tag:blogger.com,1999:blog-8208539775573290572024-03-05T00:23:01.593-08:00a journey by moonlightMarcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.comBlogger17125tag:blogger.com,1999:blog-820853977557329057.post-58925811855735299972017-12-18T11:39:00.000-08:002017-12-18T11:39:42.639-08:00Of Beauty<div class="separator" style="clear: both; text-align: center;">
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Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-1919552354091222802017-11-27T13:01:00.002-08:002017-11-27T13:01:59.787-08:00Of Beauty<div class="separator" style="clear: both; text-align: center;">
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<br />Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-39900547666278799552017-03-27T08:33:00.000-07:002017-03-27T08:33:32.933-07:00Review in Photograph Magazine by Lyle Rexer<h2 class="section-name dark-color">
Painting: Photographs by Marcia Lippman at Nailya Alexander Gallery </h2>
by Lyle Rexer<br />
<br />
This surprising exhibition from Marcia Lippman, on view at <span style="color: #3366ff;"><a href="http://www.nailyaalexandergallery.com/exhibitions/painting-photographs-by-marcia-lippman" style="color: #3366ff;" target="_blank">Nailya Alexander Gallery</a></span>
through March 2, is not what it first appears to be. Or rather, its
obvious pleasures are not to be enjoyed without some chastening.
Although the photographer herself would probably disagree, the show is a
bit like a brocade handbag with a blackjack inside. Lippman seems to
have surrendered completely to the blandishments of painting, which
early on supplied photography its compositional models, display
ambitions, and critical language. <br />
<br />
Seduced by the surface effects of
European masters from three centuries, Lippman photographed details from
paintings that include swatches of gowns, lace ruffs, the sensuous
backs of nudes. These virtuoso passages are replete with strokes of the
artists’ brush that incarnate the mystery photography can never
achieve: the tactile miracle of transformation, as specific gestures
become significant wholes. In the age of the cell phone, most of us
involved with photography have shot details in museums with a mixture of
envy and despair. As it has since the days of Steichen, poor
photography, recorder of two dimensions in the real world, must wait on
such condescending plenitude.<br />
<br />
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<br />
<br />
Except for the cracks. Lippman scans her film negatives and uses
software to heighten ever so slightly the appearance of tiny cracks in
the surface of the paintings. These and other delicate modifications
emphasize the inevitable breakdown of the artist’s materials under the
relentless pressure of time. It is in facing the question of time that
photography asserts its analytical priority, and Lippman’s project
displaces genuflection with introspection. These squares of eternity, of
supposedly timeless beauty, are rendered mortal. Lippman’s photographs
hold open the process that time itself would seal up, to show us the
work of time on pigments, oils, and canvas. This process contests the
painters’ gestures – more visible through Lippman’s intervention. In
seeming to submit to painting, these photographs triumph over it. Or
rather, they render its ultimate pathos (as only photographs can), a
pathos intimately bound up with love.<br />
Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-79398539115592866122017-01-24T09:17:00.000-08:002017-01-24T09:17:48.005-08:00Painting: Photographs by Marcia Lippman<div class="MsoNormal">
<span style="font-family: Cochin; font-size: 14pt;">I
am a thief of Beauty.</span></div>
<div class="MsoNormal">
<span style="color: black; font-family: Cochin; font-size: 14.0pt;">I
am a collector, and a hoarder of<span style="mso-spacerun: yes;"> </span>Beauty.<o:p></o:p></span></div>
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<!--StartFragment--><span style="font-family: Cochin; font-size: 14pt;">These
are the lush details that penetrated me, marked me, and thus are all fragments
of the archeology of my own past and my perceptual process, which, now merged,
have been reframed into something entirely new.</span><!--EndFragment-->
</div>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPb5fB4zonJhfy66LWtFIgoW9TF6OmH5uZ0ft2nfXkG5MKMIa0h6KcGzznru210o-22iYpV8F4EsNf6Md5PRgsX6rcmYqzwvRVkV_ZThoYvZWDu9V-79znkFgN6SpJ4FXreppTDhdzuey/s1600/6-collar_0266_16-11-8.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPb5fB4zonJhfy66LWtFIgoW9TF6OmH5uZ0ft2nfXkG5MKMIa0h6KcGzznru210o-22iYpV8F4EsNf6Md5PRgsX6rcmYqzwvRVkV_ZThoYvZWDu9V-79znkFgN6SpJ4FXreppTDhdzuey/s320/6-collar_0266_16-11-8.jpg" width="320" /></a>Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-40435232201675395652017-01-04T15:07:00.000-08:002017-01-04T15:07:18.774-08:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_gh3O4rGdoM4QwFGaHgt-3qWRrlKPCB7yEwakMMEacKoxW4rjGSLCO85uPcBlqw-yNOAFpU32qC1pDjKflwa10aaVIzlm9GHxQIyFv28Z5a7YSwtlsT1laEw5JxHLlL7eokFz5rFZfCB6/s1600/1-hand-polka-dot_1399.