paper 8 in. × 103/4 in.

20.3cm × 27.3cm Trust I.D.# CG.1989.DWG.003 M. Lee Fatherree, Photographer 241. Ginnever’s Work Table with Cardboard Maquettes at Landfall Press, Santa Fe, NM, 2012 Peter Ellzey, Photographer NOTE: Information for Origami Series 2012 Images (Illustration Numbers 242-289) is listed on Pages 128-149 with the images.

290. Origami Series No. 13, 2018–19 Aluminum, acrylic lacquer 191/4 in. × 14 in. × 101/2 in.

48.9cm × 35.6cm × 26.7cm Trust I.D.# CG.2018.Aluminum.013 M. Lee Fatherree, Photographer NOTE: Information for Origami Series 2018–19 Images (Illustration Numbers 291-355) is listed on Pages 152-181 with the images.

356. Traveling Case with Charles Ginnever Sculpture Models, 2016 Printed linen fabric, cardboard, metal corners, leather handle, linen-covered foam insert with paper maquettes, water-based pigments 15 in. × 29 in. × 8 in.

38.1cm × 74.0cm × 20.3cm Trust I.D.# CG.2016.MM.001 M. Lee Fatherree, Photographer 357-359. Drawing Studies for Totem Sculptures, 1957–58 Triptych: Ink on paper 8 in. × 16 in.

20.3cm × 40.6cm Trust I.D.# CG.1957.DWG.005 M. Lee Fatherree, Photographer NOTE: Works in Exhibition Checklist for The Art of Perspective at Assemblage, Lincoln, NE, are un-numbered, with information listed on Pages 186-205 with the images.

360-362. Zag, for Walter Davis, Jr., 1980 Steel, oil-based pigments 37 1∕8 in. × 17 in. × 10 3∕8 in.

94.3cm × 43.2cm × 26.4cm Trust I.D.# CG.1980.Steel.014 M. Lee Fatherree, Photographer NOTE: Works in Exhibition Checklist for Folded Forms at the Christian Petersen Art Museum, Iowa State University, Ames, IA, are un-numbered, with information listed on Pages 209-225 with the images.

392. Charles Ginnever with Troika (I of II), 1976

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363-365. Azuma, 1987 Bronze with patina 11 ft. × 6 ft. × 9ft.

3.4m × 1.8m × 2.7m Trust I.D.# CG.1987.BRZ.001 Installation, Nodaway Valley Historical Museum Clarinda, IA 2018 Photograph courtesy of Walla Walla Foundry, Walla Walla, WA

BIOGRAPHY 370. Charles Ginnever, Perugia, Italy, 1954 Unknown Photographer

NOTE: Works in Exhibition Checklist for Sculpture Installations organized by Clarinda Carnegie Art Museum, Clarinda, IA, are un-numbered, with information listed on Pages 228-231 with the images.

372. Charles Ginnever with his sculpture Satyr Pushing Girl in Swing, 1956 North Beach, San Francisco, CA 1957 Unknown Photographer

366-368. Slant Rhyme #22, 1992 Steel 8 ft. × 7 ft. × 6 ft.

2.4m × 2.1m × 1.8m Trust I.D.# CG.1992.Steel.007 Installation, Berkeley, CA Jon and Molly Ott Collection, CA M. Lee Fatherree, Photographer NOTE: Works in Exhibition Checklist for Sculpture Installation Transforming Perspectives at the Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA, are un-numbered, with information listed on Pages 234-235 with the images.

BIOGRAPHY/BIBLIOGRAPHY 369. Charles Ginnever’s Work Table Landfall Press, Santa Fe, NM 2012 Peter Ellzey, Photographer

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371. Charles Ginnever with classmates and Ossip Zadkine, Académie de la Grande Chaumière, Paris, c.1953–55 Unknown Photographer

373. Charles Ginnever, Stanley W. Hayter’s Class, Atelier 17, Paris, 1955 Unknown Photographer 374. Slant Rhyme #22, 1992 Steel 8 ft. × 7 ft. × 6 ft.

2.4m × 2.1m × 1.8m Trust I.D.# CG.1992.Steel.007 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA 2020 Jon and Molly Ott Collection, CA Christopher Gannon, Photographer 375. Midas and Fog, 1966; Walkabout, 1987; and Cobra, 1984 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University Ames, IA 2020 Christopher Gannon, Photographer

376. Slant Rhyme #20, 1992 Steel 8 ft. × 7 ft. × 6 ft.

2.4m × 2.1m × 1.8m Trust I.D.# CG.1992. Steel.001 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA 2020 Karen and Robert Duncan Collection Lincoln, NE Christopher Gannon, Photographer 377. Untitled [Flat Illusion], 1968 Steel 5 ft. × 10 ft. × 7 ft.

