A visit to the Museum of Arts and Design for a look at “Beth Lipman: Collective Elegy” with curator Samantha De Tillio. The exhibition is a mid-career survey of the Wisconsin-based artist’s practice over the past 20 years. It includes objects crafted in metal and clay, photographs and video, and most notably, works of glass that deal with history, fragility and mortality.

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> NEXT, A VISIT TO THE MUSEUM OF ARTS AND DESIGN ON COLUMBUS CIRCLE.

THE MUSEUM CELEBRATES THE WORK OF ALL KINDS OF MAKERS, CRAFTS PEOPLE, DESIGNERS AND TRADITIONAL ARTISTS.

THEIR CREATIVE WORK RANGES FROM THE OBJECTS WE USE IN OUR DAILY LIVES TO RARE WORKS OF ART.

CURRENTLY ON VIEW IS THE WORK OF TWO ARTISTS WORKING IN GLASS.

EACH MAKING WORKS THAT CHALLENGE THE DISTINCTIONS BETWEEN THE FINE AND DECORATIVE ARTS.

BRIAN CLARK, THE ART OF LIGHT, FEATURES INNOVATIVE WORKS OF STAINED GLASS BY THE ARTIST.

HE TRANSFORMS THIS TRADITIONAL PRACTICE, EXPLORING BOTH THE BRIGHT AND THE DARK POSSIBILITIES OF THE MEDIUM.

BETH LITMAN INCLUDES OBJECTS CRAFTED IN METAL AND CLAY, PHOTOGRAPHS AND VIDEO AND MOST NOTABLY SPECTACULAR WORKS OF GLASS BY THIS WISCONSIN-BASED ARTIST.

THE EXHIBITION HIGHLIGHTS LIPMAN'S ONGOING CONCERNS WITH HISTORY, FRAGILITY AND MORTALITY.

NYC ART SPOKE WITH THE CURATOR.

IT IS A COLLECTION OF WORKS BY BETH LIPMAN.

IT IS A MID-CAREER SURVEY AND LOOK AT HER PRACTICE OVER THESE PAST 20 YEARS.

THE EXHIBITION IS NOT FORMALLY BROKEN INTO ANY CATEGORIES, BUT THERE ARE VARIOUS THEMES THAT PERMEATE HER WORK.

AND ONE OF THOSE IS THIS INTEREST IN THE PASSING OF TIME AND MORTALITY AND DEATH.

MARGIN FOR ERROR, CRIB AND CRADLE USES TWO FAMILIAR FURNITURE FORMS TO INVESTIGATE THE IDEA OF THE PASSAGE OF TIME AND THE LIFE CYCLE.

THE CRIB IS AN INFANT CRIB FORM, AND IT'S SINKING INTO THE FLOOR AND PROPELLING THE INHABITANT FORWARD.

AND THE CRADLE IS ACTUALLY AN ADULT CRADLE MODELLED OFF OF A FORM POPULARIZED BY THE SHAKERS THAT WAS USED FOR ROCKING ILL ADULTS.

THE WORK IS REALLY TALKING ABOUT THE NAKEDNESS AND VULNERABILITY IN WHICH WE INHABIT BOTH OF THOSE EXTREME ASPECTS OF THE LIFE CYCLE.

IN A VERY DISTRICT RELATIONSHIP, THE WORK THAT SHE IS BUILDING IS PREDICATED ON THE STILL LIFE TRADITION, THE BRINGING TOGETHER OF DESPERATE OBJECTS TO CREATE THESE TABLESCAPES OR IMAGES WHERE OBJECTS ARE REALLY TAKING CENTER STAGE.

IN 2000, AN EXHIBITION COORGANIZED BY URBAN GLASS, SHE CHOSE A STILL LIFE PAINTING TO MAKE WORK AFTER OR INSPIRED BY.

HER ART WORK HAD A LOT OF THE SAME ELEMENTS.

AND THEN OVER THE COURSE OF HER CAREER, SHE BEGAN TO CREATE HER OWN ASSEMBLAGES OF THIS KIND OF VOCABULARY OF SYMBOLS.

SHE USES MONOCHROME COLORLESS GLASS.

SOME PIECES SHE HAS WORKED IN BLACK GLASS.

