Beth Lipman is an American artist whose sculptural practice generates from the Still Life genre, symbolically representing the splendor and excess of the Anthropocene and the stratigraphic layer humanity will leave on earth. Assemblages of inanimate objects and domestic interiors, inspired by private spaces and public collections, propose portraits of individuals, institutions, and societies. 

Through works in glass, wood, metal, photography, and video, Lipman presents a meditation on our relationship to Deep Time, a monumental time scale based on geologic events that minimizes human lives. Each installation is a reimagining of history, created by placing cycles often separated by millenia in proximity, from the ancient botanical to the cultural. The incorporation of prehistoric flora alludes to the impermanence of the present and the persistence of life. The ephemera of the Anthropocene becomes a symbol of fragility as the human species is placed on a continuum where time eradicates hierarchy.

Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall(Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the North Carolina Museum of Art, Brooklyn Museum of Art (NY), Kemper Museum for Contemporary Art (MO), Smithsonian American Art Museum (DC), Jewish Museum (NY), Norton Museum of Art, (FL), and the Corning Museum of Glass (NY). 

Lipman has received numerous awards including a USA Berman Bloch Fellowship, Pollock Krasner Grant, Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. She has been an Artist in Residence at the Alturas Foundation, the John Michael Kohler Arts Center’s Arts/Industry Program, and the Smithsonian Artist Research Fellowship. Recent works include Living History, a large-scale site-specific commission for the Wichita Art Museum (KS) that investigates the nature of time and place and Belonging(s), a sculptural response to the life of Abigail Levy Franks for the Crystal Bridges Museum of American Art (AR).

Lipman’s work is on view now in three independent installations including: Hive Mind at Iowa State University, Ames, Iowa; ReGift at the Toledo Museum of Art (TMA), Toledo, Ohio; and the permanent installation One’s-Self I Sing at theMuskegon Museum of Art (MMA), Muskegon, Michigan. To celebrate the official unveiling of One’s-Self I Sing, the MMA is hosting an Artist Talk and Unveiling Reception this Thursday, July 17 at 7 p.m. The event is open to the public and free to attend. Find out more at

www.muskegonartmuseum.org

Suspended in the museum’s central atrium, the sculpture explores the interconnectedness of time, culture, and nature through materials such as glass, wood, metal and gypsum. Measuring approximately 240 x 120 x 60 inches, One’s-Self I Sing functions as an “exploded” still life – an expansive, suspended constellation of objects that invites viewers to reflect on humanity’s place within Deep Time and the Anthropocene. Says Lipman: “The marriage of transparent and opaque forms alludes to what is seen and known juxtaposed with what is concealed and lost over time.”

The sculpture spans both floors of the museum, encouraging viewers to encounter it from multiple vantage points. Braided suspension cables carry the piece vertically through space, suggesting both ascent and descent, growth and entropy. Lipman incorporates subtle visual references to the Muskegon Museum of Art’s permanent collection, binding the sculpture to the museum’s history while extending its meaning outward across time.

“One’s Self I Sing is a showstopping first impression when visitors walk into the museum,” says Kirk Hallman, Executive Director of the Muskegon Museum of Art. “It’s a powerful and visually stunning complement to the museum’s new Bennett Schmidt Pavilion and a bold reflection of the MMA’s ongoing commitment to celebrating women artists.”

Enjoy this conversation with Lipman about current installations, artistic motivations and the behind the scenes challenges of creating site-specific work that communicates to viewers.