10/13/2006

Pat Lipsky

70 comments:

Painter said...

Pat Lipsky
@ Elizabeth Harris
529 W 20 St
New York, NY 10011

Cross said...

This artist and others at Elizabeth Harris define "consistant body of work".

closeuup said...

might look better as a quilt?

closeuup said...

or with more of that vision:

Nor are these improvisation-minded quiltmakers unaware of the power of their heterodox, scrap-bag productions. "I'm going to be up to something real dangerous when I get through with this," Arbie Williams joked to me. This quilt done killed two people." (Let It Shine: Improvisationn in African-American Star Quilts, page 23)

zipthwung said...

I like quilts. The crazier the better. That one makes Rauschenbergs bed look dated and pretentious - a sign of the times.

closeuup said...

Please sir: more wobbly ecstasy

brent hallard said...

With renewed attention on 'new content and its reading' studio hoppers and gallery goers better be warned: You are going to say no!
No! I'm not going to take it. But there it will be-- some crazy stuff out there, some pretenses, some homespun, new attentions, new extensions, tall, short, wide and over... and there will be the classic--people like Lipsky, working this all along.

JpegCritic said...

 
 
...In other news, oil prices on light crude continues to drop...

no-where-man said...
This comment has been removed by a blog administrator.
Riot said...

It’s kinda nice how all the colors are harmonious with each other.

jeffrey said...

I would guess, not having seen any other work, that this artist's concerns lie in the use of color forms. Albers was interested in color interaction. Riley rejected one of her pieces because the color "formed" the illusion.
This on the other hand, goes all the way to create depth, and manipuled space with light and color. Thomas Burke is doing
extraordinary paintings along these lines.

jeffrey said...

I would guess, not having seen any other work, that this artist's concerns lie in the use of color forms. Albers was interested in color interaction. Riley rejected one of her pieces because the color "formed" the illusion.
This on the other hand, goes all the way to create depth, and manipuled space with light and color. Thomas Burke is doing
extraordinary paintings along these lines.

jeffrey said...

I would guess, not having seen any other work, that this artist's concerns lie in the use of color forms. Albers was interested in color interaction. Riley rejected one of her pieces because the color "formed" the illusion.
This on the other hand, goes all the way to create depth, and manipuled space with light and color. Thomas Burke is doing
extraordinary paintings along these lines.

jeffrey said...

I would guess, not having seen any other work, that this artist's concerns lie in the use of color forms. Albers was interested in color interaction. Riley rejected one of her pieces because the color "formed" the illusion.
This on the other hand, goes all the way to create depth, and manipuled space with light and color. Thomas Burke is doing
extraordinary paintings along these lines.

jeffrey said...

I would guess, not having seen any other work, that this artist's concerns lie in the use of color forms. Albers was interested in color interaction. Riley rejected one of her pieces because the color "formed" the illusion.
This on the other hand, goes all the way to create depth, and manipuled space with light and color. Thomas Burke is doing
extraordinary paintings along these lines.

exu said...

sort of comforting in its quietude

zipthwung said...

no one reads anymore

zipthwung said...

i mean no one reads proust

zipthwung said...

http://img2.freeimagehosting.net/uploads/5b220178a0.gif

zipthwung said...

fishbowl

hlowe said...

looks like someone should be on
http://kollabor8.toegristle.com

zipthwung said...

Do they read proust?

no-where-man said...
This comment has been removed by a blog administrator.
zipthwung said...

From the Publisher:

The Art Fair tells the story of Richard Freely, whose mother is an aspiring painter, and whose conventional life of shimmering summers in the Hamptons and exclusivity on Manhattan's Upper East Side is suddenly and irrevocably shattered when the city's elite and fickle art world first embrace - and then coldly and abruptly reject - his mother's work. Seeing his mother as "a lovely and luminous star player, surrounded by an incompetent supporting cast," and consumed by the need to shield her from the social forces that threaten to grind her back in to obscurity, Richard lets his adolescent and young adulthood slip away unnoticed - until he is confronted by the terrifying but inevitable choice of pursuing his own uncertain future or clinging to the security of the past.

brent hallard said...