1.5m × 3.0m × 2.1m Trust I.D.# CG.1968.Steel.006 Installation, Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames, IA 2020 Art on Campus Collection, University Museums, Iowa State University, Ames, IA Gift of Jon and Molly Ott in Memory of Freide Gorewitz, Holocaust survivor who was responsible for saving the lives of at least 18 children as a member of the Belgian resistance Christopher Gannon, Photographer 378-379. Untitled [Flat Illusion], 1968 Sonoma Modern/Contemporary Exhibition Installation, Sonoma Valley Museum of Art, Sonoma, CA 2019 Grace Cheung-Schulman, Photographer 380. Exhibition Opening Reception, Sonoma Modern/Contemporary, Sonoma Valley Museum of Art, Sonoma, CA 2019 Grace Cheung-Schulman, Photographer

BIBLIOGRAPHY 381. Charles Ginnever working on cardboard models for Multus Maquette Landfall Press, Santa Fe, NM 2012 Peter Ellzey, Photographer 382. Rashomon (III/X), 2014 Deluxe edition artists’ book and bronze maquette Book: 12¼ in. × 16¼ in. × 1½ in.

31.1cm × 41.3cm × 3.8cm Sculpture: 3¾ in. × 5 in. × 3¾ in.

9.5cm × 12.7cm × 9.5cm Box: 211∕8 in. × 12½ in. × 4½ in.

53.7cm × 31.8cm × 11.4cm Bronze maquette stamped: CG 2014 III/X Trust I.D.# CG.2014.ARTBK.001.67 Collection Library of Congress, Washington, D.C. James Hart Photography, Santa Fe, NM 383. Rashomon (15/40), 2014 Limited-edition artists’ book with etchings and letterpress printing 12¼ in. × 16¼ in. × 1½ in.

31.1cm × 41.3cm × 3.8cm Trust I.D.# CG.2014.ARTBK.001.16 Karen and Robert Duncan Collection Lincoln, NE M. Lee Fatherree, Photographer 384. Selection of Charles Ginnever books and catalogues, 2020 M. Lee Fatherree, Photographer 385. Charles Ginnever in Vermont studio with Ghost of Eisenheim, 1961 Jonathan Berger, Photographer 2017

CHRONOLOGY 386. Charles Ginnever with Troika (I of II), 1976 Vermont Farm 2017 Brenden Hussey, Photographer SELECTED PUBLIC & PRIVATE COLLECTIONS 387. Medusa, 1986 Steel 12 ft. × 38 ft. × 32 ft.

3.7m × 11.6m × 9.8m Trust I.D.# CG.1986.Steel.001 Installation, Riverside Park, New York, NY 2014 Ronnie Ginnever, Photographer 388. Luna Moth Walk I, Verso; Luna Moth Walk II; Luna Moth Walk III, 1982–85 Steel Each: 10 ft. × 9 ft. × 8 ft.

3.0m × 2.7m × 2.4m Trust I.D.# CG.1985.Steel.007 Installation, City of Clarinda Airport Collection Clarinda Carnegie Art Museum Clarinda, IA 2018 M. Lee Fatherree, Photographer

PUBLIC SCULPTURE INSTALLATIONS 390. Gyro I, 1982 Steel 12 ft. × 29 ft. × 19 ft.

3.7m × 8.8m × 5.8m Trust I.D.# CG.1982.Steel.001 Installation, Karen and Robert Duncan Sculpture Garden, Lincoln, NE 2018 Cole Sartore, Photographer ILLUSTRATIONS 391. Drawings of Four Sculptures, 1979 Graphite on paper 81/2 in. × 11 in.

21.6cm × 27.9cm Trust I.D.# CG. 1979.DWG.011 M. Lee Fatherree, Photographer 392. Charles Ginnever with Troika (I of II), 1976 Vermont Farm 2017 Brenden Hussey, Photographer 393. Charles Ginnever with Troika (I of II), 1976 Vermont Farm 2017 Brenden Hussey, Photographer

389. Daedalus, 1975 Steel 11 ft. × 30 ft. × 21 ft.

3.4m × 9.1m × 6.4 m Trust I.D.# CG.1975.Steel.005 Installation, University of Michigan Ann Arbor, MI 2018 Collection of University of Michigan Museum of Art, Acquired with Funds from the Thirtieth Anniversary Project and the National Endowment for the Arts Patrick Young/Michigan Imaging, Photographer

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ACKNOWLEDGMENTS

393. Charles Ginnever with Troika (I of II), 1976 Vermont Farm 2017

CURATOR’S ACKNOWLEDGMENTS A PROJECT OF THIS SCOPE requires the coordination, skills, and dedication

of a sizeable team. Thus, a debt of gratitude is due every individual involved in the production of this catalogue and the organization of the exhibitions at Assemblage in Lincoln, Nebraska, Christian Petersen Art Museum at Iowa State University, Ames, and the installation of Ginnever’s large-scale sculptures on the Iowa State campus, and outdoor sites in Lincoln and Clarinda.