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_gh3O4rGdoM4QwFGaHgt-3qWRrlKPCB7yEwakMMEacKoxW4rjGSLCO85uPcBlqw-yNOAFpU32qC1pDjKflwa10aaVIzlm9GHxQIyFv28Z5a7YSwtlsT1laEw5JxHLlL7eokFz5rFZfCB6/s320/1-hand-polka-dot_1399.jpg" width="320" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcwYKLifHNsMgEYxKx7JceHgY43ESjYWt-MYL_A3BwXgyCLPMYGXHS2ZOo-3BMbSYoyD8GWcIORQndetAlc_Y7dxdxJYhK65KKIlzubXSFSgPCSkPiTmT7HocMO0ELEMDqS0J7ay3-ngu/s1600/11-bust-red_merged-0543_16-11-8.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcwYKLifHNsMgEYxKx7JceHgY43ESjYWt-MYL_A3BwXgyCLPMYGXHS2ZOo-3BMbSYoyD8GWcIORQndetAlc_Y7dxdxJYhK65KKIlzubXSFSgPCSkPiTmT7HocMO0ELEMDqS0J7ay3-ngu/s320/11-bust-red_merged-0543_16-11-8.jpg" width="320" /></a>Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-69113257221173073012016-12-02T11:28:00.001-08:002016-12-02T11:28:45.201-08:00Painting: Photographs by Marcia Lippman<div style="text-align: left;">
<b><span style="color: #274e13;">Nailya Alexander Gallery </span></b></div>
<div style="text-align: left;">
January 26th - March 2nd</div>
<div style="text-align: left;">
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<span id="goog_2127378086"></span><span id="goog_2127378087"></span><br />Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-79958245145859947692016-06-28T11:37:00.000-07:002016-06-28T11:37:32.864-07:00Constellation<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: 23.5pt; margin-top: 0in; text-align: justify; text-justify: inter-ideograph;">
<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: Baskerville; mso-bidi-font-family: ProximaNova-Regular;">“It is not
that what is past casts its light on what is present, or what is present its
light on what is past; rather… what has been comes together in a flash with the
now to form a constellation” </span></i><span style="font-family: Baskerville;"> ~Walter Benjamin</span></div>
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<span style="color: black; font-family: Baskerville;">These new photographs locate the
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history, memory, and the artist’s imagination coalesce. Made in 2014-2016,
these images of images isolate rapturous details where the meanings of life
accumulate. In one photograph, a black string tied into an off-kilter bow connects
the edges of a white collar that barely covers the pale human neck below; in
another, a half-closed hand falls on plush fabric, the result of a swoon, an
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<span style="color: black; font-family: Baskerville;">I use the camera to create a time
warp. The viewer’s eye volleys between mediums, between the temporal nature of
photography and the metaphysical power of painting and sculpture. In these
photographs of ancient art, the past continues into the present. These pictures,
mostly of European art, were made in the United States over a two-year period,
as I photographed in museums, antique shops, and historic houses. During the
previous forty years, I made black and white gelatin silver prints, focusing on
the pictorial and painterly aspects of photography. Working now in color and
digitally, each capture is in dialogue with my analogue negatives. This project
uses new technology to investigate old aesthetic and human values that do not
disappear with technical change. The clarity of these photographs is a point of
entry into the painting or sculpture. Paint cracks and the granularity of stone
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<span style="color: black; font-family: Baskerville;">These pictures transport the viewer
to a “constellation” of old and new techniques and imagery. My photographs
reject the false perfection of the whole, and instead lay claim to the ambiguity
of a single gesture. These pictorial fragments dislodge us even while their
familiarity—a hand, a dress, a neck—unite us with our ancient selves.<o:p></o:p></span></div>
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<span style="color: black; font-family: Baskerville;"><o:p>Marcia Lippman </o:p></span></div>
Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com1tag:blogger.com,1999:blog-820853977557329057.post-70723387467892599422015-06-09T08:15:00.002-07:002016-06-28T11:42:14.288-07:00House Stills<div class="separator" style="clear: both; text-align: center;">
'What thou lovest well remains'</div>
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<br />Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com1tag:blogger.com,1999:blog-820853977557329057.post-86923885474819253572013-09-06T13:05:00.000-07:002013-09-06T13:05:22.613-07:00<br />
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<span class="Apple-style-span" style="color: #3f3f3f; font-family: Times, 'Times New Roman', serif; font-size: 27px;">That Which Is: Marcia Lippman</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="color: #3f3f3f;">Outside
of New York, it becomes easier (read: less costly) for artists and dealers to
take real chances. A case in point was the exhibition of mostly small
