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Pat Lipsky

January 20, 2023

Pat Lipsky is an American painter associated with Lyrical Abstraction and Color Field Painting.

Pat Lipsky
Born (1941-09-21) September 21, 1941 (age 81)
New York City, New York
EducationHunter College (MFA, 1968)
Cornell University (BFA, 1963)
Known forPainting, printmaking, writing
MovementLyrical Abstraction, Color Field Painting
ChildrenDavid Lipsky, Jonathan Lipsky
Awards2008, 2001 Pollock-Krasner Foundation Grant
2001 American Academy and Institute of Arts and Letters Hassam Speicher Betts Purchase Prize
1999 Adolph and Esther Gottlieb Foundation Grant
1992 New York Foundation for the Arts
Websitepatlipsky.com

Education

Lipsky grew up in New York City. She graduated with a BFA from Cornell University in 1963, receiving an MFA from the Graduate Program in Painting at Manhattan's Hunter College, where she studied with the painter and sculptor Tony Smith.

Career

 
Pat Lipsky, Spiked Red, acrylic on canvas, Modern Art Museum of Fort Worth, 1969.

Raised by a painter mother and an engineer father,[1] Lipsky had her first one-woman show in New York, at the André Emmerich Gallery.[2] Her work at the time was strongly in the mode of "Lyrical Abstraction." The 1969 canvas Spiked Red (Collection of the Modern Art Museum of Fort Worth, Gift of Mr. and Mrs. Peter Bienstock, New York) demonstrates Lipsky's then-approach: close hues, bright color waves and bursts. In The New York Times, the critic Hilton Kramer found that the painter's work looked both to the aesthetic past and future: "Miss Lipsky reintroduces the drip, splatter and smear of abstract expressionism for notable anti-expressionist purposes ... She also demonstrates a very clear identity of her own. Her pictures are very handsome, and it will be interesting to see how she develops what is already a bold pictorial intelligence."

Lipsky was invited to participate in the influential 1970-1971 Lyrical Abstraction exhibition which traveled the country and culminated at New York's Whitney Museum; the critic Noel Frackman highlighted her contributions for freshness, gesture and exuberance, finding the style "sustained a mood which celebrates the sheer splendor of color. The edges of these shapes lick out like flames and there is an incendiary vividness in the impetuous yet directed forms ... These are mouth-watering paintings."[3]

By the later seventies and eighties, Lipsky had expanded her palette to include bolder colors and geometric forms.[4] She had also begun to explore, as the critic Katherine Crum later wrote, a pictorial vocabulary in direct challenge to her roots in lyrical abstraction.[1] By 2003, the critic Karen Wilkin would declare Lipsky in The New Criterion to be an "unrepentant abstract painter."[5] Wilkin found in the work, "A lifetime's accumulated experience of all kinds, including the experience of looking at art. That, of course, is what all art worth taking seriously—whether abstract, figurative, or somewhere in between—is supposed to address."

In the 1980s and 1990s Lipsky continued to refine her broader color concerns, achieving a brooding, more sharply defined palette. A selection of works from this period, "The Black Paintings," was exhibited in Miami in 1994[6] and New York City in 1997.[7] Wilkin found the "deliberately limited" dark work of this period to be "dramatic" and "powerful."[8] The critic Elisa Turner again described them as a step away from the "sleekness" of modern abstract painting, toward the direction of vertigo, emotion, and ambiguity: "This vertigo adds an unnerving, emotionally-charged twist to the tradition of sleek, impersonal abstract art ... Such ambiguity about the location of lines and shapes in space is echoed in her exquisite sense of color." The New Yorker magazine instead drew a connection of her work in this period to the "classic" style of calmly modernist painters Piet Mondrian and Paul Klee.[9]

