Early life and education
Lucy Rowland Lippard was born on April 14, 1937, in New York City. [3] She lived in New Orleans and Charlottesville, Virginia, before enrolling at Abbot Academy in 1952. [3] Her father, Vernon W. Lippard, a pediatrician, was assistant dean at Columbia University College of Physicians and Surgeons in 1939, followed by appointments as dean of Louisiana State University School of Medicine in New Orleans and the same position at the University of Virginia. [4] [5] From 1952 to 1967, he was dean of his alma mater, Yale School of Medicine. [6] Each of these very different places played a significant role in Lippard's childhood, as did the family summer home in Maine. [7]
She graduated from Smith College with a B.A. degree in 1958. [3] She went on to earn an M.A. degree in art history in 1962 from the Institute of Fine Arts at New York University. [8]
Just out of college, Lippard began working in the library at the Museum of Modern Art in 1958 where, in addition to reshelving the library after a fire, she was "farmed out" to do research for curators. [9] She credits these years of working at MoMA, paging, filing, and researching, with preparing her "well for the archival, informational aspect of conceptual art." [10] At MoMA she worked with curators such as Bill Lieberman, Bill Seitz and Peter Selz. [9] By 1966, she had curated two traveling exhibitions for MoMA, one on "soft sculpture" and one on Max Ernst, as well as worked with Kynaston McShine on Primary Structures before he was hired by the Jewish Museum, taking the show with him. [9] It was at MoMA that Lippard met Sol LeWitt who was working the night desk; John Button, Dan Flavin, Al Held, Robert Mangold, and Robert Ryman all held positions at the museum during this time as well. [9]
In 1960, she married then-emerging painter Robert Ryman, who worked at MoMA as a museum guard from 1953 until 1960. Before divorcing six years later, the couple had one child, Ethan Ryman, who eventually became an artist himself. [11]
Career
In 1966, Lucy Lippard organized the exhibition Eccentric Abstraction at Fischback Gallery in New York. With this exhibition, Lippard brought together a group of abstract artists which included Alice Adams, Louise Bourgeois, Lindsey Decker, Eva Hesse, Gary Kuehn, Bruce Nauman, Keith Sonnier, and more. [12] The exhibition focussed on the ‘use of organic abstract form in sculpture evoking the gendered body through an emphasis on process and materials.’ Lippard referred to eccentric abstraction as a “non-sculptural style,” which was closer to abstract painting than to sculpture. [13]
Lucy Lippard was a member of the populist political artist group known as the Art Workers Coalition, or AWC, which was founded in New York City in 1969. [14] Her involvement in the AWC as well as a trip she took to Argentina—such trips bolstered the political motivations of many feminists of the time—influenced a change in the focus of her criticism, from formalist subjects to more feministic ones. [15] Lucy Lippard is also believed to be a co-founder of West-East Bag, an international women artist network which was founded in 1971, in the early beginnings of the feminist art movement in the United States. Their newsletter W.E.B. mentioned tactics used against museums to protest the lack of female representation in museum collections and exhibitions. The group was dissolved in 1973. [16]
In 1975, Lippard travelled to Australia and spoke to groups of women artists in Melbourne and Adelaide about the creation of archives of women artists' work on photographic slides, known as slide registers, by West-East Bag, the idea being to counteract their lack of showings in art galleries. Lippard was a major influence in the establishment of the Women's Art Movement in Australia, [17] and developed a friendship with leading proponent Vivienne Binns, who later visited New York. [18]
In 1976, Lucy Lippard published a monographic work on the sculptor Eva Hesse combining biography and criticism, formal analysis and psychological readings to tell the story of her life and career. The book was designed by Hesse’s friend and colleague, Sol LeWitt. Each of her seventy sculptures and many of her drawings are reproduced and discussed within the book. Being a long-time friend of Hesse, Lippard treads a fine line between public and private life. She writes about the achievements and many struggles in Hesse’s life that had an impact on who she was as a person. Eva Hesse was born in 1936, in Germany, but because of her Jewish upbringing she and her family were forced to flee from the Nazi regime in 1938, arriving in New York in 1939. During their flight, Hesse’s father kept diaries of the journey for each of the children, a habit Hesse returned to later in her life. In these diaries she talked about the struggles in her life. Hesse is an American artist known for her innovative use of materials in her sculptures, such as fibreglass, latex and plastics. This innovative use of ‘soft’ materials, have become an inspiration source for a younger generation of women artists. Lippard further writes that although Hesse died before feminism affected the art world, she was well aware of the manner in which her experience as a woman altered her art and her career. In writing this important work on Eva Hesse, Lucy Lippard has tapped into her knowledge of and passion for feminism, particularly within the art world. Although the book is long out-of-print, this classic text remains both an insightful critical analysis and a tribute to an important female artist ‘whose genius has become increasingly apparent with the passage of time.’ [16]
Since 1966, Lippard has written thirty books on feminism, art, politics, and place, as well as a novel and experimental works in fiction and autobiography. [19] She has received numerous awards and accolades from literary critics and art associations. [20] A 2012 exhibition on her seminal book, Six Years: The Dematerialization of the Art Object at the Brooklyn Museum, titled "Six Years": Lucy R. Lippard and the Emergence of Conceptual Art", cites Lippard's scholarship as its point of entry into a discussion about conceptual art during its era of emergence, demonstrating her crucial role in the contemporary understanding of this period of art production and criticism. [21]
Co-founder of Printed Matter, Inc (an art bookstore in New York City centered on artist's books), the Heresies Collective, Political Art Documentation/Distribution (PAD/D), Artists Call Against U.S. Intervention in Central America , and other artists' organizations, she has also curated over 50 exhibitions, made performances, comics, guerrilla theater, and edited several independent publications, including El Puente, a monthly community newsletter, from her home in Galisteo, New Mexico, where she moved in the early 1990s. [22] [23] She has infused aesthetics with politics, and disdained disinterestedness for ethical activism. [24] [25]
She was interviewed for the film !Women Art Revolution . [26]
In 2023, she published a pictorial autobiography, Stuff: Instead of a Memoir. [27]