photographic objects with large ambitions organized by the photographer Marcia
Lippman at <a href="http://www.kmrarts.com/shows/marcialippman.html"><span style="color: #3f3f3f; text-decoration: none; text-underline: none;">KMR Arts </span></a>in
Washington Depot, Connecticut. Lippman is known for her neo-pictorialist
aesthetic, an alignment that puts her closer to Clarence White than to Jeff
Wall. In this show she went all in to define her position vis a vis
contemporary photography. She hung her own work salon style in groupings
of photos from her collection of vernacular and historic images. She
called these 55 groups cantos, suggesting that each was a verse of a larger
poem. More like an epic of battle. With everything from tintypes and
embroidered images to French postcards, the show celebrated the many formats
that once populated the photographic landscape, but it also offered an in-your-face
response to the dominance of large-format color photography and the crushing
institutional sameness it has brought to the medium. It’s a sameness that
many younger photographers are slowly but surely rebelling against, on the one
hand through Instagram and on the other through deliberately vernacular
postures. The artist’s own images were anything but casual. Rather they
were a deeply personal gathering of old and new photographs shot in locations
from Italy to Argentina. Clearly the preoccupation here was the classic one of
reminiscence, of memory as a complex of impressions and associations, but
constantly revised, never static. Lippman’s “museum” was as dynamic and
open-ended as deck of tarot cards –ideal for plumbing the soul and reading the
future.</span><span style="font-size: 18pt;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="color: #3f3f3f;"><i><span style="mso-spacerun: yes;"> </span>Lyle Rexer</i></span><span style="color: #3f3f3f;"> <o:p></o:p></span></span></div>
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<span style="color: #3f3f3f;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">photograph,
september/october 2013</span><span class="Apple-style-span" style="font-family: ArialMT;"><o:p></o:p></span></span></div>
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<!--EndFragment-->Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-59532392581191992482013-07-17T07:53:00.003-07:002013-07-17T07:53:43.249-07:00That Which Is ~ Cantos I-V<div class="separator" style="clear: both; text-align: center;">
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<br />Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-66909978684713843042013-07-17T07:52:00.001-07:002013-07-17T07:52:45.066-07:00That Which Is ~ Cantos VI-X<div class="separator" style="clear: both; text-align: center;">
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<br />Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-29449023276568531602013-07-17T07:45:00.003-07:002013-07-17T07:45:35.569-07:00That Which Is ~ Artist's Statement<br />
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<span style="font-family: "Gill Sans";">That Which Is :
Marcia Lippman<o:p></o:p></span></div>
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<i>“I know this much: that there is objective time, but also
subjective time, the kind you wear on the inside of your wrist, next to where
the pulse lies. And this personal time, which is the true time, is measured in
your relationship to memory. "</i> <span class="Apple-style-span" style="font-family: 'Gill Sans Light';"><a href="http://www.goodreads.com/author/show/1462.Julian_Barnes"><span style="color: black; text-decoration: none; text-underline: none;">Julian Barnes</span></a>,
<a href="http://www.goodreads.com/work/quotes/15657664"><span style="color: black; text-decoration: none; text-underline: none;"><i>The Sense of an Ending</i></span></a></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">That Which Is,
is an installation combining my photographs with found photographs I’ve
collected over some 25 years. All the images, both mine and found, spoke
mysteriously to some stilled memories within me. Some inner sanctum was opened,
confirmed, affirmed by the texture of a marble statue, the melancholy of a deep
forest, the seductive glance from a Victorian cabinet card. These are the
things which penetrated me, marked me, and thus are all fragments of the
archeology of my past and my perceptual process, which, now merged, have been
reframed into something entirely new.<br /><br />The narrative
of their union veers between fact and imagination in visual poems which I call
Cantos. The Cantos, which are specific combinations of images, either alone or
groups of three, both mine and found, are themselves vignettes, snapshots which
converse with my past. Memories, especially childhood memories, shape our inner
world. They are the stories we tell to others as well as to ourselves in order
to make sense of our lives. They give resonance to what is unknown and unspoken,
and perhaps even what never really happened, but has become that which is.
