_art_ripoff_davidgorriz

Self-taught collage and mixed media artist, based in London.

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Love Bite: Laurie Lipton and Her Disturbing Black & White Drawings Directed, Edited & Filmed by James Scott

Today when most contemporary art is just decorative and is nothing more than commodities without meaning, art without soul and without substance, artists like Laurie Lipton have to be required. We all know many artists who could fit into that decorative art that says nothing but whom is buying for people because they have enough money to do it and thus be able to say a lot about their and theirs success. Laurie Lipton is the opposite, her art is something to trigger within you the things you may not have thought about, the things you’re frightened of, the things you don’t want to talk about , I'm sure most people would not want to hang one of his works in their homes. I came across the artwork of Laurie Lipton not so many years ago, I was living here in London and I remember that it had an enormous impact on me, I remember spending the next few days looking for most of the artwork and information about her that was on the internet, I even bought a couple of books of her artwork. His drawings are disturbing and terrifying at the same time, they make us reflect on individualism and the human condition in this consumer society and the acceptance of individual success as the only goal to achieve. The other day I saw the documentary "Love Bite: Laurie Lipton and Her Disturbing Black & White Drawings" and I thought it was a great documentary that brings you very close to her as an artist and her motivations to continue drawing. 

I highly recommend watching 

Love Bite: Laurie Lipton and Her Disturbing Black & White Drawings

Directed, Edited & Filmed by James Scott

"No one on the planet has drawn more than Laurie Lipton. With millions of tiny strokes of her humble pencil, Laurie’s haunted images seek answers to some of the most uncomfortable themes in our culture. But what compels her to live a life of isolation drawing is neither black nor white."

Laurie Lipton was born in New York and began drawing at the age of four. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honors). She has lived in Holland, Belgium, Germany, France, the UK and has recently moved to Los Angeles after 36 years abroad. Her work has been exhibited extensively throughout Europe and the USA.

Lipton was inspired by the religious paintings of the Flemish School. She tried to teach herself how to paint in the style of the 16th century Dutch Masters and failed. When traveling around Europe as a student, she began developing her very own peculiar drawing technique building up tone with thousands of fine cross-hatching lines like an egg tempera painting. “It’s an insane way to draw”, she says, “but the resulting detail and luminosity is worth the amount of effort. My drawings take longer to create than a painting of equal size and detail.”

“It was all abstract and conceptual art when I attended university. My teachers told me that figurative art went ‘out’ in the Middle Ages and that I should express myself using form and shapes, but splashes on canvas and rocks on the floor bored me. I knew what I wanted: I wanted to create something I had never seen before, something that was brewing in the back of my brain. I used to sit for hours in the library copying Durer, Memling, Van Eyck, Goya and Rembrandt. The photographer, Diane Arbus, was another of my inspirations. Her use of black and white hit me at the core of my Being. Black and white is the color of ancient photographs and old TV shows… it is the color of ghosts, longing, time passing, memory, and madness. Black and white ached. I realized that it was perfect for the imagery in my work.”

Some of her latest drawings from the series "Post Truth" and “Techno Rococo"

“Meeting” Laurie Lipton 2020

“Followers” Laurie Lipton 2020

“Left Hanging” Laurie Lipton 2020

“Blinds” Laurie Lipton 2020

“Binge Watching” Laurie Lipton 2018

“I’m Fine, Thanks” Laurie Lipton 2018

“Mouthpiece” Laurie Lipton 2017

“Post Truth” Laurie Lipton 2017

“Personal Effects” Laurie Lipton 2016

“Virtual Reality” Laurie Lipton 2015

“Happy” Laurie Lipton 2015

“The Decline Of Memory” Laurie Lipton 2020

“Ossified” Laurie Lipton 2019

Drawing  “Ossified” Laurie Lipton 2019

“Newsfeed” Laurie Lipton 2019

“My Social Media” Laurie Lipton 2019

“Alone In A Room, Socializing” Laurie Lipton 2018

“Messaging” Laurie Lipton 2018

“Default Setting” Laurie Lipton 2016 

“Likes” Laurie Lipton 2017

“Selfie” Laurie Lipton 2017

“3D” Laurie Lipton 2015

“Cooked” Laurie Lipton 2015

“Wired” Laurie Lipton 2013

You can find more of her artwork here  https://www.laurielipton.com/

Hope you like it as much as I do

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Series “The Ten Commandments”   Magazine “Estudios”  Valencia 1934  Josep Renau (Valencia 1907 / East Berlin 1982)

