Ginnie Gardiner| Change and Continuity

Catalogue © 2025 Ginnie Gardiner, Catskill, New York. All works of art © 2025 Ginnie Gardiner.

All rights reserved.

ISBN: 979-8-218-94041-6

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GINNIEGARDINER.COM

GINNIE GARDINER

CHANGE AND CONTINUITY

ESSAY BY WENDY SMITH

January studio, 2024

Change and continuity are equally important in Ginnie Gardiner’s work. “It’s something that comes naturally to me,” she says. “I like the challenge of saying something new with my ongoing personal interests.” From the cool modernist still lifes of the Glass Paintings in the 1980s, her deep interest in collage and a renewed interest in figure drawing led her to the series of vibrant, visually dense canvases she called Re-Associated Image paintings in the ‘90s. Her 2005 move from a New York City loft to a Federal-era building in Catskill inspired another shift from an artist who has always been keenly responsive to the spaces around her. Opening herself up to a new environment in the sun- and color-drenched works of the Figure/Ground and Color Prophecies series, Gardiner played with portraiture and landscape within rigorously composed, decidedly non-realistic pictorial spaces.

Color and light have been of paramount importance to Gardiner throughout her career, and they underpinned her move toward total abstraction in the Artifact Color collages. She intensified her study of phenomenal transparency in these painted woodblock papers, using opaque mixtures of paint to achieve the illusion of transparency. Circles, squares, ovals, and diamonds dance against broad stripes, their color values changing as the shapes interact in a series of enigmatically engaging images. Sometimes, as in Artifact LXIX, they suggest a surreal skyscape, with multiple moons swathed in layers of luminous clouds. Sometimes they recall the offbeat colors and blunt graphics of 1960s commercial design (Artifact LVII). Always they express the unique sensibility of a painter steeped in the art of the past yet forging her own path.

The lovely, delicate Interlusion paintings of 2019-23 combine the Artifact Color abstractions with trompe l’oeil effects, continuing the interplay between figuration and abstraction characteristic of much of Gardiner’s work. Observe how she captures subtle gradations in veils of color as the scarf in Interlusion 16 flows over the ovals and horizontal bands from Artifact XXII:

Like the Artifact Color collages, the Interlusion paintings convey a mysterious sense of landscape—”the synthesis of imagination and dreamscape,” Gardiner calls them. For four years she explored in this series the varying effects she could create with different color and shape combinations, creating some 25 colorful, playful canvases. But by late 2022, she felt it was time to investigate new areas. “I wanted more rigor, more bold curves, more shapes, more sculptural elements,” she says. She began the Interlusion series while she was caring for her husband, Jonathan Phillips, as he battled stage four lung cancer, and it was shaped by her grief following his death in March 2020. “It was a very meditative period, very quiet,” she says. “Then, in 2022 going into ’23, I was gaining back more strength as I was going into my third year of mourning. The dreamlike, surreal quality of Interlusions wasn’t expressing my physicality. I needed to shake things up.”

It’s characteristic of Gardiner, whose innovations are always grounded in her profound connection to artistic tradition, that she found inspiration for a new direction in the experiments with planes and negative space that sculptors began making in the early 1900s. Austrian artist Peter Weibel’s book, “Negative Space: Trajectories of Sculpture in the 20th and 21st Centuries,” which she read in the fall of 2022, was a seminal influence. Gardiner had always been interested in the way the spaces around an object define its contours and was drawn to artists who saw space in the same way: Juan Gris, Man Ray, and Stuart Davis, among others. Weibel’s book drew her attention to “the historical dialogue between painting and architecture, between two and three dimensionality” as it was reformulated by modernist sculptors such as Julio Gonzalez. Reading about how Gonzalez transformed two-dimensional planes into three-dimensional shapes in space by unfolding the planes and creating voids in them that defined new shapes, Gardiner easily grasped the application to her own work. She realized she could reverse the process of creating a planar sculpture and use three-dimensional studies to further her investigations of color, light, and form in two-dimensional paintings. Her powerful new Interspace paintings were the result.

