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Chuck Ginnever

CHUCK GINNEVER’S TWO PIECES shown at Paula Cooper are the most interesting new sculpture I’ve seen this year. They are modernist in character, but they do not seem to exploit a common sculptural vocabulary. Instead they appear to be trying to correct something; I think they may have been done in response to the kind of work Morris and Judd were doing in the mid-’60s.

Morris saw that it was possible to regard the factual routine of a spectator’s encounter with art in a gallery as a sort of culturally programmed exercise in primitive phenomenology. What counts in looking at art is one’s consciousness of the object; certainly one’s awareness of other kinds of objects is never irrelevant when one is dealing with them. But in modern art the uses of consciousness, its allotments, so to speak, to the object are already at issue almost constantly. For phenomenology, knowledge about an object is

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