July 23 - August 11 2021
LARRY COLLINS | JACKIE LIPTON
Opening: Friday, July 23 (8-10 masked people at a time)
Larry Collins | Pandemic Drawings + Book Launch
David Carrino writes:
He [Larry Collins] didn’t decide in advance which of his possessions he was going to draw; there were no hierarchies in terms of utilitarian objects versus some of the fine art or antiques he’s collected over the years. Nothing was chosen for its symbolic or sentimental associations. Why spend days drawing the glass of water, but not the toothbrush? Why draw the Christmas cactus, but not the fin de siècle
Egyptian Revival stained glass lamp? He drew each thing as if he was seeing it for the first time; in isolation, all he saw was form, volume, light and shadow. He wouldn’t pick the next object until the previous drawing was completed. Then he would scan the room, waiting for the next thing to “jump out at me.”
was born in Spokane, Washington, in 1945 and raised in Del City, Oklahoma. His artistic career began at age 17 when Dorothy Miller, former curator at MoMA in New York, selected one of his abstract paintings for an important regional exhibition at the Oklahoma Art Center. After receiving his BFA from the University of Oklahoma in 1967 he was drafted into the Army and sent to Vietnam. During the war he served as an infantryman and a combat illustrator.
Collins received his MFA from the Massachusetts College of Art and Design in 1980. He has exhibited internationally, and his paintings, drawings, photographs, and artist's books are included in the permanent collections of the Museum of Fine Arts, Boston, International Center of Photography, New York Public Library, Sheldon Museum of Art, Wadsworth Atheneum, Worcester Art Museum, PAAM, Amarillo Museum of Art, and others. He has collaborated on limited-edition books with poets Allen Ginsberg, Lawrence Ferlinghetti, and Eileen Myles.
In 2010 he was honored with a career retrospective exhibition at the Provincetown Art Association and Museum, "Larry R. Collins: Finding Light.” In 2017 the Amarillo Museum of Art presented a retrospective exhibition of his Vietnam War photography and paintings.
Jackie Lipton | New Paintings
Notes on my art: fragments and reflections --
"My art is a way of saying hi. These times are so extreme, so extreme, right now and here we are, all being in this moment and sharing this crazy time together.
My art is a lifeline. Art is love, art is a way of touching hearts. It's energy, sometimes raw, and it's rage and also tenderness, and caring. It’s the way we as artists communicate spirit and knowledge.
My art is a journey and a record. It helps the invisible become visible. My painting series “New York Confidential” speaks to this.
My art is a container of sorts – a carrier, in a good way, of a universal specificity that must celebrate individuality and meaning. It contains and critiques the pandemic, Trump, racism, greed, being human, feeling, trusting. It acknowledges that the inner life has tremendous power to exert on the external world.
My art is about feeling and trust. It’s an acknowledgement of the inner life and the imagination. It has energy and power. It has complexity and simplicity alike, much like people do too.
My art doesn't discriminate. I’m an artist within time, out in the open, telling the truth, the truth of living in a more peaceful and accepting world. We are shaken. My series “Blindsight” is about being responsive to something that you don’t know you know, or don’t know yet or don’t consciously know.
My art is a celebration of otherness and oneness. It's a way to be immersed in it and to leave a record of it – a trail marker, a doorway, another way, a safe way to enter into it. It is internal worlds, landscapes, trails, labyrinthian whirlpools, quicksand. It’s emotional intelligence and mark making, an experience of internal space, in front of the art, now a part of it, in a sense. It’s an entrance into other worlds, into other awarenesses and states of consciousness.
My art is perception. I am alone and part of something bigger, something else, internal knowledge – something connecting all humans, or all sentient beings, to each other in the recognition that what’s sacred rests within each one of us. If only we all knew that the world of the imagination is in tune with each and every one of us, with each unique individual, all together as one, a universal whole made of vastly different and similar parts. The parts add up to more than the sum of their parts, the gestalt.
My art is ambiguity, ambiguous imagery, plays of foreground and background, shifting boundaries, a map, shades of grey, rumi. We are not a drop in the ocean, the ocean is a drop in us. Reality, truth, authenticity, duality, chaos. Out of chaos comes order, an internal logic, safety, curiosity, structure, logic. A framework is not imposed from outside, but arises from within. What is chaos but components of order, waiting to be found? Bodies, skin, sex, identity, age, awkward, wrong, ghastly, monstrous, survival, trauma, dreaming, meditation, political nightmares, pain, color, painkiller.
Labyrinth, whirlpool, quicksand, air, being immersed in water, swimming, breathing, anxiety, depression, schizophrenia, labels, madness and genius, being crazy and being an artist, creativity and female and art and language, private, or out in the world, part of a bigger conversation. Creativity and delusion, hallucination and the states between things, from dreaming to wakefulness, hypnogogic, synaesthesia, tunnel hearing, daydreaming or spacing out to then be here now. Black and white. Institutional racism, patriarchy, authoritarianism, wars. Much more, beyond words, before, color poems.
“Art is a guarantee of sanity.” Louise Bourgeois said that. I agree. Mostly.
My art drifts off into tangents."
has an active career spanning decades. She has received grants and awards for painting and drawing, from the Pollock Krasner Foundation, granted three times, and from the Adolph and Esther Gottlieb Foundation's special funds. She received a NYFA boot camp award, and earlier a NYFAI collaborative arts award, among others. Her fellowships and residencies include the MacDowell Colony, the Cummington Community of the Arts (no longer there), and the Virginia Center for the Creative Arts; in Iceland, she was awarded a grant at a small residency program from the Gallery Boreas, of a studio and apartment in Reykjavik.
Selected exhibitions include ARC at the Whitney Museum, the Art Resources Center of the Whitney Museum’s Gallery, the Aldrich Museum, Condeso/Lawler Gallery, WARM Gallery, the Art Resources Transfer Gallery, Gale/Martin Gallery, Gallery Boreas, Corinne Robbins Gallery, Life on Mars Gallery and Westbeth Gallery in NYC; the Schoolhouse Gallery and AMP Gallery in Provincetown, Mass. She is currently showing work at AMP Gallery. Lipton works in her studio in Chelsea and lives in Westbeth Artist Housing in NYC.