Eleanor Heartney, Jackie Lipton’s Paintings
Published by Danette Koke Fine Art, 1994
John Ash, Jackie Lipton’s New Work,
Published by Danette Koke Fine Art, 1995
Eleanor HEARTNEY, New Art Examiner 1984
“Jackie Lipton at the Condeso Lawler Gallery”
Ken Sofer, Art in America, New Paintings by Jackie Lipton at the Condeso/Lawler Gallery, NYC, 1985
“A Look Forward, A Look Back” catalogue, The Aldrich Museum of Contemporary Art, 1986
“New Visions” catalogue, The Aldrich Museum of Contemporary Art,
Corinne Robbins, whose space has functioned, for some 5 years, as a furniture showroom, has opened her first fine art exhibition with the ambitious and energetic paintings of Jackie Lipton. Ms. Lipton works in oil paint, cold wax and alkyd media. Her press release speaks about her commitment to process, which is evident in her canvases. It also speaks of her as an abstract cityscape painter. This may be less evident, but an abstract painter residing in New York City, as she does, may be an abstract cityscape painter, not literally, but psychologically.
There’s nothing wrong with a little straight ahead abstract expressionism and Jackie Lipton gives it to you. The notion that pictures made in certain genres already noted in the art history books are passé carry no weight here. The painter Nell Blaine, for example, made great, very energetic fauvist paintings this side of World War II. She’s due much recognition from those who like their paintings to demonstrate such energy. Ms. Lipton’s paintings, too, are generally intense, and give pleasure to those who rock to that aesthetic.
“Because the Night,” 2005, makes the most of its under layers. Its bumps and ridges achieve a uniform, atmospheric crudeness. If you could work yourself up you could call it ugly. If the surface were a sound it would possess the chronic raspyness heard in Bob Dylan’s late recordings. It evokes a dusty, pocked and neglected plaster wall (abstract cityscape, anyone?) Its narrow palette, the consistency of its scratchy brushwork, and the singularity of its appearance among Jackie Lipton’s work, make for a savory picture viewing experience.
That painting, measuring 52” X 64”, along with others in that size range, among them “Whirl Away,” and “Ghost Dance,” show Ms. Lipton is comfortable working on a large scale. In them, she effects a bold gesture that carries at a distance. Forcefully executed statements on this scale say, “monumental.” When I stand before these I experience the artist’s bravery in the exploration of pictorial issues.
Given works disappoint me, though such works are in the minority. “Christopher,” 2007, one of the large ones, is one such picture. For me, the relentless and over saturated yellow that runs throughout this surface gives the other colors, all of which look wan, by comparison, “no chance to talk.” Color is always a matter of relationship, regardless of the content. For that yellow’s expressiveness to bloom it might have to congregate with other, equally strident colors, on some other canvas. But, again, as I looked around the show, I found much to enjoy.
Some of Jackie Lipton’s notable smaller statements include “Breath to Breath Series #6, 2007, with the colors and texture of watermelon pulp, which may cause you to salivate in anticipation of a tasty summer treat. Also, “Up There Down There #11, 2006, with it’s subtle and alluring tonality. Looking at this one you may forget, momentarily, that Ms. Lipton is adept at play with more flamboyant colors.
Corinne Robbins is off to an exciting beginning with her fine art exhibitions. We should also expect many more ambitious and satisfying statements from Jackie Lipton. The current show continues to May 17, 2009.
Exhibition, Jackie Lipton at Corinne Robbins