Already, with Interspace One, the shift in tone and style from the Interlusion series is striking. These are harder-edged paintings—and not just because the contour lines are literally sharper. The Interspace mood is bolder, brasher; no longer dancing, her shapes jostle each other in a brilliantly organized pictorial space filled with energy. The frame seems to barely contain them, yet each element is carefully situated within the frame. Gardiner’s hand is surer than ever. The play in shades of color, black, and white is masterfully calibrated to draw the viewer’s eye towards the painting’s center. The sense of movement is unmistakable but contained in the overall composition

The Interspace series grew hand in hand with dramatic changes in Gardiner’s process. Since the mid-1990s, she had combined diverse elements—photos, color swatches, bits of drawings, anything else she felt she needed—in two-dimensional collage maquettes that helped her rough out her paintings’ compositions. In 2023 she began playing with folded, curved, and cut-out pieces of colored paper, creating shapes that interacted with each other and cast shadows on the support material. Shadows are usually considered as negative space, but in Gardiner’s new three-dimensional studies, which she calls “setups,” they become distinctive shapes that she balances with the setups’ light-based shapes, considering the two kinds of shapes on an equal basis.

After reading about how Josef Albers (a perennial influence) placed colored cellophane over painted sketches to try out different color combinations for his Homage to the Square series, she began to weave color acetates over and under the cut-outs in her setups, using literally transparent objects to further the development of phenomenal transparency in her paintings.

Those acetates come to life in paint in Interspace Two, as green shapes of deceptively translucent appearance weave through strips of white, gray, and saffron to achieve a dazzling variety of phenomenal transparency effects and color values.

Interspace One hundred twenty-one in progress, 2025

The natural sunlight that was such a palpable presence in Gardiner’s initial paintings following the move to Catskill plays an important part in the development of the Interspace series. The warm western light at the front of her studio is perfect for studying the shadows created in her three-dimensional setups, shadows that are key elements in the Interspace paintings. Once the studies satisfy her (provisionally), she photographs them, also in direct sunlight. The photo is crucial to translating these three-dimensional objects into two-dimensional paintings. Gardiner uses Photoshop to refine the layout, adjusting colors, straightening out edges, stretching or cropping the picture frame, eliminating any elements that don’t contribute to the work’s overall thrust. While it’s commonplace now for artists to employ digital technology as they compose and refine their work, Gardiner has been doing it for decades; she’s been comfortable with multimedia techniques since her work back in the 1980s for a commercial production company. While she is painting a canvas, she moves the easel (it’s on wheels) to catch the precise light she needs, adjusting the easel’s position as the light changes throughout the day.

You can see her intense focus on the spatial orchestration of light, shadow, and form in Interspace Forty-Nine and Twenty-Two, both of which recently appeared in the “FOCUS: In Flux” exhibit at the Woodstock Artists Association and Museum.

Gardiner again employs distinctively sculptural forms in Interspace Seventeen, Twenty-seven, and Thirty-eight, paying the same rigorous attention to structure in a different range of colors.

Blocks of yellow center an elegantly spare composition in Interspace Fifty-Seven. But if yellow demands a busier canvas and larger assembly of shapes, as in Interspace Fifty-one, that’s fine too. Gardiner has fun in that painting with the jabs of pink adding to its warm energy and different values of orange providing a mellow note. Her relish for light and color give even her most abstract works an emotional force. A note in her journal reads, “Abstraction pushes you to feel the moment and space you are in.” Another ascribes feelings to a favorite color: “There’s that yellow again! It must be wanting the sun on a low-light winter day!”

The move to three-dimensional setups was one key element in the creation of the Interspace series; the other was Gardiner’s practice, beginning in 2023, of drawing for an hour each morning. “I always sketched and drew,” she says, “but not so rigorously and not so much as a part of my thinking. Drawings show me what I am interested in communicating.” Taking a color study of a three-dimensional setup and translating it into a graphite drawing enables her to see the weights and balances of dark and light elements; she can figure out what she wants to emphasize and how best to weave everything into the final composition before she begins painting.