These efforts honor Chuck Ginnever, whose extraordinary ability to see the world from countless points of view has made these projects possible. He generously gave his talent, time, and expertise, and in doing so, Midwest audiences will have the opportunity to share his unique vision for years to come.

We acknowledge Trish Bergren, Director, Clarinda Carnegie Art Museum; Gayle Maxon-Edgerton and Jonathan Berger, Ginnever’s representatives and long-time supporters of his ideas and his work. Without them, these projects would not have happened.

It is a privilege for Nebraskans to have access to Ginnever’s historically significant early works at Assemblage. Thankfully, this catalogue will carry that pleasure to an even larger audience. We are indebted to Bruce Nixon for his insightful essays, as well as the contributions of Johannah Hutchison, Executive

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Director, International Sculpture Center, and Lynette L. Pohlman, Director of University Museums, Iowa State University, Ames. We are grateful for the loans of artworks from the Ginnever Trust; the excellent photography provided by M. Lee Fatherree, John Nollendorfs, Cole Sartore, Peter Ellzey, Brenden Hussey, Heather Marsh, Anne-Marie Muscari, and others; the design and layout of the catalogue by John Hubbard/EMKS, Finland; Anne Kohs & Associates for coordinating the design, layout, photography, and production of the catalogue; Diane Roby, who edited the catalogue texts; Pam Rino Evans, who organized the photography; Gary Hawkey, John Bailey, and Stephanie Lock at iocolor, LLP, Seattle, for expert color management and coordination for the catalogue; Mario Soriano at Picture Frame Specialists; and for the high-quality printing and binding

by Artron Color Printing Company, China.

We are grateful to the crew at Lawrence Fine Art for their careful packing and crating of works shipped from California. Cross & Sons, Inc., of Seward, Nebraska, assured that each sculpture was properly loaded and delivered in excellent condition. Steve Jensen has, again, capably overseen the installation of each interior and exterior work in Lincoln.

We thank Lincoln’s Mayor and the Lincoln Parks and Recreation Department staff, whose continued support of Ginnever’s work and its appropriate placement has enhanced our community.

We wish to acknowledge Assemblage founders Karen and Robert Duncan and Kathryn and Marc LeBaron for graciously continuing to share their collections and their support of every kind. Their enthusiasm toward all aspects of the Ginnever project advances their goal of making art an enriching and accessible part of our community experience.

Finally, we acknowledge the invaluable work of our Duncan and LeBaron team members: Cole Sartore, Susan Roth, Tessa Peters, Cindy Morris, Susan Simon, Norma Hardle, and Karen Peppmuller, who assure that the details of such far-reaching projects are always on track.

ANNE PAGEL, Curator

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DIRECTOR’S ACKNOWLEDGMENTS FOR OVER FORTY YEARS I have appreciated the art and expressions of

Chuck Ginnever and longed for the day when his art would permanently be a part of Iowa State University. To Chuck, and now his memory, I and all of Iowa State are grateful for his lifetime of artistic accomplishments that expanded understandings of our contemporary world and synergies between art and science.

Friends and colleagues propel art projects. Anne Pagel, Curator of the Karen and Robert Duncan Collection, is treasured for curating the initial 2018 exhibition at Clarinda Carnegie Art Museum, Ginnever: Folded Forms, from which the University Museums was able to curate a more expansive and varied exhibition at the Christian Petersen Art Museum. Within this circle of impactful art Friends are also Karen and Robert Duncan, Anne Kohs, Jon and Molly Ott, and Abigail Mack—all of whom are gracious in sharing their expertise, art and knowledge with Iowa State so our campus community may experience joy and educational understanding. In addition, a special acknowledgment needs to be given to Gayle Maxon-Edgerton and Jonathan Berger, Representatives for the Ginnever Trust, who have supported and advocated on behalf of the artist for many years.