Renau is certainly next to John Heartfield the best political photo-montagist of all time, both of them were pioneers using the art as a political revolutionary weapon. I always enjoy with his vital and prolific life, like a revolutionary and an artist. His prolific artistic career includes a lot of political propaganda posters, photo-montages and murals. Recently as a visit to my mum’s house I had the opportunity to come upon with his books again. I would like to share with you the series of photo montages “ The Ten Commandments “ , this series appeared published at the political magazine Estudios (Valencia) during the year 1934. In this series we can see his sharp critique of bourgeois morality, I hope you like it as much as I do.

You shall have no other gods before me

Series “The Ten Commandments” no. 01

Magazine “Estudios” no. 126 Valencia 1934

You shall not make wrongful use of the name of your God

Series “The Ten Commandments” no. 02

Magazine “Estudios” no. 128 Valencia 1934

Remember the Sabbath and keep it holy

Series “The Ten Commandments” no. 03

Magazine “Estudios” no. 129 Valencia 1934

Honor your Father and Mother

Series “The Ten Commandments” no. 04

Magazine “Estudios” no. 130 Valencia 1934

You shall not murder

Series “The Ten Commandments” no. 05

Magazine “Estudios” no. 131 Valencia 1934

You shall not commit adultery

Series “The Ten Commandments” no. 06

Magazine “Estudios” no. 132 Valencia 1934

You shall not steal

Series “The Ten Commandments” no. 07

Magazine “Estudios” no. 133 Valencia 1934

You shall not bear false witness against your neighbor

Series “The Ten Commandments” no. 08

Magazine “Estudios” no. 134 Valencia 1934

You shall not covet your neighbor's house

Series “The Ten Commandments” no. 09

Magazine “Estudios” no. 135 Valencia 1934

You shall not covet your neighbor's wife

Series “The Ten Commandments” no. 10

Magazine “Estudios” no. 136 Valencia 1934

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From the series Dystopian. Indentations in the water.

Handmade collage / 33x39cm / 2018

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Portraits of Children Who Have Seen Too Much Too Soon / Gee Vaucher

From the series Portraits of Children Who Have Seen Too Much Too Soon , 2006 Gee Vaucher Exhibition "Gee Vaucher: Introspective" at Firstsite, Colchester 12 November 2016-19 February 2017

It’s been almost two years I saw the exhibition “Gee Vaucher: Introspective” at Firstsite Colchester , Colchester. Amazing show of one of my favour artist ever. It was great to see all her artwork in one show, as her career spans more than forty years the exhibition included collage, photography, photomontage, painting, sculpture, film, performance, typography. Most of the stuff which make up the show I’ve been seeing it for years at books and cover records but staring at the original and nearly touch them it was just amazing. Remember to get astonished when I came into the room which this big canvases (almost 3x3m) from the series “Portraits of Children Who Have Seen Too Much Too Soon” where staring at me. Today I come across this Old Children meanwhile I was searching some pictures, I would like to share them with you, hope you can get hooked as I did.

Penny Rimbaud wrote a text called "A very private person" for the catologue of Gee Vaucher exhibition, I got just a part of this text when he told us this nice hystory about this series of paintings.

