{"id":66307,"date":"2026-02-17T09:28:07","date_gmt":"2026-02-17T14:28:07","guid":{"rendered":"https:\/\/alumni.cornell.edu\/cornellians\/?p=66307"},"modified":"2026-02-17T10:10:01","modified_gmt":"2026-02-17T15:10:01","slug":"lipsky-artist","status":"publish","type":"post","link":"https:\/\/alumni.cornell.edu\/cornellians\/lipsky-artist\/","title":{"rendered":"\u2018I Hadn\u2019t Come for the Oddness of the Art World\u2019"},"content":{"rendered":"\n

In a memoir of her six-decade career, painter Pat Sutton Lipsky \u201963 reflects on life, work, and the power of color<\/p>\n\n\n\n

By Joe Wilensky<\/strong><\/p>\n\n\n\n

\u201cMy love of color\u2014it\u2019s an innate thing,\u201d says Pat Sutton Lipsky \u201963, who has been a prominent artist for more than a half century. \u201cI have a feel for it, like you might have a feel for the piano.\u201d<\/p>\n\n\n\n

Lipsky<\/a> is acclaimed as a \u201ccolor field\u201d painter\u2014an abstract artist who uses expanses of color on canvas to, as she describes it, “create relations between variations and nuances of hue.”<\/p>\n\n\n\n

It\u2019s a freezing-cold day in late January, and she\u2019s sitting in her studio in Manhattan\u2019s Chelsea neighborhood, surrounded by stacked canvases and dozens of paint cans. A large work in progress lies on a table in front of her, its bold stripes still wet in spots.<\/p>\n\n\n\n

\"Pat
Johnson Museum of Art<\/figcaption>
Her 1976 work Episcopalian Pandemonium<\/em> is in Cornell’s collection.<\/figcaption><\/figure>\n\n\n\n

Lipsky likens her engagement with color to an oft-quoted 1914 diary entry by the German expressionist Paul Klee: \u201cColor and I are one; I am a painter.\u201d<\/p>\n\n\n\n

\u201cThat\u2019s sort of what it feels like,\u201d she says. \u201cI come here five days a week. It\u2019s what I do, and I know how to do it. I\u2019m very lucky that I am able to stand here, making paintings, and people are buying them. Amazing.\u201d<\/p>\n\n\n\n

\n

I\u2019m very lucky that I am able to stand here, making paintings, and people are buying them. Amazing.<\/p>\n<\/blockquote>\n\n\n\n

Lipsky\u2019s work is held in more than two dozen public collections, including the Whitney Museum of American Art, the Brooklyn Museum, the Smithsonian\u2019s Hirshhorn Museum, the San Francisco Museum of Modern Art, and Cornell\u2019s Johnson Museum.<\/p>\n\n\n\n

She had her first solo exhibition in NYC in 1970; her most recent, \u201cColor Next to Color<\/a>,\u201d was mounted in 2025.<\/p>\n\n\n\n

\"The<\/figure>
\n

Lipsky reflects on that long career in a recent memoir, Brightening Glance<\/em><\/a>: Art and Life<\/em>, published by University of Iowa Press in fall 2025.<\/p>\n\n\n\n

\u201cSome people are attracted to art for the chance to live like outlaws: outside the Monday and Friday margins, the hashmarks of nine and five. They do the minimum necessary work to qualify and really hope their lives will be the art,\u201d she writes.<\/p>\n\n\n\n

\u201cI hadn\u2019t come for the oddness of the art world. It was different for me at night: then I was as restless as anybody else. But my daytime model was Matisse, who painted in a business suit.\u201d<\/p>\n<\/div><\/div>\n\n\n\n

Comprising a dozen and a half essays, the book touches on her childhood in Brooklyn\u2019s Manhattan Beach neighborhood; her schooling and early influences (including impressionist painter Paul C\u00e9zanne); and her travels, friendships, and mentorships\u2014as well as a few romances\u2014with noted members of the art world, including fellow artists, critics, and dealers.<\/p>\n\n\n\n