Interspace Fifty, 2024

Graphite on RIVES paper 9 x 7.25 in

Interspace Forty-nine, 2025

Graphite on RIVES paper

7.5 x 7.5 in

Interspace Fifty-one, 2024

Graphite on RIVES paper

7.5 x 9 in

Interspace Forty, 2025

Graphite on RIVES paper

6.5 x 9 in

Interspace Forty-five, 2024

Graphite on RIVES paper

6.75 x 9 in

Interspace Forty-four, 2024 Graphite on RIVES paper 9 x 6.75 in

As she got deeper into the Interspace series, she decided to incorporate drawn elements directly into her paintings. In October 2024, she started embedding black-and-white graphic images in her paintings: lightbulbs, shells, architectural details from her Federal-era home, the plaster Kratars (vessels) her husband created to hold flowers in their garden—“my personal iconography,” as Gardiner calls them. “I wanted to incorporate my sensibility as a draftsperson as well as a painter,” she says. “To bring something organic and intimate back into the painting process without being figurative.” Fernand Léger and Philip Guston, very different artists who each have a strong hand with contour lines, were key influences as she considered how best to achieve this aim.

Variations on Interspace Eighty-eight, 2025 Graphite on RIVES paper

6.75 x 9 in

Interspace One-hundred and eleven, 2025 Graphite pencil on RIVES paper

6 x 8.5 in

Interspace One Hundred and Two, 2025 Graphite pencil on RIVES paper

x 9 in

Interspace One Hundred and Fourteen, 2025 Graphite on RIVES paper 7 x 8 in

Once again, Gardiner is finding fresh ways to approach longstanding preoccupations. The tonal play of black and white on color featured prominently in the Re-Associated Image paintings, which often featured figures boldly outlined in black or white ink. But the deliberately collage-like nature of those ‘90s works didn’t encourage the seamless integration of graphic and painted elements that Gardiner now aims for. They were processional and narrative, with a cut-and-paste sensibility; her work is more through-composed today. She has no desire to literally draw on the canvas; she wants to translate drawing into paint. In Interspace Ninety and Ninety-three, using a grainer brush to scumble in the bold black lines that define the lightbulbs, Gardiner captures the effect of drawing by purely painterly means.

Interspace Eighty-five and One hundred four blend graphics and paint in a slightly different manner. The shape of the vase in Interspace Eightyfive and the three deeply shadowed fragments of a white pitcher in Interspace One hundred four are defined by their colors, while the “drawn” lines in both paintings (and the small ovals in Interspace One hundred four) have a lighter weight and a quieter presence than the lightbulbs in Interspace Ninety and Ninety-three. Phenomenal transparency continues to play a central role in all four, as overlapping shapes create multiple color values, but the greater apparent translucency of the cyan blue and bright pink objects in Interspace Ninety and Ninety-three contrasts with the more obviously opaque hues of orange and brown in Interspace Eighty-five and One hundred four. The bright white areas at the edges of Interspace Ninety and Ninety-three give those canvases an open feeling, while the colors, shapes, and lines in Interspace Eighty-five and One hundred four spread to the frame, suggesting more enclosed spaces.

In each phase of her career, Gardiner has excavated new territories and applied new techniques while never losing sight of her lifelong goal: to employ the intrinsic qualities of paint to their fullest extent as she captures the infinite varieties of color and light. Since those varieties are infinite, the possibilities are endless, and Gardiner never tires of investigating them. Her joy is palpable on each canvas in a body of work that has grown ever more adventurous and assured over time.

ABOUT THE AUTHOR, WENDY SMITH

Wendy Smith writes about literature and the arts for a variety of publications, including the Washington Post, the Boston Globe, and American Theatre magazine. She is a contributing editor at the American Scholar, which has published more than a dozen of her essays. She is a member of the board of trustees of the Red Bull Theater in New York City. She is the author of Real Life Drama: The Group Theatre and America, 1931-1940.

Ginnie Gardiner is a New York artist who has shown in numerous solo and group exhibits for over 40 years. She graduated from Cornell University with a Bachelor of Fine Arts in 1974. From 1978 to 2005 she lived and worked in a loft in the Chelsea neighborhood in New York City with her husband, Jon Phillips (b.1952-d.2020). In 2005 they relocated to upstate New York, after purchasing a Federal era building located in the Village of Catskill, where Ginnie has her home and studio.

CHRONOLOGY

Connecticut Women Artists 2025 National Open Juried Exhibition, The William Benton Museum of Art, Storrs, CT, Juror, Deanna Fitzgerald, Dean of the School of Fine Arts, University of Connecticut, May 27th - July 27th.

Focus Spring 2025: In Flux, Kathy Greenwood, Curator, Visual Artist, Director Art & Culture Program at Albany International Airport, Woodstock Artists Association & Museum, Woodstock, NY, May 9 - June 22.

