Add this copy of Charles Ginnever to cart. $24.98, very good condition, Sold by Amarisan rated 5.0 out of 5 stars, ships from Los Angeles, CA, UNITED STATES.
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Seller's Description:
FREE USPS TRACKING NUMBER! Oversized SOFTCOVER, ****TEXT in Japanese/French/English, numerous illustrations in b/w and color throughout w/accompanying text, catalogue of his large scale sculpture, chronology, biography, bibliography, some shelf wear, corner curl, VG Shiny copy! Santa Monica, Calif. : Dorothy Goldeen Gallery; San Francisco: Fuller Goldeen Gallery; Kenoza Lake, N.Y. : Max Hutchinson's Sculpture Fields After the incorporation of found, bent steel pieces in his railroad tie sculpture of 1959 entitled Ithaca, started while still at Cornell and completed when Ginnever moved to New York City, steel became the primary medium for his work, and has remained so ever since. Ginnever's sculpture, much like that of his acquaintance and contemporary John Chamberlain, included "buckled and crunched automobile skins hoods and fenders combined with warped, distorted skeletal members of demolished buildings"[8] and in Ginnever's case, sometimes incorporating painted fabric. In 1962, Ginnever produced and directed a "multimedia many-act event, best described as a 'happening'", that was held first in Woodstock and then Bridgehampton, New York in the same summer. Among the many artists and performers Ginnever invited to participate in his artist carnival were Allan Kaprow, Walter de Maria, Peter Forakis, Tom Doyle, Eva Hesse, and the Bread and Puppet Theater. One of the many events of Ginnever's artist carnival included a "Sculpture Dance" entitled Ergo Suits, in which Ginnever, Tom Doyle and Eva Hesse took part, and each of the artists made their own wearable sculptures. This event marked Hesse's first sculpture and Ginnever's first foray into the art of Happenings. Ginnever has been preoccupied with the notion of western perspective for many years, and continuously challenges the viewers of his work in this respect. Ginnever states, "The sculpture is not made to trick anybody. It's just that [in] the way they are placed, they challenge our perception. Renaissance perspective was invented to help painters and draftsman extend the appearance of depth on the picture plane. Perspective has nothing to do with how forms of sculpture actually appear. Yet we expect things to behave in a certain way, which my sculptures intentionally refuse to do."
