A music industry legend, the song that is spilling from Macey Lipman’s artistic heart today is visual. With a new body of work, The Summit Series, Lipman offers a pinnacle – play on words intended – achievement.
The artist has painted all his life, devoting
himself full-time to his art for the last twenty years. The immersive
landscapes of North and South American peaks that make up this current series
were inspired by Lipman’s daughter and her passion for mountain climbing. The
result is exhilarating.
The artist’s acrylic on canvas and birchwood works are uniquely compelling. While the images are firmly grounded in the real world, the dreamy, vibrantly colored works also carry with them expressionistic elements. The works are also highly visceral; viewers can almost feel the chill in the shadows of Glacier Peak Volcano; absorb the crisp thinness of the air at the crest of Mt. Shasta.
On January 25th and 26th,
the artist will hold two afternoon receptions at his West Hollywood studio and
gallery, presenting works from this series and previous bodies that
include images from California’s wine country, Cuba, and Italy.
Over the course of his music career, Lipman received 57 gold and platinum album awards, working with artists such as the 5th Dimension, Heart, Chet Baker, Ravi Shankar, and Johnny Rivers. In 1972, he established Macey Lipman Marketing, the first independent marketing company in the recording industry, through which he managed a wide range of campaigns for top recording artists from Dolly Parton to Cher.
But through it all, he painted. He paints daily, depicting pristine landscapes such as “Mt. Rainer and Nisqually Glacier”; the tallest mountain in Washington and the Cascade Range; “Popocatepetl Volcano (El Popa), Mexico,” raining ash below its slopes; and “Glacier Peak Volcano,” the most remote of the five active volcanoes in Washington State.
One of his sparest and most fascinating landscapes from this series is the 30” x 40” “Foggy Lake/Gothic Peak, Washington,” above, a dream-like vision that merges meticulous pointillist technique with wild and mystical scenery.
Equally absorbing are images such as that of a young Guatemalan woman climbing Santa Maria Peak in Guatemala while breast-feeding her baby. Other recurring motifs in Lipman’s work include the wine regions of Napa and Sonoma; and graceful images of reflections in windows, images that shape their own illusory landscape.
Having been accepted to the Michelangelo Accademia D’Arte in Florence, Italy, Lipman is learning to expand his technique with the use of egg tempera and the creation of paints and colors from scratch.
The
artist says his life-long passion for painting began as a child, visiting the
art section of Gimbel’s department store, attracted to the scent of oil paints
and linseed oil. Despite his early inspiration, he did not sell his paintings
until 2002; but by 2004 he was selling out at LACMA’s Sales Gallery. Today,
Lipman works at his West Hollywood gallery and studio five days a week.
The dual receptions for The Summit Series take
place at Macey Lipman Art studio
and gallery, located at 511 N. La Cienega Blvd., #210 from 2-6 p.m. both days.
The Summit Series will remain on view through February 20th.
Kristine Schomaker had an idea. It started with the personal and has become a galvanizing collaborative project that reaches and speaks to a wide-range of viewers. It’s a conversation starter, it’s a collection of absolutely unique artworks, it’s an exultant vision of personal spirit, a creation from and of the soul that’s grounded – both literally and figuratively – by the body that holds it.
Art above by Sheli Silverio.
We’re talking about Perceive Me, an exhibition about to debut on January 25th at California State University Los Angeles.
Artist: Emily Wiseman
According to Schomaker – artist, curator, publisher and founder of Shoebox PR – the concept for the show started with a conversation between herself and artist Amanda Mears. Mears was drawing Schomaker athe time. “We were talking about body image, ideas of beauty, modeling nude, and I brought up the story that I had only been asked out on a date a couple times in my 46 years of life. I think unconsciously I took that as this validation that I wasn’t worth anything. Of course I know it is much more complicated than that,” Schomaker laughs, noting that the first time she expressed this out loud was in a previous interview for DiversionsLA.