A dictionary is a list of words usually found in a book. The usual format of this book is somewhat tall of a square, has a spine, and contains numerous leaves, that make up pages, bound together, on one side, to form a spine. When packed away on a shelf the spine is what tells you it's a dictionary. On occasion another spine can find itself next to the book but here the words are out of order. This, we sometimes call a story book--a fiction. Looking at the spine of each, especially if the jackets are removed, it's hard to tell which order to open to get the kind of information you need.
Loose leaf flying paper is beautiful. So are books with spines--words in all particular pattern, conception, and the strange.

closeuup said...

On Freize: I bumped into a secondary-market dealer who told me, “Prices are out of control. I just bought a large late Warhol painting for the cost of a Neo Rauch work on paper.” To which his friend deadpanned, “But that’s not surprising: Warhol was not from Leipzig.” I bounced off a collector who said, apocalyptically, “The art world is running out of material,” then landed at the feet of a curator who commiserated: “The market is like a sex addict, looking for perversity. The whole idea of something new has become old and crusty.”

Why cant every artists statment be something more like this: When you stop talking and doing, and close your eyes, what comes to mind? Voices? Images? Feelings? Like landscape seen from a plane, these phenomena hover on a sublime verge between fascinating and boring. Well, that might be true of anything viewed from a distance: the stars, the sea, mountains, the horizon. And what of social phenomena? Same. On any forgotten record, it's in the filler songs that you find the blank, thoughtless strivings laid bare, production patterns of another day, secrets of the ornaments. Look farther back, to a time when age 25 was referred to as 'the mid-point of life',...

closeuup said...

...when cattle were the only capital. One senses something of the mesh of fear and regimentation and suffering and bloody sacrifice from which civilization was meant to escape. This is the coin of the realm. Consider megaliths, dolmen, tumuli - all the brooding architecture of early man. It may be that this is not properly architecture at all, but faith embodied, which is to say, magic. Magic is a process that always uses the most advanced technologies at hand. In the Stone Age that meant fire, fur, bone, and blood; in the Middle Ages, the crucible, the alembic, and the chalk circle. Today it is images, a thickening web of images, amounting to a magic circle through which the citizens of this age have passed, never to return. What a time you chose to be born!

The fact is, over the course of her history America has become more religious, not less,...here

zipthwung said...

I had a dream that S.R.L. went commercial and among other products, designed a morphing doll - sort of a Mr. potato head transformer ventriloquist Chucky. Pretty cool.


And what must they be thinking over there, hearing the ballyhoo about cars that are sculptures, the irrelevance of original ideas, valuing literature over studio skills, risk-tolerance and a new relevance for the MFA? They think they hear someone selling the sizzle rather than the steak. But with all their innocence and cynicism they too will have to answer: what are the advantages in failing to be innovative?

here

zipthwung said...

je trouve le monde

closeuup said...

Crazy Horse: New Dreams and wishes come true

zipthwung said...

You know what a love letter is? It's a bullet from a f***ing gun, f***er!

8. The alternative world of interiority is one built ostensibly for self-protection, a psychic/physical space into which the subject can withdraw for comfort and refuge. This option of withdrawal is clearly a class privilege of the bourgeois, who is naive and/or arrogant enough to presume that he can create his own exclusive and private warmth.5 But it is a privilege indulged at great cost. The alternative world of interiority can only be inhabited (although "occupied" might be the more accurate term here) once the subject has renounced a somatic relationship with the world: the bourgeois interior is thus "museal," a "still life [in which] the self is overwhelmed in its own domain by commodities and their historical essence"

Freeze motherfucker!

exu said...

Jack Nicholsons character in"The Departed say"I want the environment to be a product of Me"

brent hallard said...

Jack always knew
...
parents' said , out on a picnic day one day "Did you know? We renovated the place before we had you!"
I looked up, sun, soft gentle breeze, a sizzling sound, a laughter, convinced, replied "OK!".

zipthwung said...

Contents
WHO NEEDS ADORNO?
BETWEEN HITLER AND STALIN
When was Adorno a Marxist?
The Cafe Marx
Midnight in the century
Music, 'music', music
The coded language of suffering
THINGS FALL APART
Writing sociology, during and after Auschwitz
Theoretical practice in the 1940s
New realism
The music of the spheres
Music as 'social cement'
NEITHER WASHINGTON NOR MOSCOW BUT...
The Cafe Max
The working class after doomsday
All that is solid melts into airs
The music that sets you free
THE PLEASURES OF PARALYSED VIRTUOSITY
No direction home
The screeching retinue of Elvis Presley
Optimism of the intellect, pessimism of the will
As an institution, Adorno is dead
THE GIANT DESPAIR
Their authoritarianism and ours
The homeless left and popular music studies today
APPENDIX
BIBLIOGRAPHY

kalm james said...

