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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.
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of this period to be "dramatic" and "powerful." 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."
341:. "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
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285:; 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."
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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:
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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 and New York City in 1997. Wilkin found the "deliberately limited" dark work
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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
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to be an "unrepentant abstract painter." 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."
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By the later seventies and eighties, Lipsky had expanded her palette to include bolder colors and geometric forms. 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. By 2003, the critic
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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."
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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."
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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
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357:, 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
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441:, a long-time friend of the painter, others have disputed this view. In a 2007 interview, Lipsky listed a broad range of influences, from outside the field of visual arts:
347:, 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
329:, the critic Ken Johnson associated these pictures with mechanical forms and music. Noting their "seductive, egg-shell surfaces," Johnson linked them to the
351:: "Guston meeting Reinhardt, then; a synthesis that, however full of painting culture, feels just right in our present moment." The critic David Cohen, in
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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
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found that the painter's work looked both to the aesthetic past and future: "Miss Lipsky reintroduces the drip, splatter and smear of
259:, Gift of Mr. and Mrs. Peter Bienstock, New York) demonstrates Lipsky's then-approach: close hues, bright color waves and bursts. In
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In the 2000s, Lipsky began another redefinition of palette, reincorporating color within a bold central image. Writing in the
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Raised by a painter mother and an engineer father, Lipsky had her first one-woman show in New York, at the
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magazine instead drew a connection of her work in this period to the "classic" style of calmly
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Pat Lipsky Papers, Lipsky, Pat, Smithsonian
Archives of American Art, Washington, D.C., 1997.
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Lipsky, Pat. "What Tony and Lee and Clem Told Me: A Reminiscence." Pat Lipsky Papers,
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Pat Lipsky: An
Interview by Ira Goldberg, LINEA | How Artists Think, New York, 2013
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Lipksy's paintings are represented in twenty-five public collections, including
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http://images.dcmooregallery.com/www_dcmooregallery_com/Art_in_America_2.pdf
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Wilkin, Karen. "Pat Lipsky: The Black
Paintings." Bookstein Fine Arts, 1997
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Sherwin, Brian. "Artspace
Interview with Pat Lipsky." 9 September 2007.
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Sherwin, Brian. "Artspace
Interview with Pat Lipsky." 9 September, 2007
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Cornell
University College of Architecture, Art, and Planning alumni
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http://images.dcmooregallery.com/www_dcmooregallery_com/NY_Times.pdf
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called the work "breathing and organic, restrained and voluptuous."
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Pat Lipsky: The Incandescent Gesture (Stain Paintings, 1968-1978)
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Lipsky was invited to participate in the influential 1970-1971
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Lipsky has also discussed the influence of first-generation
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which traveled the country and culminated at New York's
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Women Artists in America, 18th Century to the Present
799:. Gerald Peters Contemporary, New York. April, 2017.
734:. "Pat Lipsky at Elizabeth Harris." 1 February 2005.
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519:American Academy and Institute of Arts and Letters
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433:While Lipsky is sometimes identified with the
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830:Smithsonian Archives of American Art
660:. "Anywhere In Between." June, 2003.
634:. "Lyrical Abstraction." June, 1970.
521:Hassam Speicher Betts Purchase Prize
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747:. "Pat Lipsky." 23 September 2004.
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271:abstract expressionism
249:André Emmerich Gallery
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949:Hunter College alumni
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361:but its dominatrix."
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202:Bachelor of Fine Arts
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576:, Painting in France
186:Color Field Painting
108:Color Field Painting
35:Lipsky in April 2009
730:Westfall, Stephen.
606:Woman's Art Journal
513:Keyboard Variations
485:Department of State
464:Helen Frankenthaler
255:(Collection of the
182:Lyrical Abstraction
104:Lyrical Abstraction
905:The New York Times
795:Ratcliff, Carter.
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393:The Whitney Museum
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923:Categories
587:References
472:Tony Smith
429:Influences
331:minimalist
253:Spiked Red
238:Spiked Red
222:Tony Smith
178:Pat Lipsky
47:1941-09-21
23:Pat Lipsky
781:March 31,
561:Dark Love
551:Dark Love
540:Dark Love
420:Harvard's
333:painters
320:Paul Klee
314:painters
312:modernist
236:Lipsky's
218:Manhattan
204:BFA from
159:patlipsky
66:Education
114:Children
100:Movement
86:Painting
154:Website
94:writing
478:Honors
418:, and
228:Career
125:Awards
60:, U.S.
579:1972
572:1992
565:1996
555:1998
545:1998
535:Grant
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528:Grant
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