Artist: Holly Boruck
Describing the idea as having come “full circle,” Schomaker says “I never realized that that was where a lot of myself worth came from. The need for outside validation. Or the idea that we often take our own self-worth from how we imagine others perceive us. Working with Amanda and looking back to a collaboration I did with J Michael Walker for his Bodies Mapping Time project as well as Chris Blevins-Morrison for a photographic project, I thought it would be an interesting ‘research project’ to see how I look through another person’s eyes. It was like a lightbulb.”
Artist: Austin Young
Over the next several months, Schomaker put together the idea of how Perceive Me would work, meeting with 57 different artists between November 2018-August 2019.
Schomaker selected the artists for the exhibition beginning with artists she knew who created work using a figure. “I have a folder on my computer of ‘Artists to Watch’ and culled from that. Plus, I looked at my walls, my art collection and invited those artists. And I invited friends, of course. I started off with the idea of 20 artists, then it went to 40; because I couldn’t say no then it went to 60. Most of the artists were invited, but there were a few who contacted me and after looking at their websites and seeing how their art practice was aligned with mine, I knew they were a perfect fit.”
What she mosts want viewers to take from this powerful and poignant exhibition is to “feel free to be themselves. I want people to be less afraid of ‘going for it,’ whatever that means for them. I want people to not be afraid to be different, unique, authentic and to not hide from others or themselves.”
Artist: Geneva Costa
The catalog that accompanies the exhibition is beautiful and rich; delving much deeper into both the intent behind it and presenting a fuller depiction of the images that most exhibition catalogs.
What led Schomaker to create such a vital piece of the project, or as she calls it, performance, is based on a fundamental belief in its social practice/impact and community engagement.
Artist: Marjorie Salvaterra
“I think my thesis was to see if my perception of myself changed as I saw myself through others’ eyes. Or maybe by inviting the many talented artists to collaborate with me, I thought they could make me beautiful? I am just now at this moment asking this question. This is just one project in many in my art practice that will continue helping me develop my own identity.”
Artist: Sydney Walters
“I have a story to tell, a message to relay. I want to educate and inspire. I knew an exhibition would not be enough to get the message out there. I knew a catalog would help get the word out there more,” she relates. “We are also doing artists talks; I am working with classes at the colleges, and there will be a video. I want to support others as much as I can. The catalog was one way of sharing the artists’ amazing work.”
Artist: Dani Dodge
Schomaker terms the exhibition a continuation of her own work, which focuses on challenging and finding herself. “I don’t think I will ever get to an end-point, because life changes all the time. Our identity changes all the time. Our weight changes all the time. My art practice is about telling my story of my eating disorder, struggles with weight and self-confidence. So, it will continue on.”
Artist: Nurit Avesar
The genuinely brave and beautiful show is uniquely notable from its lush and individually terrific images to the concept and Schomaker’s willingness to literally and figuratively expose herself. Following its debut at CSULA, the show will travel to Oxnard College in November 2020, Coastline Community College in January 2021, Mesa Community College in San Diego in March 2021, MOAH in Lancaster in October 2021 and the College of the Sequoias in Visalia in 2022.
Artist: Anna Stump
“We are actively sending out
proposals to colleges and Universities right now, because I believe that is
where a large part of our audience is. If I can reach our youth and make a
difference, I feel like there is hope for the future,” Schomaker asserts.
Artist: Bradford Salamon
Perceive Me opens January 25th 5-8 p.m. at the Ronald H Silverman Fine Arts Gallery, Cal State University LA, under the direction of Dr. Mika Cho.