Pat Lipski is one of the last holdouts from the second coming of Greenberg, circa 1964 (Post-Painterly Abstraction) to 1985 (rise of the EV and collapse of Soho). During her last show at Harris, David Cohen moderated a Greenberg panel discussion featuring Lipski, Robert Morgan and a couple other true believers. It was a rough and tumble affair, as Greenberg still raises the hackles of some, and the holey grail for others. After the conclusion I talked to Pat, (I’ve known her for years) and she called me an infidel, (to the dogma of Greenberg) one of the best compliment I’d gotten in a long time. These works are delicate coloristicly and tonally as none of the areas are quite the same shades. I do however prefer the drippier less formalistically programmatic works she showed four or five years ago. Got to giver her credit for stickin to it though, she couldn’t find a gallery to work with for years during the Neo-Exers heydays. Harris deserves credit too for supporting painters over thirty. Don’t miss Thornton Willis’ show there next month!

closeuup, if you liked Freize then you gotta get to Basil Miami, bring your Dramamine and sunglasses.

zipthwung said...

Thanks James. No justice no peace! I love the dialectic of the monolith.

"[Said] wrote
that Adorno and Horkheimer's' 'totally administered society' bears a close resemblance to
Foucault's 'disciplinary society', where 'defiance, delinquency, criminality, and, in short,
all forms of transgression serve two purposes: one, to be incorporated by the system, thereby
confirming its power; two, to incriminate the system both for its inhumanity and for its
inevitability'

zipthwung said...

Maybe someone could talk about intrinsic values and essential nature or something in relation to the rectangular form and the color palette.

brent hallard said...

...spoke to an artist from some of your way, at his opening here in tokyo. I knew his work before as birds, pyramids, splat, and tiny placed color.
I said it's only a matter of time. He gave me a real strong look then told about the break away or go insane.

It came to the stage that it was clear there was more. Everyone around me was doing this, because they knew how to do it--the small irony on pretty paint just didn't hold. There is something larger, bigger, connective, and more meaningful out there.
Not his words, so don't quote, but pretty much in the vein.

Greenberg was an intelligent man. He didn't know it all, but he knew enough.

I don't think youth of any day in the future will be drawn back to Greenberg. They will, though, some, discontent with the available vocabulary and knowledge, find out--and perhaps find out much more!
Experience, first-hand, the perfect infidel born against.

Art of its time doesn't come out of its time, it comes out of everything that is at the time.
I think best without quotes!

closeuup said...

morning! iggy pop> is my idea of an intellectual

no-where-man said...
This comment has been removed by a blog administrator.
bluebalz said...

is this work so dismissable that nobody wants to talk about it, or is it just not hip and "young" enough, personally i find it boring, but she's been at it a while and still has integrity etc.

kalm james said...

Just because someone, or anyone can log in to a blog-site supposedly about “painting” doesn’t mean that they will have the “equipment” to understand what “painting” is. Just because someone picks up a paint brush, or air-gun, or palette knife, or what ever else you can find to apply paint doesn’t mean they’re painters. This community has varied interests and levels of experience and expertise, that doesn’t disqualify them from commenting on whatever they think is relevant. Lipski not withstanding, if the work is boring (could be, but that doesn’t make it “bad”) why? Maybe it’s not a question of the work being “young” enough but rather a question of intellectual laziness on the part of the observer.

zipthwung said...

I dont find subtlety of intonation or tenor to be that interesting in and of itself. Part of this work is draped around a not so subtle spatial illusion, or play, built of color and shape - something that one might play with and then discard away like a velveteen rabbit.

Indeed, I find the shallowness of the conceit - the trope, to be of interest because of its shallowness - prousts sea is indeed a (literary) mirage. One may conjur a narrative - where proust never ventured from the library, never experienced life, and thus never saw iggy pop live.