Small Works Show, Woodstock Artists Association & Museum, Woodstock, NY, June 27 - August 10.

Active Members Spring Exhibition, Woodstock Artists Association & Museum, Woodstock, NY, March 1 - April 6.

Annual Byrdcliffe Members Show, Byrdcliffe Guild, Woodstock, NY, March 1 - April 6.

In This Moment, Members Spring Exhibition, Athens Cultural Center, 24 Second Street, Athens, NY April 4 - April 27.

CHRONOLOGY

2024

CWA Annual National Open Juried Show, Juror, Sharon Butler, The Slater Memorial Museum, Norwich, CT, September 30November 22.

Conversations with Artists: Pattern & Repetition, Online Exhibition, August 1 - September 31

Conversations with Artists: Photographic, Online Exhibition, JuneJuly 31

Far & Wide National, Juror, Jane Eckert, Woodstock Artists Association & Museum, Woodstock, NY, June 7–August 11.

Conversations with Artists: Drawing Madness, Online Exhibition, April 1 - May 31

Convergence: Annual Members’ Show, Woodstock Byrdcliffe Guild, Woodstock, NY. March 9 – April 21.

Active Members’ Spring Exhibition, Woodstock Artists Association & Museum, Woodstock, NY, March 1– April 14.

Conversations With Artists: All About Color, Online Exhibition, February 1st - March 31st.

2024 Member Show, Garrison Art Center, 23 Garrison’s Landing, Garrison, NY, January 20 – February 4.

Small Works Show, Woodstock Artists Association & Museum, Woodstock, NY, January 19 – February 25.

CHRONOLOGY

2023

Unconnected Yet – Lorne, Lorne, Australia, Group Show, Curated by Todd Bartel, Daniela Esponda, Teri Henderson, Talin Megherian, Natasha Narain, Meaghan Shelton, December 16January 7, 2024.

The Holiday Show, Group Show, Lockwood Galley, Kingston, NY, December 7th - January 2024.

Gratitude, Annual Members Holiday Exhibition, Woodstock Artists Association & Museum, Woodstock, NY, November 17December 31.

Featured Active Members’ Group Show, Woodstock Artists Association & Museum, Woodstock, NY, July 28 - September 24.

Radius 50: Intimate Immensity, Woodstock Artists Association & Museum, Woodstock, NY, July 28 - September 24

The Nicholas Buhalis Award (Woodstock Artists Association & Museum, Woodstock, NY), established in 2012 to honor painter Nicholas Buhalis (1929-1994), recognizing ‘Artistic Excellence in Abstract/Figurative or Figurative Work’.

Small Works, Woodstock Artists Association & Museum, Woodstock, NY, June 9 – July 23.

In Pursuit of Color, Group show, Lockwood Galley, Kingston, NY, May 27 - June 18.

Putting it Together, Collage Group show, Lockwood Gallery, Kingston, NY, April 15 - May 14.

These Days, Annual Members Show, Woodstock Byrdcliffe Guild, Woodstock, NY, March 11 - April 16.

Driven to Abstraction, Group Show, Lockwood Gallery, Kingston, NY, March 4 - 26.

Active Members Exhibition, Woodstock Artists Association & Museum, Woodstock, NY, March 3 – April 16.

Unconnected Yet, Group exhibition, Curated by Tod Bartel, Talin Megherian, Daniela Esponda and Teri Henderson, Academy of Fine Arts, Kolkata, India. Opening Reception, January 16.

CHRONOLOGY

2022

Ethereal Communication, Curated by Shazzi Thomas and Chase Cantwell, The Painting Center, New York, NY, November 29December 22.

Holiday, Group Exhibition, LABspace, 2642 route 23, Hillsdale, NY 12529, December 17 - February 19, 2023.

A Circle of Horizon Lines, Juror, Jess Wilcox, Woodstock Artists Association & Museum, Woodstock, NY, October 14–November 13.

Complex Muses, Curator, Todd Bartel, Art Complex Museum, Duxbury, MA, May 15-September 4.

Radius 50, Juror, Jane Drost Johnson, Woodstock Artists Association & Museum, Woodstock, NY, July 15 - September 11.

Small Works: Winter 2022, juror Laura Vookles, Woodstock Artists Association & Museum, Woodstock, NY, January 28 - March 13.