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Many people contribute their expertise to an exhibition and installation project of this scope, and I’d like to also acknowledge Lawrence Fine Art Services for preparing Ginnever’s large sculptures for shipment from California for our installation in the Anderson Sculpture Garden; Cross & Sons Transport, Inc., who transported the sculptures and framed works to Nebraska, where they were picked up by Museum staff for transport to Ames; and Mario Soriano of Picture Frame Specialists in Richmond, California, who framed Ginnever’s works on paper for the exhibition, and packed the Origami Maquettes and mid-size Luna Moth Walk sculptures so they arrived safely for our exhibition at the Christian Petersen Art Museum.

Campus colleagues are priceless in supporting the role of University Museums in inspiring and provoking visual learning through the arts. With great appreciation to the following individuals and campus units for contributing to bringing Ginnever’s art to Iowa State: President Wendy Wintersteen; Senior Vice President for Operations and Finance, Pam Cain; the ISU Capital Projects Advisory Committee; Duane Reeves, Assistant Vice President for Specialty Business Services and Cultural Affairs with Cheryl Ervin and Kate Nelson; from Logistics and Support Services—Jared Hohanshelt, Todd Wilson, Brennan Hochstein, Cameron Deroos, Corey Bickelhaupt, and Jason Bjerke; from Facilities Planning and Management—Joe Stoberl, Brandon Kadner, Cory Ritland, Christian Pitt, Zack Grooms, Chris Grooms, Brady Streit and Barbara Steiner; Christopher Gannon, ISU Photographer, who photographed the sculptures in the Anderson Sculpture Garden for this publication; Elizabeth Anderson who supports all projects in the Anderson Sculpture Garden; and most especially to the University Museums’ staff who work tirelessly to make every exhibition and project an educational success—Lilah Anderson, Adrienne Gennett, Betsy Grabinski, Susan Larson, Sue Olson, Brooke Rogers, and Allison Sheridan, with special appreciation to Sydney Marshall for project managing the Ginnever exhibitions at the Christian Petersen Art Museum and Anderson Sculpture Garden. Special appreciation to museum student interns Ellen Sattler and Quinn Vandenberg, and alumna Rachel Geneser for their contributions.

Dreams can come true. I first became curatorially interested in Chuck Ginnever’s sculptures in 1978 for possible inclusion in the Art on Campus

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Collection. Over thirty years later Iowa State had the opportunity to temporarily exhibit Rashomon, a series of 15 mid-size steel sculptures by Ginnever in cooperation with the San Jose Institute of Contemporary Art, San Jose, California, and Cathy Kimball, Independent Curator and now former Executive Director, SJICA. Rashomon is a tour-de-force of multi-position sculptural form, as Ginnever created a single form that can be placed in any of 15 different positions.The 2014–15 installation of Rashomon in the Food Services Courtyard at Iowa State confounded the University community, as each of the installation’s multiple elements was often perceived as distinct and unique, rather than being multiple identical forms.

Finally, in 2020–21, with new donations of the sculptures Untitled [Flat Illusion], 1968, and Cobra, 1984, Ginnever’s art is a permanent part of the University’s public art collection, and two major exhibitions are being presented over the next two years at Iowa State University. We are grateful to Jon and Molly Ott for their generous donation of Untitled [Flat Illusion], 1968, given to Iowa State in honor of Freide Gorewitz, Holocaust survivor, who was personally responsible for saving the lives of at least 18 children as a member of the Belgian resistance. We also are thrilled with the gift of Cobra, 1984, donated by private collectors to our Art on Campus Collection. Both sculptures are included in the exhibition Transforming Perspectives, installed in the Elizabeth and Byron Anderson Sculpture Garden, and will enhance our campus for many years to come. Dream fulfilled with the benevolent collaboration of good friends and dedicated colleagues.

LYNETTE L. POHLMAN Director and Chief Curator University Museums Iowa State University Ames, IA

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ARTIST’S ACKNOWLEDGMENTS I WOULD LIKE TO ACKNOWLEDGE a number of family members, asso-

ciates and friends who have supported my work over the many years I have made sculpture, including my parents, Helyne and Charles Ginnever; my daughters, Jodi and Chloe, and their mothers Ronnie and Susan.

I appreciate those who have helped me with the fabrication of my sculptures, such as David Rohn, Frank Sansone, Tom Greer, Mark Goodenaux, Matt Gil, Bruce Gitlin, Johnny Swing and Michael Ben. I want to acknowledge Louise Newquist, who rescued me after the devastating studio fire in Petaluma that destroyed much of my work and files, and Mark di Suvero, who allowed me to use his Petaluma studio after the fire and who has always been a friend and advocate for my work. I appreciate the support of Susie Schlesinger, who allowed me to install sculptures on her land.