In the 2000s, Lipsky began another redefinition of palette, reincorporating color within a bold central image. Writing in the New York Times, the critic Ken Johnson associated these pictures with mechanical forms and music.[10] Noting their "seductive, egg-shell surfaces," Johnson linked them to the minimalist painters Frank Stella and Ad Reinhardt. "The effect is polyrhythmic in three dimensions; the bands seem to push up and down like valves in a machine[,] enhancing the feeling of Bach-like musicality. The more you gaze at them, the more absorbing they become." Lipsky began to focus on single images presented in series. Her more recent exhibitions have contained repeating colors, in a stripped and repeated form. The painter and critic Stephen Westfall, in Art in America, called these paintings "her most successful," finding her "classicism" to be "ultimately idiosyncratic in the best sense," and finding a link to Ad Reinhart and Philip Guston: "Guston meeting Reinhardt, then; a synthesis that, however full of painting culture, feels just right in our present moment."[11] The critic David Cohen, in The New York Sun, noted instead the opposite of classicism, "a steely, seemingly dispassionate composure" that contained "seething reserves of aesthetic emotion," stating, "Lipsky is not merely the dean of contemporary geometric abstraction but its dominatrix."[12]

Karen Wilkin, reviewing Lipsky's 2006 exhibition, discovered in the work a simplicity that served the reverse function—to be ultimately liberating: "Lipsky's complex, richly allusive counterpoint demands that we pay close attention to her paintings as paintings ... and then rewards us by setting free our imaginations."[13]

In 2015, Lipsky's most recent decades of paintings were exhibited at Boston's Acme Fine Arts, "Pat Lipsky: Twenty Years." Critic Cate McQuaid, in the Boston Globe called the work "breathing and organic, restrained and voluptuous."[14]

In 2016, twenty paintings from Lipsky's early years were rediscovered after having been preserved for nearly a half century. Eleven were exhibited the next spring at Gerald Peters Gallery in New York. As critic Carter Ratcliff wrote in his catalogue essay, "Lipsky emerged in the forefront of a generation of painters," and added "Each of these paintings draws us into the extended exuberant moment of its creation—intuiting the artist’s power to reconcile uninhibited spontaneity with disciplined judgement."[15]

Collections

Lipksy's paintings are represented in twenty-five public collections, including The Whitney Museum, The Smithsonian's Hirshhorn Museum, The San Francisco Museum of Modern Art, The Boca Raton Museum of Art, The Walker Art Center, The Brooklyn Museum of Art, and Harvard's Fogg Art Museum.

Influences

While Lipsky is sometimes identified with the Post-Painterly Abstraction school centered around the critic Clement Greenberg, a long-time friend of the painter,[16] others have disputed this view.[1] In a 2007 interview, Lipsky listed a broad range of influences, from outside the field of visual arts:

I'm interested in what 'difference' means. My reading of Proust and Eliot, my viewing of Bellini and Giorgione and Titian and Albers and Cornell and Pollock, my listening to Bach and Thelonious Monk, my liking Eric Rohmer and Monty Python might seem totally unrelated, but they teach the same lesson: differences matter. When Monk plays a single note instead of another, a piece is either saved or ruined. When Albers puts a white next to a yellow, the yellow is changed—and the white is changed too. If Proust chooses to follow one character instead of another, to write fifty pages instead of four, the reader's experience is altered in the most intimate and immediate way. We look at works of art as single large units—but they're actually composed of hundreds, of thousands of individual and tiny units, each one a decision. It's those units that I've been experimenting with throughout my career.[17]

Lipsky has also discussed the influence of first-generation abstract expressionists like Mark Rothko and Jackson Pollock, along with second-generation painters like Helen Frankenthaler and Morris Louis, as well as her mentor, Tony Smith.[18]