Active Members’ Spring Exhibition, Woodstock Artists Association & Museum, Woodstock, NY, March 25 - May 8, 2022.

Refrigerator Poetry Visual Art Archive, Online Exhibition, January 1 - January 31.

Another Circle: around every circle another can be drawn, 2022 Annual Member’s Show, Woodstock Byrdcliffe Guild, Woodstock, NY, March 12 - April 4, 2022.

Spring Member Show, Athens Culture Center, Athens, NY, April 9May 29.

The Warehouse Show Part II, Douglas Flanders & Associates, Minneapolis, MN, May 7 - July 2.

2021

Echo - Ginnie Gardiner & Amy Talluto, Recent Painting and Collage, Curator and Director, Kathy Greenwood, Albany Airport and Culture Program, Albany International Airport Gallery, Albany, NY, November 20, 2021 - April 25, 2022.

CHRONOLOGY

2021 CONTINUED

Interlusion - Ginnie Gardiner: Recent Painting and Collage, Carrie Chen Gallery, Great Barrington, MA, December 4, 2021 - January 2, 2022.

Gratitude: Annual Members’ Holiday Exhibition & Sale, Woodstock Artists Association & Museum, Woodstock, NY, November 20December 31.

Yasuo Kuniyoshi Award, Annual Award for Excellence, Woodstock Artists Association & Museum, Woodstock, NY.

Small Works (A-G) Group Show, Woodstock Artists Association & Museum, Woodstock, NY, November 13 - December 31.

Active Members’ Autumn Exhibition, Woodstock Artists Association & Museum, Woodstock, NY, September 24 - November 7.

Small Works Show, Woodstock Artists Association & Museum, Woodstock, NY, July 31 - September 10.

Paper Unframed Online Benefit Sale, Woodstock Artists Association & Museum, Woodstock, NY, May 15 - June 6.

18th Annual Members Exhibition, Athens Cultural Center, Athens, NY, June 17 - June 20.

2021

“At Airport Gallery’s ‘Echoes’ exhibit, Imitation’s the Point,” Review by William Jaeger, The Times Union Newspaper, Dec 16, 2021,

2020

The Woodstock Film Festival Fundraiser, Cross Contemporary Art, Woodstock Artists Association & Museum, Woodstock, NY, June 19 - July 5.

Installation view, Interlusion - Ginnie Gardiner: Recent Painting and Collage, Carrie Chen Gallery, Great Barrington, MA.

CHRONOLOGY

2019

FOCUS: A Better World, Selected by juror Kristi Arnold, Woodstock Artists Association & Museum, Woodstock, NY, June 22 – July 9.

unfoldingobject, Curator, Todd Bartel, Group Show, Concord Center for the Visual Arts, Concord, MA, June 20 – August 20.

FAR & WIDE NATIONAL, Juror Kimberly Camp, Woodstock Artists Association & Museum, Woodstock, NY, May 11 – June 9.

The One Hundred Show, Juror Rebecca Shea, Group Show, Woodstock Artists Association & Museum, Woodstock, NY, April 6 – May 5.

Andree Ruellen Award, Woodstock Artists Association & Museum, Woodstock, NY, Selected by Rebecca Shea

Legacy: Active Members Show, Woodstock Artists Association & Museum, Woodstock, NY, February 2 – March 3.

Sheila Getty Bloodgood Award, Woodstock Artists Association & Museum, Woodstock, NY,

Happy Birthday, Selected by juror Sylvia Diaz, Woodstock Artists Association & Museum, Woodstock, NY, July 13 – August 4.

16th Annual Members Show, Athens Cultural Center, Athens, NY, April 13th – May 12.

Active Members Show, Woodstock Artists Association & Museum, Woodstock, NY, April 6 – May 7.

“Unfoldingobject at Concord Center for the Visual Arts,” Concord, MA, Artscope Online, Featured, by J. Fatima Martins, July 22nd.

“Before It’s an Uncollage,” Kolaj Magazine, #26 Contemporary Collage, by Todd Bartel.

“Far and Wide National exhibition opens May 11,” Daily Freeman Art Beat, Woodstock NY.

CHRONOLOGY

2018

15th Annual Members Second Street Show, (Directors Award), Athens Cultural Center, Athens, NY.

“Woodstock Artists Association and Museum Features work by Regional Artists,” Art Beat, DAILY FREEMAN, Woodstock Artists Museum and Association, May 7.