I can understand that. But not wanting to see Iggy Pop live, I cannot FATHOM. And that is why this painting thrills me.

zipthwung said...

who is john galt?

beadelog said...

Intellectual painting often pisses me off because it mostly refers to the artist and attempts to place that artist on a higher intellectual level. If you don't like it you don't have the mental tools to understand it. Bullshit, just because you can manipulate Bauhaus grid and play on colors doesn't make you smart or a good painter. All that said this is a pretty good Albers.

closeuup said...

ive read proust and ive seen iggy pop live. but im still just a rat in a cage

kelli said...

This is another old school New York artist I know a little bit through friends. Props to all of them for doing what they did. I think it is more Bauhaus through Ad Reinhardt: very New York, hard and elegant. They were a real community- a few hundred artists lived below 14th street. A friend called Neil Jenney when he got out of art school and Jenney spent a half hour on the phone giving him advice. I don't know if it is a question of their influence or hotness because the thinking and the environment and community were different.
I liked the above comment way up that this image is imposing and interesting in it's quietude. That says it all for me.

exu said...

a fat bouncer at an iggy pop concert,with a bowl haircut,called me a bitch for trying to get too close to the stage...

Riot said...

Hey 0 exu, was it venue security, or Iggy's team? I think I may know some of the guys from Iggy's security force - but as for veune - they are notorious for being incopmpetent assholes - Especially when working the barricades.

closeuup said...

i saw iggy on that tour he did when david bowie played keyboards. I remember this kid cam running up to the stage with 2 dozen long stemmed roses and when he got to where the security guy was, he pitched them with 2 hands underhanded like a girl. They flew thru the air up to the stage and landed perfectly right at Bowie's feet. Bowie didnt move or acknowlege the gift at all. Didnt even crack a smile.

That memory is like my madelaine, i can play it over in my head forever

kelli said...

Who is hotter? Iggy or Bowie? Hot or cold? Or G.G. Allen?

kalm james said...

post-punk-geezersNYC.com

Riot said...

Well, Kelli, Bowie is a the man. And although I don't think of Bowie in those ways (He's more like a dad then someone I'd like to do) I'd kinda have to go with Bowie. & plus he does BowieArt and supports many young artists on top of being Bowie... But, Iggy will always have a special place in my heart.

Thats a great story closeup. I got a similar one. Everyone told me about a sign these girls at a Bauhaus show once made a sign that says "Peter Murphy is a distinguished Sexy Man," or something like that. In typical Peter Murphy form he did not look at the girls the entire show as they held up the sign. Finally, Daniel Ash is laughing his ass off, goes over, takes the sign and hands it to Peter, whi, if I'm not mistaken, I beleive wiped his ass with it. Well I thought it was a great story.

So that night, I go to the show, Peter's being Peter... I look off to the side, and there was the sign! The crew guys had put it up as a joke! They were all laughing, it was great.

Don't you just love when the Rock Gods are too cool for school and don't even aknowledge those who love them!? -Just like the real Gods - completely unreachable & indifferent.

closeuup said...

question is--how do geezers stay hot?

Any hot art geezers? How do they do it?

closeuup said...

Very good peter M. story.

What I mean about staying hot is the work. How does the work stay hot?

exu said...

riot-it was venue sec-the channel,in boston-loong ago

SisterRye said...

I'm reading Proust. The new Lydia Davis translation of Swann's Way is superb.

This painting reminds me of cold light, about 10pm, on a salty dock with no moon, no wind rippling the water.

kelli said...

Maybe we could all throw roses at this painting's feet and hold up a sign for it and it wouldn't care. Maybe it has icy glamour like a modernist Miss Havisham.
None of the above for me. Marianne Faithful.

no-where-man said...

this painting does not say david bowie or ad reinhardt - but ad reinhardt does say iggy pop and david bowie...

i must me missing something.

brent hallard said...

'painting reminds me of cold light, about 10pm, on a salty dock with no moon, no wind rippling the water' see you there!

Just one question closeuup, how did iggy get into this?

kalm mentions something about intelligence, visual I guess, but really Lipsky (forget about that there are a pair of bars, and a few other vertical bits, forget that these are delineation) is working using a different sense-not the same sense differently.