Writers like Faulkner and Pinter, Barthes and Bachelard have all echoed
Proust’s thoughts that the remembrance of things past is not necessarily the
remembrance of things as they were. Oliver Sacks recently added that ‘ We now
know that memories are not fixed or frozen, like Proust’s jars of preserves in
a larder, but are transformed, disassembled, reassembled, and recategorized
with every act of recollection.’
These Cantos are an act of recollection. They speak to the subjective
and ephemeral nature of memory and reflect on the immediacy of our past in our
lives; the longing, the family secrets, the textures and stains, the loss, the
absence, the love, the beauty, the fears and the dreams, all pulled forward by
something in the present, by a physical object, by a photograph, which sends
each of us back to our own past. Memory and photography share an alchemic
relationship. That which was becomes that which is, and, in turn,that which
will be.<br /><br />I am a storyteller by nature. I tell stories with words and with images.
Time and Memory have been the recurring stories in my photographic work for
decades, long before I merged these two bodies of images and realized how,
together, they emerged as a fully realized visual memoir. As Rilke discerningly
observed,<span style="color: #131313;"> ‘Perhaps creating something is nothing
but an act of profound remembrance.’ </span></span><br />
<br />
Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-1899850731475530892013-07-17T07:39:00.000-07:002013-07-17T07:39:22.181-07:00That Which Is ~ Press Release<br />
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<span style="font-family: "Gill Sans Light";"><b>That Which
Is: Marcia Lippman<span style="mso-spacerun: yes;"> </span>Opens Saturday,
June 1, 2013 <o:p></o:p></b></span></div>
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<span style="font-family: "Gill Sans Light";">Washington, Ct.
May 17, 2013- Photography dealer Kathy McCarver Root and her gallery, KMR Arts,
proudly announce the opening of its latest show of fine art photography, “<b>That
Which Is: Marcia Lippman</b></span><span style="font-family: "Gill Sans Light";">.”