Ginnie Gardiner: The Color Prophecies, Solo Exhibition, Woodstock Artists Association & Museum, Woodstock, NY, October 27 –November 25.

Paintings from the ‘Sunlit Stillness’ series, Group Exhibition, Isabella Garrucho Fine Art, Greenwich, CT, November 28 – January 16.

Tinney Concept: Go Figurative, New Work by Figurative Artists, Tinney Gallery, Nashville, TN, Oct. 6 – Nov. 20.

Annual Members Show, Albany Center Gallery, Albany, NY, December 7 – January 19.

Art of Gifting, Group Exhibition, Curator, Millennium Magazine, Isabella Garrucho Fine Art, Greenwich CT, Nov. 28.

Painting, Artifact and Color: Solo Exhibition, Casana Design, Hillsdale, NY, July 11 – 31.

May Group Show, (People’s Choice Award), Woodstock Artists Association & Museum, Woodstock, NY, May 5 – June 11.

Ginnie Gardiner & Martin Katzhoff: Conversations in Color, Bi-Solo Exhibition, Greene County Council on the Arts, Catskill, NY, January 27 –March 10.

Holiday Group Show, Woodstock Artists Association & Museum, Woodstock, NY, December.

Active Members Show, Group Exhibition, Woodstock Artists Association & Museum, Woodstock, NY, February – March.

Unnatural Symmetry, Group Exhibition, Rochester Collage Society, Rochester, NY, February – March.

CHRONOLOGY

2018 CONTINUED

Small Works, Group Show, Founders Gallery, Woodstock Artists Association & Museum, Woodstock, NY, March 17 – April 29.

Small Works Group Show, (Hon. Mention), juror Jen Dragon, Woodstock Artists Association & Museum, Woodstock, NY, December 1 – 31.

2017

Hygge, Group Exhibition, Cross Contemporary Art, Saugerties, NY, December.

Fresh, Group Exhibition, Greene County Council on the Arts, Catskill, NY, April.

Patricia Field’s International Art / Fashion Show Benefit for GCCA, Group Exhibition, Joe’s Garage, Catskill, NY, July.

CENTENNIAL:SHE, Group Exhibition, Greene County Council on the Arts, Catskill, NY, August.

Group Exhibition, BCB Art, Hudson, NY, September.

“The Enfolded: Collages by Ginnie Gardiner,” Empty Mirror Magazine.

“Artistic Inspiration, Interview with Ginnie Gardiner,” Savvy Painter Podcast.

“‘Ginnie Gardiner: The Color Prophecies’ with Contemplations by JW Phillips,” 2017, 36 Pages, 15 color plates, ISBN: 978-1-53234963-8.

2016

Ginnie Gardiner: Variations on Self, Solo Exhibition, Nisa Touchon Fine Art, Santa Fe, NM, July - August.

Ginnie Gardiner: Variations on Self, Solo Exhibition, Nisa Touchon Fine Art, Santa Fe, NM, July - August.

2016 CONTINUED

Small is the New Big, A selection of small works by some big names in the world of Collage, Nisa Touchon Fine Art, Santa Fe, NM, May.

Dada Centennial-Day of the Dead, permanent exhibit online, Ontological Museum, Santa Fe, NM.

Woman Artists of the Hudson Valley, Group Exhibition, BRIK Gallery, Catskill, NY, Curator, Rich Temperio, Sideshow Gallery, Williamsburg, NY. May.

“In the Studio,” Kolaj Magazine.

“A View from the Easel,”Hyperallergic.

“Ginnie Gardiner: Variations on Self” essays by Carter Ratcliff and JW Phillips with an introduction by Cecil Touchon, 32 Pages, 17 color plates, ISBN: 978-1-5323-0914-4

“Ginnie Gardiner: Equivalent Palettes” excerpts by Carter Ratcliff and Wendy Smith, 2016, 28 Pages, 21 color plates, ISBN: 978-15323-1282-3.

2015

Ginnie Gardiner: Solo Exhibition, The Harrison Gallery, Williamstown, MA, March.

Group Exhibition, The Harrison Gallery, Williamstown, MA, April.

Group Exhibition, Nisa Touchon Fine Art, Sante Fe, NM, June.

“Ginnie Gardiner: Recent Work” essays by Carter Ratcliff and Wendy Smith, 2015, 36 Pages, 11 color plates, ISBN: 978-14951-4382-3.

