The pieces I make are simple but finely detailed vessels. Manipulating the color and patterns in the wood to complement the form, and the texturing and carving to create visual and tactile contrasts are important parts of the process and the result. What I feel is most important is the intangible quality that the piece is "right" that comes with putting emotion and feeling into the work. A simple object can be very powerful and emotional just for what it is. These pieces are simply decorative vessels that reflect my interest in surface textures/contrasts and form, and the personal responses that I have to them, which I suspect are similar to the feelings that makers of objects have felt for thousands of years.
Born and raised in Toronto, Dr. Irving Lipton (1923 - 2001) built what was, for a while, the largest contemporary wood collection in the world. He and his wife, Mari, settled in California in the 1950s but his passion for wood art did not start until 1972 when, at the Westwood Art Fair, he acquired a thirty-five-dollar jewelry box from Michael Graham. Some months later, he encountered Graham again, and heard of his idea for a much fancier jewelry box, one the artist couldn’t afford to build. Lipton committed to buying the piece on the spot, allowing the artist to get started on the project. The resulting box was exhibited at several museums and galleries before Dr. Lipton received it, sparking in him an excitement for collecting that would only grow.
Dr. Lipton...became a true patron of the arts, explaining “I see a remarkable comparison with my profession as a pediatrician in stimulating the growth and development of contemporary wood art.”
Dr. Lipton developed into more than just a collector, he became a true patron of the arts, explaining “I see a remarkable comparison with my profession as a pediatrician in stimulating the growth and development of contemporary wood art.” He nurtured close, personal relationships with the artists whose pieces he collected, and he delighted in seeing the evolution of their work over time. Dr. Lipton’s primary criteria for acquisitions revolved around the artist’s vision and their ideas; he had a profound appreciation for, and curiosity about, each work and their creator, reflecting that his “horizons of thought and concept have been broadened, and collecting has helped me to be a more sensitive and mature individual.” He even postponed his retirement from medicine to continue supporting artists and adding to his collection.
Dr. Lipton also recognized the importance of sharing these fine creations with the world.
Dr. Lipton also recognized the importance of sharing these fine creations with the world. Much of his collection was exhibited internationally, and he would go on to donate pieces to a number of organizations and institutions, including the Los Angeles County Museum of Art, the Minneapolis Institute of Arts, and the Yale University Art Gallery. As a result of his personal connections with artists and his approach to acquiring pieces over the course of their careers, his collection became a fascinating repository which documented the evolution of individual artists as well as of the field of woodworking as a whole.
Bibliography
Wallace, Kevin. The Cutting Edge: The Lipton Collection and Contemporary Wood Art. Antioch, CA: Fine Arts Press, 2011.
Auction Results John Jordan