Honors

References

  1. ^ a b c Crum, Katherine. Woman's Art Journal. "Pat Lipsky and the Challenge of Formalism." Volume 14, 1993
  2. ^ Kramer, Hilton. The New York Times. "Two Interesting Talents Make Their Debut. Pat Lipsky Displays Color Field Works." 13 June 1970
  3. ^ Frackman, Noel. Arts Magazine. "Lyrical Abstraction." June, 1970.
  4. ^ Kramer, Hilton. The New York Times. "Pat Lipsky." 29 October 1976.
  5. ^ Wilkin, Karen. The New Criterion. "Anywhere In Between." June, 2003.
  6. ^ Turner, Elisa. The Miami Herald. "Diamonds and Other Gems." 14 January 1994
  7. ^ Wilkin, Karen. "Pat Lipsky: The Black Paintings." Bookstein Fine Arts, 1997
  8. ^ Wilkin, Karen. PAJ—Journal of Performance and Art. MIT Press, Cambridge Mass. ""Formalist Investigations of Medieval Forms: Pat Lipsky and the Spirit of Color." January, 2003.
  9. ^ Worth, Alexi. The New Yorker. "Pat Lipsky." 4 October 1999
  10. ^ Johnson, Ken. The New York Times. "Pat Lipsky." 4 April 2003.
  11. ^ Westfall, Stephen. Art In America. "Pat Lipsky at Elizabeth Harris." 1 February 2005.
  12. ^ Cohen, David. The New York Sun. "Pat Lipsky." 23 September 2004.
  13. ^ Wilkin, Karen. Art in America. "Pat Lipsky." March, 2007.
  14. ^ McQuaid, Cate (April 7, 2015). "Artists committed to technique and color". Boston Globe. Retrieved March 31, 2019.
  15. ^ Ratcliff, Carter. Pat Lipsky: The Incandescent Gesture (Stain Paintings, 1968-1978). Gerald Peters Contemporary, New York. April, 2017.
  16. ^ Sherwin, Brian. "Artspace Interview with Pat Lipsky." 9 September, 2007
  17. ^ Sherwin, Brian. "Artspace Interview with Pat Lipsky." 9 September 2007.
  18. ^ Lipsky, Pat. "What Tony and Lee and Clem Told Me: A Reminiscence." Pat Lipsky Papers, Smithsonian Archives of American Art

Bibliography

  • History of International Art, Mario Monteverdi (Editor),Universita' Della Arti, Italy, 1981–1992.
  • Trends and testimonies of Contemporary Art, Accademia Italia, Salsomaggiore, Italy, 1983.
  • Women Artists in America, 18th Century to the Present, Jim Collins and Glenn Opitz (Editors), New York, 1980.
  • Who's Who In American Art, Allison McGowan (Editor), 2004 (25th Edition).
  • Pat Lipsky Papers, Lipsky, Pat, Smithsonian Archives of American Art, Washington, D.C., 1997.
  • Pat Lipsky: An Interview by Ira Goldberg, LINEA | How Artists Think, New York, 2013