2014

Sunlit Stillness, a selection of paintings on view at The Harrison Gallery, Williamstown, MA, May.

Narcissism and the Self Portrait, Group Exhibition, The Ann Street Gallery, Newburgh, NY, November.

“Sunlit Stillness: Ginnie Gardiner’s Transformative Vision,” by Carter Ratcliff.

2011

Woman Artists of the Hudson Valley, Group Exhibition, BRIK Gallery, Catskill, NY, Curator, Rich Temperio, Sideshow Gallery, Williamsburg, NY, June.

2010

In Translation: Austin, Deem, Gardiner, 3 Person Exhibition, Pavel Zoubok Gallery, New York, NY, May.

2009

Collage, London / New York, Group Exhibition, FRED (London), London, England, Summer.

Daughters of the Revolution: Women & Collage, Group Exhibition, Pavel Zoubok Gallery, New York, NY, July 2 - August 14.

“Daughters of the Revolution, Review of exhibition at Pavel Zoubok Gallery” by Mario Naves, August 25th, 2009, City Arts.

2008

Group Exhibition, Pavel Zoubok Gallery at PULSE, New York, NY, October.

2006

The New Collage, Group Exhibition, Pavel Zoubok Gallery, New York, NY, October.

2005

COLLAGE: signs & surfaces, Group Exhibition, Pavel Zoubok Gallery, New York, NY, April 22 - May 21.

2004

Group Exhibition, Flanders Contemporary Art, Minneapolis, MN, October.

CHRONOLOGY

2003

Group Exhibition, Flanders Contemporary Art, Minneapolis, MN, October.

2002

Collage/Assemblage/Montage, Group Exhibition, Pennsylvania School of Art & Design, Lancaster, PA, October.

Group Exhibition, Flanders Contemporary Art, Minneapolis, MN, May.

2001

Rupture and Revision: Collage in America, Group Exhibition, Pavel Zoubok Gallery, New York, NY, November 29 - Jaunuary 5.

Group Exhibition, Flanders Contemporary Art, Minneapolis, MN, October.

2000

Talking with Tiepolo, Solo Exhibition, Pavel Zoubok/Michael Gold Gallery, New York, NY, February - March 18.

Paintings from the Glass Series, Solo Exhibition, The Lighthouse Museum, in association with The Artists Museum of New York, Tequesta, FL, January.

Recent Paintings, Solo Exhibition, Flanders Contemporary Art, Minneapolis, MN.

“Venetian Old Master Inspires contemporary New York Painter,” by Mary Abbe, Minneapolis Star Tribune, July 28th, 2000, review of Gardiner’s solo exhibition at Flanders Contemporary Art, July – August.

“Museum Notes – ‘Curator’s Choice: Ginnie Gardiner Talking With Tiepolo.’”by Glenn Loney, February 20.

“Ginnie Gardiner: A Revelatory Journey” with essay by Wendy Smith, in conjunction with Flanders Contemporary Art, Pavel Zoubok and The Lighthouse Center for the Arts, 2000, 48 Pages, 15 color plates ISBN:0-9673760-0-9.

Artnetweb.com, Selections from Gardiner’s Figural Montage Oil Paintings, 1994-1999.

CHRONOLOGY

1999

The Art of Collecting, Group Exhibition, Flanders Contemporary Art, Minneapolis, MN, October.

1998

And I Quote, Group Exhibition, Pavel Zoubok/Mary Delahoyd Gallery, New York, NY, November 2 - December 19.

Cornell University, College of Architecture, Art and Planning Newsletter, Ginnie Gardiner’s Website, March-April.

Star Tribune, Minneapolis Edition, Review of ‘The Re-associated Image’ , Flanders Contemporary Art, ‘New gallery shows offer essays, ideas; Standout Collages’, by Doug Hanson, March.

1997

The New York Times, Creative Tension, and the Loft, Robert Lipsyte, December.

The New York Daily News, Art for Net’s Sake, George Mannes, January.

1998

Recent Paintings, Solo Exhibition, Mary Anthony Galleries, New York, NY, October.

The Roster Show, Group Exhibition, Mary Anthony Galleries, New York, NY, November-December.

The Re-Associated Image, 3 Person Exhibition, curated by Ginnie Gardiner, Flanders Contemporary Art, Minneapolis, MN, January.