Participating artists include: Amanda Mears, Anna Kostanian, Anna Stump, Ashley Bravin, Austin Young, Baha Danesh, Betzi Stein, Bibi Davidson, Bradford J Salamon, Caron G Rand, Carson Grubaugh, Catherine Ruane, Chris Blevins-Morrison, Christina Ramos, Cynda Valle, Daena Title, Daggi Wallace, Dani Dodge, Debbie Korbel, Debby/Larry Kline, Debe Arlook, Diane Cockerill, Donna Bates, Elizabeth Tobias, Ellen Friedlander, Emily Wiseman, Geneva Costa, Holly Boruck, J Michael Walker, Jane Szabo, Janet Milhomme, Jeffrey Sklan, Jesse Standlea, John Waiblinger, Jorin Bossen, K Ryan Henisey, Karen Hochman Brown, Kate Kelton, Kate Savage, Kerri Sabine-Wolf, Kim Kimbro, L Aviva Diamond, Leslie Lanxinger, Mara Zaslove, Marjorie Salvaterra, Martin Cox, Monica Sandoval, Nancy Kay Turner, Nurit Avesar, Phung Huynh, Rakeem Cunningham, Serena Potter, Sheli Silverio, Susan Amorde, Susan T. Kurland, Sydney Walters, Tanya Ragir, Tony Pinto, Vicki Walsh.
CSULA Gallery is located at: 5151 State University Drive Los Angeles CA 90032 Opening Reception: Saturday January 25, 5-8pm
Artist Talk with Alexandra Grant Sun February 2, 2-4pm Artist Talk with Leslie Labowitz-Starus Sun February 16, 2-4pm Artist Panel and Closing Reception Sat February 22, 2-4pm
Artist: Daena Title Artist: Mara Zaslove
Writer: Genie Davis; photos: provided by artists through Kristine Schomaker
Chung-Ping Cheng revels in light, color, and texture. Her photographic images are vibrant with all three. Her current artwork consists of primarily floral images, but Cheng wants her viewers to know that “The theme of my work, although most are flowers, is that they are not only beautiful as we see them, but that they have significance as related to life, to feminity.” In short, to Cheng, her flowers are a force of nature.
Her blossoming images feature an intense and intimate color palette that Cheng carefully selects. “It depends on the subject of the work, the palette that I choose,” she says, noting that her palette also depends on not just what the subject is, but whether it is “representational or metaphorical, somber or happy, whether the image is of something brilliant.” According to Cheng, “I think the color palette comes from my aesthetic both in the West and East.” Certainly the fluidity and the natural vibrancy of her colors reflect that universal spirit.
The riveting lushness of Cheng’s current series mark a new direction for the artist’s work. “My latest work is a new direction, more of the experience of occurrences in a cycle images impart.” If the viewer studies them long enough, they are like taking a deep dive from the minute petaled perfection of a single blossom into a hidden universe. There is a strong life-force present in her work.
Vibrating with life, highly visceral, yet delicate – both in her current floral works and in a previous rich-looking cake series, too, among others, each of Cheng’s works somehow manage to be both exuberant and graceful. She says that this combination of visual style is “intrinsic,” and that she is not sure how the composition asserts itself, it just happens for her artistically, a natural conception of the image.
Of her past “Cake” series, Cheng says that she created it in part “because I love sweets, and I think that they should bring people pleasure not only in taste but also in sight.” Her floral works she approaches as a richly pleasurable experience, but an experience that is also reverant as well. For Cheng, these flowers are jewels, sparkling with light, and revealing many prisms of natural beauty.
Living in Los Angeles has broadened both her ability to reach an appreciative audience and her own perspective; but her work process remains rooted in film rather than in the digital age so much of Los Angeles represents and embraces. There is nothing immediate about her act of creation, and she likes it that way. “Although its digital era, I still like working with a traditional camera and film. I shoot with a medium format camera and film, and print my work myself in the darkroom.”
Returning to the meaning within her current floral series, the idea of rebirth and spirituality is strong for the artist in regard to the lotus flower. She introduces these concepts seemingly effortlessly into her work. “The lotus is an iconic flower in Chinese culture. It has a meaning of purity, it’s very strong in spirituality.”
She adds that in the latest images from this series, the palette is a sunshine yellow and flame red. “The image is yellow with a little red, like a refining fire. It is thought that those colors make a person restore, confirm, strengthen and establish themselves.” The idea of a refining fire, she explains, extends to the creation of beautiful jewelry, as well as for people. That refinement is a process uses in creating fine jewelry as well, and ties into Cheng’s idea of the flower itself as a jewel.
Certainly each of Cheng’s images are jewel-like: a prism of perfection that radiates both beauty and strength. Dive in.