I want to extend my appreciation to Mark Anderson and the craftsmen at Walla Walla Foundry; to Brattleboro Sheet Metal, Ted Moser, Picture Car Warehouse, and to Jonathan Berger and Brenden Hussey, who for several years worked on preparing a video to document my work and ideas.

Recognition is due the Muna Tseng Dance Group, which choreographed a dance performance based on my sculpture installation at Riverside Park, New

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York; Cathy Kimball, Executive Director, San Jose Institute of Contemporary Art; Anne Pagel, Curator, Clarinda Carnegie Art Museum, Clarinda, IA, and Curator for the Karen and Robert Duncan Collection, Lincoln, NE; Lynette Pohlman, Director, University Museums, Iowa State University, Ames; Al and Judy Voigt, Voigt Family Foundation, and MJ Klimenko for years of moral support and encouragement.

I want to thank Neil A. Lukas and M. Lee Fatherree, who have photographed my work for many years; Debby Lazar, who processes my photographs, and George Ladas, who designed my website.

I’m grateful to Jack Lemon and Steve Campbell at Landfall Press, who printed the etchings for the Rashomon artists’ book, and accepted the challenge of turning two-dimensional cardboard into a folded, three-dimensional sculpture titled Multus, and to Peggy Gotthold and Lawrence Van Velzer at Foolscap Press, who were able to translate my ideas about multiple views of the same object into the design, printing, and binding of the Rashomon artists’ book.

I am particularly grateful to Robert Duncan and Duncan Aviation, for assistance with the production of my 2018–19 series of Origami maquettes, especially Steve Jensen, who supervised the fabrication of those maquettes, and Doug Bohac, who painted them according to my specifications.

I would like to offer my appreciation to the Mayors and City Councils of Clarinda, Iowa, and Lincoln, Nebraska, as well as the Lincoln Parks and Recreation Department staff, who supported the endeavor and conscientiously assured attractive and appropriate sites in their communities for my large-scale sculptures.

Finally, I want to thank Anne Kohs, and Gayle Maxon-Edgerton, for their vision and unwavering support of my work and ideas, as well as Karen and Robert Duncan for their enthusiasm and for taking on the enormous undertaking of moving and installing several of my large-scale sculptures in Lincoln.

CHUCK GINNEVER NOTE: Ginnever’s acknowledgement was written for the exhibition catalogue, Complexities of Minimalism published by Clarinda Carnegie Art Museum, to accompany the exhibition GINNEVER: Folded Forms, organized by Anne Pagel, June 24–December 4, 2018.

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GINNEVER This catalogue has been produced to accompany exhibitions: GINNEVER: Folded Forms presented by the Christian Petersen Art Museum, Iowa State University, Ames, IA, August 23– December 17, 2021; and GINNEVER: The Art of Perspective presented by Assemblage, Lincoln, NE, September 21, 2021– March 27, 2022. In conjunction with the exhibitions, outdoor sculpture installations of Ginnever’s work have been organized by Clarinda Carnegie Art Museum, Clarinda, IA, September 10, 2020 – June 15, 2022; and University Museums, Iowa State University, Ames, IA, Transforming Perspectives, September 10, 2020 – July 29, 2022.

Charles Ginnever’s artwork is represented by Jonathan Berger, Quarry Fine Arts, Santa Fe, NM. Copyright of artworks by Charles Ginnever are held by the Charles Ginnever Trust.

Text copyrights published in the catalogue are held by their respective authors.

Photography copyrights are held by their respective photographers.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, or otherwise without written permission from Anne Kohs & Associates, Inc. Library of Congress Control Number: ISBN: 978-1-63901-666-2 Catalogue concept, research, and project coordination by Anne Kohs & Associates, Inc., Portola Valley, CA. www.artistsforum.com Research and documentation assistance for the Chronology was provided by Jonathan Berger, Quarry Fine Arts, Santa Fe, NM. Edited by Jonathan Berger, Pam Rino Evans, Anne Pagel, and Diane Roby.

Image management by Pam Rino Evans.

Designed by John Hubbard / EMKS, Finland Typeset in Gill Sans Standard Light by EMKS, Finland

Copyright for this publication is held by Anne Kohs & Associates, Inc., 2021.

Color and print management by iocolor, LLP, Seattle, WA

All rights reserved under International and Pan-American Copyright Conventions.

Printed in China

i n a s so c i at i o n w i t h

Duncan LeBaron Foundation, Lincoln, Nebraska

THE ART OF PERSPECTIVE

Clarinda Carnegie Ar t Museum, Clarinda, Iowa University Museums, Iowa State University, Ames, Iowa

THE ART OF PERSPECTIVE

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