External links

January 20, 2023
lipsky, american, painter, associated, with, lyrical, abstraction, color, field, painting, born, 1941, september, 1941, york, city, yorkeducationhunter, college, 1968, cornell, university, 1963, known, forpainting, printmaking, writingmovementlyrical, abstract. Pat Lipsky is an American painter associated with Lyrical Abstraction and Color Field Painting Pat LipskyBorn 1941 09 21 September 21 1941 age 81 New York City New YorkEducationHunter College MFA 1968 Cornell University BFA 1963 Known forPainting printmaking writingMovementLyrical Abstraction Color Field PaintingChildrenDavid Lipsky Jonathan LipskyAwards2008 2001 Pollock Krasner Foundation Grant2001 American Academy and Institute of Arts and Letters Hassam Speicher Betts Purchase Prize1999 Adolph and Esther Gottlieb Foundation Grant1992 New York Foundation for the ArtsWebsitepatlipsky wbr com Contents 1 Education 2 Career 3 Collections 4 Influences 5 Honors 6 References 7 Bibliography 8 External linksEducation EditLipsky grew up in New York City She graduated with a BFA from Cornell University in 1963 receiving an MFA from the Graduate Program in Painting at Manhattan s Hunter College where she studied with the painter and sculptor Tony Smith Career Edit Pat Lipsky Spiked Red acrylic on canvas Modern Art Museum of Fort Worth 1969 Raised by a painter mother and an engineer father 1 Lipsky had her first one woman show in New York at the Andre Emmerich Gallery 2 Her work at the time was strongly in the mode of Lyrical Abstraction The 1969 canvas Spiked Red Collection of the Modern Art Museum of Fort Worth Gift of Mr and Mrs Peter Bienstock New York demonstrates Lipsky s then approach close hues bright color waves and bursts In The New York Times the critic Hilton Kramer found that the painter s work looked both to the aesthetic past and future Miss Lipsky reintroduces the drip splatter and smear of abstract expressionism for notable anti expressionist purposes She also demonstrates a very clear identity of her own Her pictures are very handsome and it will be interesting to see how she develops what is already a bold pictorial intelligence Lipsky was invited to participate in the influential 1970 1971 Lyrical Abstraction exhibition which traveled the country and culminated at New York s Whitney Museum the critic Noel Frackman highlighted her contributions for freshness gesture and exuberance finding the style sustained a mood which celebrates the sheer splendor of color The edges of these shapes lick out like flames and there is an incendiary vividness in the impetuous yet directed forms These are mouth watering paintings 3 By the later seventies and eighties Lipsky had expanded her palette to include bolder colors and geometric forms 4 She had also begun to explore as the critic Katherine Crum later wrote a pictorial vocabulary in direct challenge to her roots in lyrical abstraction 1 By 2003 the critic Karen Wilkin would declare Lipsky in The New Criterion to be an unrepentant abstract painter 5 Wilkin found in the work A lifetime s accumulated experience of all kinds including the experience of looking at art That of course is what all art worth taking seriously whether abstract figurative or somewhere in between is supposed to address In the 1980s and 1990s Lipsky continued to refine her broader color concerns achieving a brooding more sharply defined palette A selection of works from this period The Black Paintings was exhibited in Miami in 1994 6 and New York City in 1997 7 Wilkin found the deliberately limited dark work of this period to be dramatic and powerful 8 The critic Elisa Turner again described them as a step away from the sleekness of modern abstract painting toward the direction of vertigo emotion and ambiguity This vertigo adds an unnerving emotionally charged twist to the tradition of sleek impersonal abstract art Such ambiguity about the location of lines and shapes in space is echoed in her exquisite sense of color The New Yorker magazine instead drew a connection of her work in this period to the classic style of calmly modernist painters Piet Mondrian and Paul Klee 9 In the 2000s Lipsky began another redefinition of palette reincorporating color within a bold central image Writing in the New York Times the critic Ken Johnson associated these pictures with mechanical forms and music 10 Noting their seductive egg shell surfaces Johnson linked them to the minimalist painters Frank Stella and Ad Reinhardt The effect is polyrhythmic in three dimensions the bands seem to push up and down like valves in a machine enhancing the feeling of Bach like musicality The more you gaze at them the more absorbing they become Lipsky began to focus on single images presented in series Her more recent exhibitions have contained repeating colors in a stripped and repeated form The painter and critic Stephen Westfall in Art in America called these paintings her most successful finding her classicism to be ultimately idiosyncratic in the best sense and finding a link to Ad Reinhart and Philip Guston Guston meeting Reinhardt then a synthesis that however full of painting culture feels just right in our present moment 11 The critic David Cohen in The New York Sun noted instead the opposite of classicism a steely seemingly dispassionate composure that contained seething reserves of aesthetic emotion stating Lipsky is not merely the dean of contemporary geometric abstraction but its dominatrix 12 Karen Wilkin reviewing Lipsky s 2006 exhibition discovered in the work a simplicity that served the reverse function to be ultimately liberating Lipsky s complex richly allusive counterpoint demands that we pay close attention to her paintings as