Beth Lipman

WILD MADDER (PLATE)

2021

black glass sculpture on a wood table depicting a scale and a gazing ball. Price includes travel and installation by the artist. work is currently in an ex...

ADRIANA MARMOREK LUSH, 2020 porcelain, blown glass 9.84 x 16.93 x 10.24 in. 25 x 43 x 26 cm. flower

BETH LIPMAN CLUSTER #17, 2020 black and clear glass, adhesive 8 x 15 x 13 in. 20.3 x 38.1 x 33 cm.

ADRIANA MARMOREK CONJUNCTION, 2020 porcelain, blown glass 11 x 7 x 7 in. 27.9 x 17.8 x 17.8 cm. flower

ADRIANA MARMOREK CAUSIS PLANTARUM PETAL, 2019 porcelain, blown glass 14.57 x 7.09 x 4.72 in. 37 x 18 x 12 cm. flower

Glass still-life assemblage with ferns, fish and bottles. Additional cost should be considered for the artist or an assistant to install the work.

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...

Robert Mickelsen Parasol, 2009 Borosilicate glass 33h x 34w x 34d in

Micah Evans Singer, 2014 Borosilicate glass 20.50h x 11.25w x 16.25d in

Pohlman and Knowles began their collaboration in 1992. They use a variety of materials in their rich assemblages, including hot-sculpted glass, various metal works, found objects and beads, achieving a fine sense of formal balance. Three notable research field trips...

hand blown glass, pigment and marble mix with Sumi ink