Outside the old farm cottage which I share with Gee and sundry others, there’s a cowshed where sad-eyed cattle chew the cud and attempt to ignore the cohabiting vermin. Like it or not, mice and rats are not a problem on farms; they’re a simple fact. Until recently, tucked away in the corner of the cowshed, there was a huge wooden box. It had been there for the best part of five years, long enough for it to look like a piece of agricultural architecture, and long enough for it to have become a home to the mice and rats. Every-so-often the cows used it as a back-rub, leaving an oily sheen across the slowly weathering wood: the patina of time. Inside the box were four of Gee’s paintings; exquisitely tender portraits of war-torn children, be that global war or the more personal violence of domestic abuse. Gee had often in the past referred to these paintings as her ‘children’. The four paintings had last seen the light of day in New York, at the Gavin Brown Gallery. Gavin had shown the portraits as part of her first major solo show which, like this one, was very appropriately titled ‘Introspective’; he’d wanted to showGee’s work because he ‘believes’ in her . Following the private view, Gavin invited Gee and myself to dinner at a tastefully chic Italian restaurant whose sheer classiness allowed for our bohemian appearance and attitude to go by unnoticed. Stepping outside into a drizzly New York evening for a much needed pre-desert smoke, I was joined by Gavin who expressed bemusement at Gee’s attitudes.   “What does she want?” he asked.   “I don’t know,” I responded. “But you’ve known her for years,” he interjected. “Yes, but she’s a very private person and, to be frank, I’m really surprised that’s she’s allowed this show to happen at all.” “So how can I help?” asked Gavin despondently. “You can’t,” I muttered, stubbing out my cigarette and heading back towards the awaiting creme caramels. Having travelled across America to San Francisco and then on to Los Angeles, the show returned to New York where the four portraits were packed into a wooden box and shipped back to the UK. That was five years ago, and the box had stood in the cowshed ever since, untouched by human hands, unseen by human eyes. Gee used to say that she thought her ‘children’ were safe out there. Meanwhile, I worried about the mice and rats: I’d seen what they could do to discarded wooden cooking spoons, seen what they did to Gee’s oil pastels; they ate the lot, and that was inside the house, not outside. If Gee had any interest at all in self-promotion or in the business-led interests of the art world, those four paintings would by now be hanging in London’s Tate Modern or New York’s MOMA. That’s where I’d like them to be . These are important works, works of our time which should be seen because, rather than confirming the shabby, inconsequential interests of Saatchi and his likes, they challenge post-millennium complacency to its very core: ‘the poetry is in the pity’. This might not be the sort. of work that we want to see, but most certainly it is the type of work that we need to see and, indeed, ought to see. As it stood, these poignant expressions of love and its cultural betrayal, both of the paintings and of their artist, could well have been hidden away in their wooden box long after Gee and myself have been assigned to wooden boxes of our own. I used to find the irony almost unbear-able. Nonetheless, there was something very touching about all this, in fact it seems to me to have had an almost religious association. Indeed, I somehow feel that it’s as if Gee saw her four children as being safe out there in the cowshed, tucked-up comfortably in the dark interior of the huge wooden box, surrounded by the sweet smell of hay and bovine breath, hidden away from the horrific ravages of war that had in the first place made their portrayal so very necessary.   I have the greatest respect for Gee’s privacy as an artist, and feel that I understand the protectiveness she shows toward her work, but, all the same, I continued to worry about the mice and rats, after all, it was they who had always benefited most from the ‘fodder’ of war. Why hand it to them on a plate?

BUT I NEVER SAID A WORD. ‘’HONEST’’

And now the children are out again, out to play, free if not to rewrite their own tragic history, then at least to inform or guide us ‘the people’, towards a better future. Then is this current show at last a glorious extrover-sion of that which for too long has been sealed in wooden boxes and stacked in dusty cupboards? I dearly hope so. By seeing her art essentially as a tool for social change, Gee has ducked and weaved her way through whatever medium might best express whatever it is that she seeks to say or, I concede, not say. Within paintings, drawings, collages, prints, films, happenings, sculptures, and soundscapes, her singular demand for human rights, dignity and fairness is always manifest. Expecting and more often than not demanding no returns, she has remained a resolute outsider, free to express herself as she desires, and completely divorced from any commercial consideration. In the laissez-faire world of postmodernist pretensions, her bohemianism is as laudable as her work is illuminating. Those who cannot see the light are those who are not looking for it.

Penny Rimbaud

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Series Eros Artscotch