1997

Group Exhibition, Mary Anthony Galleries, New York, NY, October.

1995

Oil Highlights Magazine, “Collector’s Series, Getting the Most from a Palette of Colors,” Stephen Doherty, Fall.

CHRONOLOGY

1994

Recent Work, Solo Exhibition, Danziger Gallery, New York, NY, October.

Resident, The Upper East Side Edition, Cover Feature, March.

1992

Ginnie Gardiner & Jonathan Phillips, Bi-Solo Exhibition, Staempfli Gallery, New York, NY, January.

Color As A Subject, Nell Blaine, Robert De Niro, Sr, Louis Finkelstein, Jane Freilicher, Ginnie Gardiner, Wolf Kahn, George McNeil, Knox Martin, Paul Resika, Jay Milder, Nachume Miller, Anne Tabachnick, Jonathan Phillips, Rosemary Beck, Louisa Matthiasdottir, The Artist’s Museum, New York, NY. Summer.

Ginnie Gardiner, Flanders Contemporary Art, Minneapolis, MN, June.

Color Equals Subject, Group Exhibition, Seraphim Gallery, Englewood, NJ, October.

1992

Cornell University, College of Architecture, Art and Planning Newsletter, Color as a Subject, October.

1991

Spur Magazine, New York Artists at the Museums, August.

1990

St.Paul Chamber Orchestra Benefit Auction, St. Paul, MN.

‘God’s Love We Deliver,’ Artists Against Aids, Sothebys, New York, N.Y

On View, The Faulkner Gallery, Boca Raton, FL.

CHRONOLOGY

1990 CONTINUED

Waiting for Cadmium, Group Exhibition, Sherry French Gallery, New York, NY.

Ginnie Gardiner: Recent Work, Seraphim Gallery, Englewood, NJ.

Channel 10 Cablevision; Interview by Jo Ann Santiglio, September.

Cable Network News, Art Program, August.

The Today Show, NBC TV, Deborah Norville, July.

St. Paul Pioneer Press, Carol Connelly, July.

Insight Magazine, Artists Draw the Line, Stephen Goode, April.

American Artist, Cover Feature, M. Stephen Doherty, April.

1989

Ginnie Gardiner, Seraphim Gallery, Englewood, NJ.

1989

Your Town Record, Arts Cover Feature, Ed Hill, March. American Artist, Dan Grant, September.

WKCR. Katie Lipsitt interview, November.

1988

Ginnie Gardiner Recent Paintings, The Neuhaus Collection, Washington, DCWorks from Central Park and Ellis Island,

Two Person Exhibition, The Marbella Gallery, New York, NY.

The Quiet Zone and Ellis Island, Two Person Exhibition, The Arsenal Gallery, New York, NY.

Myth, Group Exhibition, Mokotoff Gallery, New York, NY.

CHRONOLOGY

1987

New Paintings, Solo Exhibition, Esta Robinson Gallery, New York, NY.

Imagism, Group Exhibition, The Outer Limits Gallery, Brooklyn, NY.

Polarities, Group Exhibition, Quando, COLAB, New York, NY.

Loweasida Speaks, Group Exhibition, ABC No Rio Gallery, New York, NY.

Group Exhibition, Hiro/Fusion Arts, New York, NY.

Group Exhibition, Dramatis Personae, New York, NY.

1988

The primacy of pigment: Color, painting and pigment and why painting is a unique medium, Artists Talk on Art, New York, NY, Archives of American Art, Smithsonian Institution.

ArtWorld, Richard Hunnewell, October.

Newsday, Weekend Guide, Highlights, September.

CBS Evening News, J.J. Gonzalez, On Site at Ellis Island, August.

1986

Group Exhibition, The Lively Arts, Westport Arts Center, Westport, CT.

Inaugural Exhibition, Westport Arts Council, Westport, CT.

Three Artists, Westport/Weston Arts Council, Town Hall, Westport, CT.

Group Exhibition, Guild Hall, Southhampton, NY.

BerlinNewYork, Group Exhibition, New York, NY.

1974

Self Portraits, Group Exhibition, Herbert F. Johnson Museum, Cornell University, Ithaca, NY.

BFA, Cornell University, College of Architecture, Art and Planning, Ithaca, New York.

LIST OF ARTWORKS

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