SHE'S TRYING TO REALLY FRUSTRATE THE EYE OF THE VIEWER, SO YOU HAVE TO LOOK CLOSELY.

HER WORK IS CRITIQUING THIS INCESSANT NEED TO CONSUME.

THE VIEWER CAN'T EVEN REALLY POSSESS HER WORK WITH HER EYES BECAUSE IT'S HARD TO DISCERN THE INDIVIDUAL OBJECTS.

SHE TRAVELED TO THE NETHERLANDS AND SAW THE STILL LIVES OF THE OLD MASTERS.

THE DUTCH EAST INDIA TRADING COMPANY WAS AT ITS HEIGHT DURING THIS PERIOD, SO GOODS FOR BEING TRADED AROUND THE GLOBE.

THERE WAS A RISE OF A MERCHANT GLASS.

TO ASSEMBLE A STILL LIFE PAINTING THAT INCLUDED EXOTIC FRUITS OR GOODS YOU WOULDN'T HAVE GOTTEN IN YOUR HOME COUNTRY WERE JUST WAYING OF ASSEMBLING YOURWET AND SHOWING YOUR WORLDLINESS.

CRITIQUING CONSUMERISM THROUGH THE STILL LIFE AND THROUGH THESE KINDS OF AVENUES OF HISTORY IS SOMETHING THAT BETH IS REALLY INTERESTED IN.

SO THESE TABLE INSTALLATIONS WILL ALWAYS HAVE AN ARRANGEMENT OF GOBLETS, MAYBE COVERED JARS, BREAD, FRUIT, PERISHABLE GOODS.

THESE ARE ALL THINGS WE FOUND IN STILL LIFE PAINTINGS, BUT BETH COMBINES THEM IN HER OWN WAY.

AND YOU CAN SEE AS HER WORKS BECOME LARGER IN SCALE THIS KIND OF SPREAD WHERE YOU'RE LOOKING AT THE RESIDUE OF A FEAST THAT WASN'T CLEANED UP.

IT'S JUST LANGUISHING THERE ON THE TABLE AND THERE ARE TEXTILES AND GOBLETS AND SPILLING FOOD AND BOOKS AND ALL THESE MARKERS OF CULTURE AND CIVILIZATION.

BUT SIMULTANEOUSLY KIND OF POINTING OUT THIS EXCESSIVENESS.

UNDERNEATH THE TABLE IS THIS LANDSCAPE THAT INCLUDES GINKOS, FERNS, THE PLANTS THAT HAVE BEEN AROUND FOR MILLIONS OF YEARS AND CONTINUE TO BE AROUND TODAY.

THERE IS A PLANT LIFE UNDERNEATH.

THERE IS CULTURAL OBJECTS ON TOP.

THE PLANTS REALLY BURST THROUGH THE TABLETOP AND SHOW THIS RELATIONSHIP BETWEEN HUMANS AND THE ENVIRONMENT AND THE INTERCON NETTEDNESS BETWEEN THIS ALL.

THE BROKEN GLASS COMES WITH IT AND IT'S INTENTIONAL.

SHE HAS A PHILOSOPHY OF BREAKAGES AND THE POSSIBILITY FOR BREAKAGES, AGAIN, THE FRAGILITY OF LIFE.

SHE'S NOT ALWAYS UPSET IF A LITTLE PIECE BREAKS HERE OR THERE.

BUT I WILL SAY NOTHING BREAKS HERE AT THE MU SE YUM THAT'S IN HER OWN STUDIO.

FOR HER, THE KIND OF LIKE RISK INVOLVED AND THE MATERIALITY ITSELF IS PART OF THE PROCESS.

BETH ACTUALLY NAMED THE EXHIBITION COLLECTIVE ELGY THINKS ABOUT THIS RELATIONSHIP BETWEEN HUMANS AND THE ENVIRONMENT.

FOR ME, AS WE PROGRESS THROUGHOUT THIS YEAR, WE BEGAN TO TAKE ON THIS IDEA OF PERHAPS A COLLECTIVE DYING OFF OF THE OLD WAYS AND THINKING TOWARDS A FEW FUTURE.

SO WHILE IT CAN CAST NEGATIVE CONNOTATIONS, I ACTUALLY THINK OF IT AS A FAIRLY HOPEFUL TITLE.

> NEXT, WE'LL VISIT THE