The exhibition will open June 1 with a reception with the artist from 2-5pm and
will continue through July 20, 2013. <o:p></o:p></span></div>
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<span style="font-family: "Gill Sans Light";">On June 1, 2013,
KMR Arts will open an exhibition of new work by Marcia Lippman. Entitled <b>That
Which Is</b></span><span style="font-family: "Gill Sans Light";">, this work
represents an entirely new direction for the artist, yet it also connects
deeply as a continuum of Lippman’s quest for beauty in the world and within
life itself. The exhibit consists of Lippman’s exquisite gelatin silver prints
combined with found photographs collected during decades of travels. The
various vernacular vintage photographs are in the form of portraits, snapshots,
hand colored photographs, cabinet cards, tintypes, and salt prints. Both
Lippman’s prints and the found photographs are presented in groups that the
artist has dubbed Cantos. These Cantos serve as visual poems or memoirs. At the
heart of this exhibition is the idea that memory and photography share an
alchemical relationship: photographs lead to and are closely connected to
memory. The show addresses the ephemeral nature of memory, desire, secrets,
truth, fiction, textures, time. The combination of Lippman’s own photographs
with these found photographs results in a recontextualizing of both into
something altogether new. The exhibition and the images in it invite the viewer
to make his or her own narrative as inspired by the images in the Cantos. <o:p></o:p></span></div>
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<span style="font-family: "Gill Sans Light";">Kathy McCarver
Root says, “It has been exciting to witness the development of this body of
Marcia’s work. These Cantos connect to the innermost human desire to create a
personal narrative through images. This exhibition will ultimately have the
feeling of an installation, a complete vision from an artist comprised of over
100 pieces. This work engages with a movement within the world of contemporary
art; artists like Tacita Dean, Lorna Simpson, Duane Michals, and Dan Estabrook
are incorporating found anonymous photographs into their work and giving them
an entirely new context while undermining our traditional view that historical
photographs are objective documents.” <o:p></o:p></span></div>
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<span style="font-family: "Gill Sans Light";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Gill Sans Light";">Marcia Lippman
has spent much of her life traveling the globe (Burma, Indonesia, Vietnam,
Thailand, India, England, France, Argentina, Italy, Czechoslovakia among
others) to destinations that possess a deep sense of memory, of history, and of
mystery. Her soulful, evocative, and meditative photographs resulted in a
monograph entitled Sacred Encounters, (Edition Stemmle, 2000).<span style="mso-spacerun: yes;"> </span>A second monograph, West Point,
(Stemmle, 2001), with an introduction by James Salter, comprised of photographs
created during a year in residence at West Point and was published on the
anniversary of West Point’s bicentennial.<span style="mso-spacerun: yes;">
</span>Lippman is a recipient of two New York Foundation for the Arts (NYFA)
grants and has been an influential teacher at Parsons School of Design and the
School of Visual Arts for many years.<o:p></o:p></span></div>
<!--EndFragment-->Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-78607802246464570762012-08-23T10:05:00.001-07:002012-08-27T10:14:19.455-07:00some new work...<div class="separator" style="clear: both; text-align: center;">
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Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-59888826257089882522012-01-07T15:31:00.001-08:002012-01-09T07:57:00.058-08:00Lecture at The Center For Alternative Photography 10/18/11<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="http://player.vimeo.com/video/34762058?byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe>Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-9312960760751587472010-08-25T08:43:00.000-07:002010-08-25T08:49:38.113-07:00Mi Buenos Aires Obscuro<!--StartFragment--> <p class="MsoNormal" style="text-align: center;"><i><span class="Apple-style-span" style="font-size:medium;">Lyle Rexer on Marcia Lippman's work.</span></i></p><p class="MsoNormal" style="text-align: center;"><i>______________________________</i></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-tab-span" style="white-space:pre"> </span>Artists create their own precursors.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Every work brings a history into being, a new path through the forest of the past.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Borges tells us this in his essay on Kafka.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">But every work also creates its own geography, new maps that draw continents where there had been only islands.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">In Buenos Aires, you cannot place where you are.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Is it New York, with its winter grayness and decaying infrastructure, its shedding plane trees?</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Certainly not an imperial capital like Madrid or a colonial capital like Mexico City.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">The absence of minorities is too glaring, the modernity too extensive, confirmed in the very fabric of its vast street grid. Horacio Coppola’s photograph of Corrientes Avenue at night, from the air, circa 1939, lit up like the Great White Way, conveys the flavor, the placeless self-confidence of a city without a past.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Or maybe the opening shot of the miniseries Epitafios, a long overhead of moving traffic in Anywhereopolis, identifiable only by the fact that everyone in the show drinks Malbec.</span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"> </span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-tab-span" style="white-space:pre"> </span>When Marcia Lippman arrived in Buenos Aires, she wasn’t sure where she was, except in a place that looked familiar but was utterly strange. It is so much easier to take pictures in a place that is strange.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">You are relieved of the burden of knowing anything, of having to distinguish between the obvious and the intimate.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">There is an openness in which you discover yourself and where you imaginatively are.