It doesn't matter whether she came out of some old NEw York School that is no more (BTW think wasn't she doing feathery stuff then?). The point is she has a show now and works now, and really is not paying any attention to what I or anyone else would like to determine as now, which is yesterday in most big cities anyhow. When yesterday comes upon an artist the now has sometimes a better opportunity of showing itself as something working deeper, something more useful, to understanding that art is a dog ... (very funny c/o heavy industries).
btw whoever wrote nobody is saying anything but this painting, geez everything I posted had to do with that painting--both formalistic and otherwise. Go to the site EH, there's plenty of material of the kind you may be looking for.

http://www.tenthdimension.com/flash2.php
click on the numbers for the easiest explanation, and a little hint into why we see art and don't see it, sense, ability to shift sense, and all the other shit that goes with the deeper.

"Conjecture

As an alternative, consider the proposition that dimensionality is not a property of "reality." Instead, what if spatial dimensionality is a characteristic of our conceptions? This means it is a characteristic, or property, of knowledge rather than of reality. What if spatial dimensionality is a property of the observer rather than of the observed?"

http://www.futureperspective.com/spat1.htm

Good sailing!

zipthwung said...

beyond the green door!

i saw this cartoon with a iggy pop character - he says stuff like "i want to be your dog"

In other realms, I allways thought Harry Potter was a anachronistic rehash of the hackneyed genere of portal literature like the Narnia series.

closeuup said...

all that greenberg and adorno made me think of iggy--my philosopher.

I agree that making a painting is imagining a space, but i like this better. Popsicle sticks not maximum security prison.

brent hallard said...

ok,
love imi (Constructive) little different concerns--actually a friend's father was the first to intro imi to tko way back then when he was doing those white things.

For zip who I know likes robots, make one up, come over, get a free drink--should be a nite! See you in the n.

http://minimaltokyo.com/blog/minimal-tokyo-party-october-28-2007

notice the '7'

George said...

Brent,

Ott's reasoning is bogus

Riot said...

closeup, as to your comment about the artists, and their work remaing hot from earlier; a very wise woman once put it best - "Good lovin' doesn't hurt."

JpegCritic said...

man, brent hallard, the 10th
dimension thing blew my mind.

No, I think it blew a fuse in my mind.

Thanks.

brent hallard said...

George: I don't get into the heirachical, senses from high to low, nor music being some thing originating from the one dimension, at all. However the perceiver and the perceived is interesting, and pretty well supported in the scientific community, and at the level I can experience and understand. Using the other model and the dot idea, where multiple points and their crossing in one particular expansion of reality of dimension, which in the next are covered by one point--from which more points are thus plotted to expand through another dimension, is interesting and easy to comprehend. Maybe this is what Ott is really saying though with a certain amount of blinker-ship, something to do with a 'skip', where dolphins are more advanced thru this skip(?) a higher blot subset of this dimension thus experience and process very differently to us (I don't know), however, the proposition is way to illustrative, remains locked into a hierarchical judgment and speculation based on assumption, living creatures experience of dimension, and music travel, clearly.
I take as propositions small parts, not really after some total deal that's going to solve every problem. Also, of course, I'm only interested as an artist, in the play upon my own experience, peceiver, especially in relation to painting (the hotspot of illusion--the thinness of (a) fabric)--sorry if it was a misleading post.

Also your latest post on style in a new century on your blog, I have thought about this considerably. At this stage can you assume that this new century will follow along pretty much as the last with new models arising (conceptual), and deeper ways of seeing develop (via artist personal experience take on what constitutes reality for them). Is that what you are saying? The conceptual model, as it has done in the last century, can form a blot strong enough, encompassing enough, that new finer/complex/simpler articulators and roads of experiencing are uncovered, remembering everything exists already. The finer model reading(s) can herald in new conceptual models also, not necessarily incremental. One model doesn't proceed the other, it all just depends.
Technology will become much finer and articulatable. We will probably be painting in light.

Jpeg glad it blew your mind in a good way. It's a nice simple model.

In the end, the post was just a way to bring home that this particular art started off well over a century ago playing, digging, with these sort of ideas, and at their best where acceptable, at their strongest, with plain models of fine instruments--for new experience--new ways to develop the synthetic.

brent hallard said...

'Jpeg glad it blew your mind in a good way. It's a nice simple model.'

Jepg, I meant the model is simple enough for laypersons like you and I to stay in there:)

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