paintings and then rewards us by setting free our imaginations 13 In 2015 Lipsky s most recent decades of paintings were exhibited at Boston s Acme Fine Arts Pat Lipsky Twenty Years Critic Cate McQuaid in the Boston Globe called the work breathing and organic restrained and voluptuous 14 In 2016 twenty paintings from Lipsky s early years were rediscovered after having been preserved for nearly a half century Eleven were exhibited the next spring at Gerald Peters Gallery in New York As critic Carter Ratcliff wrote in his catalogue essay Lipsky emerged in the forefront of a generation of painters and added Each of these paintings draws us into the extended exuberant moment of its creation intuiting the artist s power to reconcile uninhibited spontaneity with disciplined judgement 15 Collections EditLipksy s paintings are represented in twenty five public collections including The Whitney Museum The Smithsonian s Hirshhorn Museum The San Francisco Museum of Modern Art The Boca Raton Museum of Art The Walker Art Center The Brooklyn Museum of Art and Harvard s Fogg Art Museum Influences EditWhile Lipsky is sometimes identified with the Post Painterly Abstraction school centered around the critic Clement Greenberg a long time friend of the painter 16 others have disputed this view 1 In a 2007 interview Lipsky listed a broad range of influences from outside the field of visual arts I m interested in what difference means My reading of Proust and Eliot my viewing of Bellini and Giorgione and Titian and Albers and Cornell and Pollock my listening to Bach and Thelonious Monk my liking Eric Rohmer and Monty Python might seem totally unrelated but they teach the same lesson differences matter When Monk plays a single note instead of another a piece is either saved or ruined When Albers puts a white next to a yellow the yellow is changed and the white is changed too If Proust chooses to follow one character instead of another to write fifty pages instead of four the reader s experience is altered in the most intimate and immediate way We look at works of art as single large units but they re actually composed of hundreds of thousands of individual and tiny units each one a decision It s those units that I ve been experimenting with throughout my career 17 Lipsky has also discussed the influence of first generation abstract expressionists like Mark Rothko and Jackson Pollock along with second generation painters like Helen Frankenthaler and Morris Louis as well as her mentor Tony Smith 18 Honors Edit2012 Department of State Art in Embassies 2008 National Academy of Design Invitational Exhibition 2008 Pollock Krasner Foundation Grant 2003 Lincoln Center Print Editions Keyboard Variations 2001 American Academy and Institute of Arts and Letters Hassam Speicher Betts Purchase Prize 2000 Pollock Krasner Foundation Grant 1999 Adolph and Esther Gottlieb Foundation Grant 1999 Jerome Foundation Dark Love the Black Paintings 1998 New York Foundation for the Arts Dark Love 1998 New York State Council on the Arts Dark Love 1996 New York Foundation for the Arts Painting in Ireland 1992 New York Foundation for the Arts Painting in France 1972 New York State Council on the ArtsReferences Edit a b c Crum Katherine Woman s Art Journal Pat Lipsky and the Challenge of Formalism Volume 14 1993 Kramer Hilton The New York Times Two Interesting Talents Make Their Debut Pat Lipsky Displays Color Field Works 13 June 1970 Frackman Noel Arts Magazine Lyrical Abstraction June 1970 Kramer Hilton The New York Times Pat Lipsky 29 October 1976 Wilkin Karen The New Criterion Anywhere In Between June 2003 Turner Elisa The Miami Herald Diamonds and Other Gems 14 January 1994 Wilkin Karen Pat Lipsky The Black Paintings Bookstein Fine Arts 1997 Wilkin Karen PAJ Journal of Performance and Art MIT Press Cambridge Mass Formalist Investigations of Medieval Forms Pat Lipsky and the Spirit of Color January 2003 Worth Alexi The New Yorker Pat Lipsky 4 October 1999 Johnson Ken The New York Times Pat Lipsky 4 April 2003 Westfall Stephen Art In America Pat Lipsky at Elizabeth Harris 1 February 2005 Cohen David The New York Sun Pat Lipsky 23 September 2004 Wilkin Karen Art in America Pat Lipsky March 2007 McQuaid Cate April 7 2015 Artists committed to technique and color Boston Globe Retrieved March 31 2019 Ratcliff Carter Pat Lipsky The Incandescent Gesture Stain Paintings 1968 1978 Gerald Peters Contemporary New York April 2017 Sherwin Brian Artspace Interview with Pat Lipsky 9 September 2007 Sherwin Brian Artspace Interview with Pat Lipsky 9 September 2007 Lipsky Pat What Tony and Lee and Clem Told Me A Reminiscence Pat Lipsky Papers Smithsonian Archives of American ArtBibliography EditHistory of International Art Mario Monteverdi Editor Universita Della Arti Italy 1981 1992 Trends and testimonies of Contemporary Art Accademia Italia Salsomaggiore Italy 1983 Women Artists in America 18th Century to the Present Jim Collins and Glenn Opitz Editors New York 1980 Who s Who In American Art Allison McGowan Editor 2004 25th Edition Pat Lipsky Papers Lipsky Pat Smithsonian Archives of American Art Washington D C 1997 Pat Lipsky An Interview by Ira Goldberg LINEA How Artists Think New York 2013External links EditOfficial website David Cohen on Pat Lipsky Art in America February 2005 Pat Lipsky http images dcmooregallery com www dcmooregallery com Art in America 2 pdf The New York Times February 2003 Pat Lipsky http images dcmooregallery com www dcmooregallery com NY Times pdf http www asllinea org pat lipsky 2 2 Retrieved from https en wikipedia org w index php title Pat Lipsky amp oldid 1121039781, wikipedia, wiki, book, books, library,

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