In Laurie Lipton’s recent works, featured here, the artist take us into a world that feels overwhelmed with technology. It is a place where wires, screens, emojis and other aspects of our modern day communication devices define this world’s movement and style. She calls it a “Techno Rococo” of sorts, the title and basis of her latest series of drawings which debuted over the weekend at Ace Gallery in Los Angeles.
The dark and insanely detailed drawings of Laurie Lipton mix elements from different eras of art and time, including her own surreal version of reality. When asked her to describe her meticulous, cross-hatching in one word, she answered, “sick” (with a grin). She has exhibited and lived all over the world from Holland, Germany, France, and recently London, where she spent time with the likes of Terry Gilliam, one of her favorite creatives. She will exhibit the art discussed here at Ace Gallery in Los Angeles next year.
This month sees a new exhibition by artist Laurie Lipton atthe go-to gallery for the dark arts, Last Rites in New York, entitled “Carnivalof the Dead”. Lipton’s fascinatingly unnerving drawings combine the mirthful franknessof Day of the Dead celebrations with their irreverent humor in depicting thedead in living situations, such as dances, afternoon teas, riding the train…butwith out the usual cartoonishness that characterizes much the Mexicandepictions of death (ie: candy skulls, the pervasive work of Jose Guadalupe Posada).She instead substitutes hyper detailed, ornate line work that fills the whole canvasalongside the rigidity of Victorian mourning themes, religieous iconography,and realistically rendered corpses and anatomically precise skeletons.
Some ofthe works blends Lipton’s gallows humor (such as desiccated mummies standingaround waiting for a subway) with enough macabre somberity to make the viewerlaugh, albeit a bit uncomfortably. “Meticulous” as a descriptive word for artgets thrown around a lot, but Lipton’s ultra rendered work really put a finepoint on it. Made of thousands and thousands of built up tiny crosshatcheslines to build light and depth, they reveal a staggering amount ofinfinitesimal detail. This series deals with the view of death in variouscultures, from the embracing of it in Mexican cultures to our own reticence tobarely acknowledge it exists, let alone deal with the fact that it’s one of thefew certainties in life we can all rely on. Lipton’s mastery of graphite shouldnot be missed by anyone in the New York area. See a preview after the jump.
UK artist Laurie Lipton, best know for her impressively detailed drawings using graphite & charcoal, has recently moved statesidearmed with a new cache of limited edition etchings created whilst inspired by the idea ofmoving across the sea. Featuring a signature reverence for ornamentation and a focus on macabre images such as animated skeletons in the vein of the Mexican holiday, The Day of The Dead, the work presents a subtle meditation on the flimsy veil between life and death. To further compliment this move to L.A., Lipton isworking on a new body of work that will be unveiled at Corpo Gallery in 2012.View more images of her new printed etchings after the jump.
Utilizing a series of cranks, levers, gyroscopes, doo-hickeys and thing-a-ma-bobs, the Steampunk Pocket Watch keeps time with astounding accuracy. How you’ll actually fit it in your pocket? Well, that’s another story… perhaps one in need of an even more elaborate invention?
HF favorite Laurie Lipton explores the redundancy and absurdity of modern technology with her latest show, “Machine Punk”, opening next weekend at La Luz de Jesus Gallery. From a nut cracking machine the size of an elephant to a recycling truck that makes more pollution than it stops, Lipton’s graphite and pencil works are so ahead of their time in their own antiquity that one can only wonder how she creates such imaginative works… no doubt with the help of series of Rube Goldberg devices so contrived only she could envision…
View a selection of some of our favorite pieces from the show, here on Hi-Fructose.
“I was watching the Iraq war on CNN while eating my dinner. I chewed contentedly as peoples’ homes and limbs were being blown apart. There was a commercial break about washing powder and cars, then I was transported back to the bombing, the screaming women, the blood. The whole scenario suddenly struck me as obscene. How is this possible? I am comfortably eating a meal in my own home while watching horrible suffering. This is “normal” TV viewing. I am not even being put off my food,” reads the first half of Laurie Lipton’s statement introducing her upcoming solo show, Weapons of Mass Delusion presented by Corpo Gallery at Grand Central Art Center.