Artist Karin Siba offers sensual, deeply resonant images – landscapes, the female face – all are vivid with color, and alive within and through layers. This deeply resonating work feels immediate, vital, and elegaic at the same time. It takes a vivid moment and captures that moment’s emotion.
Skiba says her work reflects an ongoing process of art, one that “evolves as I do, involving layering metaphor and imagery much like all of contemporary life. It changes and flexes and reflects what I am experiencing as an artist in the world. It is my interpretation of the life I am living. “
She says “I love fashion photography and it inspires me to make my own fictional portraits of women. Sometimes I use a photo as a base to do a drawing that turns into a mixed media work. The result is a surprise to me depending on how the work grows and changes under my brush and scissors.” According to the artist “Using a variety of material – old paintings and drawings, magazine clippings, photos – all make for a rich collage of color and shape. I think fashion is an art form in itself and a great resource of information.”
“My ‘ecofictional’ landscapes and trees come from my experience with nature, and they usually involve my own photos layered in to give different realities to the finished work. Architecture is fascinating and makes its way into the work as well,” Skiba explains, adding that photographing areas that have meaning for her and including them in her work adds yet another dimension.
Each of her works truly grabs the viewer with color, motion, and with its range of material, all of which fits together like the cohesive pieces of a glowing puzzle: photography, prints, painting, drawing.
She frequently depicts female faces in both her mixed-media work and paintings. To the viewer, her images are both beautiful and mysterious; these faces are lovely yet internal; dream-like.
Many of her paintings feature shades of the color blue taking the place of skin tones. This feels very natural even graceful, and adds to an aura both alluring and enigmatic.
“I have an instinctual way of working with color. For quite a few years now, I reach for blue to begin a work. It is comforting to me visually and works well with other colors,” she explains. “I love color in general and playing it against itself or a pure white background. I have a strong design background and making beautiful combinations of color is a natural.”
This intrinsic sense of color has shaped her work regardless of format throughout her work as an artist. In fact, the progression in her art over time has been reflected more in medium than in meaning, Skiba asserts.
“When I had a retrospective four years ago, I had no idea if the work from all those years would be cohesive,” she laughs. “But when we installed all the pieces covering 40 years, it was great. My style and color sense flowed! My work has changed in format, since I began with soft sculpture I dyed and sewed, then went on to cut out painted wood pieces. These went on to include words, then writing into the paint, then a switch to colored pencil then back to painting.”
As to her attraction to photographic images, she says “Photography has been present for many years in my art. I finally realized my father influenced me in a large way. He was a professional photographer and my favorite memories are watching him work in his darkroom.” She remarks that “Photos inspire me, and I am inspired by my own photos as well. So you will see some reference to photography as a medium on the pieces. Now I am obsessed with paper. Painting on it and cutting it, layering it, is what I am working with.”
Texture is certainly a strong part of all her work; her use of different textures and overlapping images shapes the experience of her art.
Artist Karin Skiba, above
Having made a move to the high desert also affects her work – its colors, style, and space. She reports that “Living in Joshua Tree has given me the chance to have more time in a great private studio space. That in itself is giving me freedom to explore more than ever. The art community is lively and I associate with artists more easily since we are all in a reachable area. You can really see here, it is not smoggy, there is a big sky. It seems to open you up to yourself.”
That openness is also visible in her work, which seems ever more expansive, in terms of both subject and approach.
For an upcoming solo show, HABITAT, her works involve “the concept of habitat or environs, whether residential or emotional. I am planning on using work I have created about Detroit, my home town, that illustrates photos I took there of downtown religious and residential architecture,” Skiba says. “Ohter work reflects the desert and the symboloism it generates.”
The exhibition will include collages that mix with watercolor and drawing. It opens November 2nd at the historic 29 Palms Art Gallery, originally an adobe home built for Western pulp fiction author Tom Hopkins, located at the Oasis of Mara in Twentynine Palms, next to the Joshua Tree National Park Headquarters. Well worth a drive: enjoy the desert landscape and the internal landscapes of Skiba’s art.