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">That sense of discovery is all over these pictures.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">She gave up her aestheticizing distance and opened herself to emanations, to pathos.</span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"> </span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-tab-span" style="white-space:pre"> </span>The pictures are details of something larger but never imaged, snatches of light in a foreign tomb.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">That’s the terrible secret of Buenos Aires, that it looks so modern but it is a city of the dead.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Its famous cemeteries – Recoleta and Chacarita, are labyrinths, and Lippman, born a Catholic, raised a Jew, wandered there, looking for arrested time, broken sepulchers: a candelabra, like the ones often stolen from those very sepulchers, just as flowers are, for sale; a lace curtain, like those sold along with the piles of family silver in the flea market in San Telmo. A mortgaged past, mortgaged for a future that almost happened.</span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"> </span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-tab-span" style="white-space:pre"> </span>She did not go to La Tablada, the vast Jewish cemetery on the far outskirts for, above all, this was a Catholic journey. She had discovered her Catholic roots very late, because they were so deeply buried and denied. One of her pictures is a cross on a wall, divided between black and white, light and dark.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">This is the other secret of Buenos Aires: its primitive sanctity, its aura of devotion and violation. Broken sidewalks, broken tombs.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Dog shit and dulce de leche. </span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"> </span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-tab-span" style="white-space:pre"> </span>The city was exposed to the visitor, and she exposed herself to it.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">She found that the city did not end when and where she left it, that it has the strange power to impose a geography that does not appear on any map.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Sometime later Lippman was in Italy, and she found herself pursuing once again a visual itinerary of fragments, in a museum of shadows and frozen gestures.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Roughly thirty-five percent of the population of Buenos Aires is descended from Italian immigrants, and the photographer had traveled the path of return, a reverse diaspora. She carried with her the strange tango-flower of Catholic longing, so apparently alien to the new Italy, and planted it there, in the soil of a bright northern Italy where shadows are bad memories, the southern affliction.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">But how did all those elaborate buildings get built and those overripe paintings get painted, if not out of the spirit that she discovered in Buenos Aires? And was not Leonardo’s great artistic innovation the sfumato, the revelation that it is not line and light that create volume but shadow?</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">There is holiness even for the nonbeliever, especially for her, in Buenos Aires, capital of a new trans-oceanic nation named Caravaggio.</span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"> </span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-tab-span" style="white-space:pre"> </span>“There is an hour that makes the dusk your escort,” wrote the poet Paul Celan, thinking of a world like Lippman’s in which it is always twilight. The photographer used her last rolls of infra-red film for these pictures, and it feels almost sacramental, like the offering of some precious metal in hope of transubstantiation, a miracle. It is wholly appropriate that the properties of this film should never have been displayed so evocatively in her photographs until these final sequences, where subject and sensibility have united.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Shadows are smoke.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Light is liquid.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">The film itself passes out of its blank potential, passes away into its exposed and fixed form, into apparitional images. And the photographs seem not so much to record the world but to retrieve it from an encroaching dark, coax its last brilliance from a fading world.</span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"> </span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-tab-span" style="white-space:pre"> </span>Along with her film, the photographer herself passed out of one state and into another.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">That is what we see above all. Celan’s poem is about leavetaking, and Lippman in her arrival on a new continent is also taking leave. Or perhaps looking back, looking again.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">The paintings that appear so often in these photographs are not appropriations but reflections.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">The feet, hands and above all female breasts that the artist isolates form an inventory of self-examination.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">That is why the whole picture is not necessary, only those elements that the eye seeks and the heart needs.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">These beautiful fragments acknowledge the impulses behind devotion: desire and diminution, a sense of timelessness and the sense of an ending.</span><span><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">They remind us that twilight, although it is always nearer than we think, allows us enough light to witness the body’s radiance.</span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"> </span><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><i><span class="Apple-style-span" style="font-size:medium;">-Lyle Rexer</span></i></span></p> <p class="MsoNormal"><span style="font-family:";color:black;"><span class="Apple-style-span" style="font-size:medium;"> Brooklyn, New York</span><span style="mso-spacerun:yes"> </span></span></p> <!--EndFragment-->Marcia Lippmanhttp://www.blogger.com/profile/05177465836313971781noreply@blogger.com0tag:blogger.com,1999:blog-820853977557329057.post-67735054599960980742008-12-19T13:02:00.000-08:002012-08-27T10:13:28.355-07:00Twilight<div>
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