\u201cA praised abstractionist on canvas, Pat Lipsky on paper proves to be a sensitive portraitist, with an astonishing command of the figures who surrounded her,\u201d says a review in the New Criterion<\/em>, going on to call the book a \u201cbittersweet and at times challenging depiction of art, love, and life.\u201d<\/p>\n\n\n\n

\n

A praised abstractionist on canvas, Pat Lipsky on paper proves to be a sensitive portraitist, with an astonishing command of the figures who surrounded her.<\/p>\nThe New Criterion<\/em><\/strong><\/cite><\/blockquote>\n\n\n\n

Lipsky majored in fine art in AAP, beginning her professional career as a young mother of two in the late 1960s, when NYC\u2019s SoHo neighborhood was an artists\u2019 haven, with vacant factories converted to vast studios.<\/p>\n\n\n\n

A review of her memoir in Lilith Magazine<\/em> lauds it for its feminist insights, noting that it explores \u201cher experience as a female artist infiltrating highly influential, male-dominated spaces and describing life of creative ferment and motherhood.\u201d<\/p>\n\n\n\n

Lipsky also spends a chapter\u2014titled \u201cComp. Lit.\u201d\u2014fondly recalling her years on the Hill.<\/p>\n\n\n\n

\n
\"Pat<\/figure>\n\n\n\n
\"Pat<\/figure>\n
As an undergrad in the Straight\u2019s Music Room, and in her SoHo studio in 1971.<\/figcaption><\/figure>\n\n\n\n

\u201cI\u2019m not sure I\u2019ve ever loved a single place more,\u201d she writes, describing the gorges, the campus, her academic pursuits, and her room on the top floor of Risley Hall.<\/p>\n\n\n\n

She earned a BFA, but spent as much time as she could outside the studio.<\/p>\n\n\n\n

\u201cCornell allowed me to develop my intellectual side, which I knew existed and which I wanted to focus on,\u201d says Lipsky, who went on to earn an MFA from Hunter College.<\/p>\n\n\n\n

\u201cI deliberately chose not to go to an art school because I had too many other interests, and I didn\u2019t want them to be ignored.\u201d<\/p>\n\n\n\n

\"Pat
Joe Wilensky \/ Cornell University<\/figcaption>
With her assistant, evaluating a painting in progress.<\/figcaption><\/figure>\n\n\n\n

Over her decades as an artist, Lipsky has refined and expanded her palette\u2014exploring, she says, “the feeling that interacting colors can create.” <\/p>\n\n\n\n

Her style often takes the form of repeating waves, stripes, and bursts that emphasize each pigment\u2019s physical presence.<\/p>\n\n\n\n

\n

Cornell allowed me to develop my intellectual side, which I knew existed and which I wanted to focus on.<\/p>\n<\/blockquote>\n\n\n\n

\u201cThe thing is to get the different colors carrying their own loads. (You don\u2019t want a color overwhelming its neighbors.) If the mixture doesn\u2019t pass muster, I add a little of this, a little of that, then dab it onto the canvas again,\u201d she explains in her memoir.<\/p>\n\n\n\n

\u201cUsually there are several attempts before I\u2019m ready to brush the new color on \u2026 The goal is a smooth, uninflected surface that doesn\u2019t show any \u2018hand.\u2019\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n

Fields of Color: A Sampling of Lipsky’s Work<\/h2>\n\n\n\n

(Story continues below)<\/em><\/p>\n\n\n\n

\"Pat
Springs Fireplace<\/em>.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"Pat
For Leslie<\/em>.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"Pat
Lost Painting<\/em>.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"Pat
Winged Fantasia<\/em>.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"Pat
Chrysanthemum<\/em>.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"Pat
Wooster III<\/em>.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"Pat
Dream<\/em>.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

In Lipsky\u2019s studio, one artwork stands out among the many canvases, paints, and brushes: a plaster head, chipped and cracked with age.<\/p>\n\n\n\n

It\u2019s the only sculpture Lipsky ever made\u2014created for a class under legendary Cornell art professor Jack Squier, MFA \u201952<\/a>.<\/p>\n\n\n\n

\u201cHe was very intimidating,\u201d she recalls, \u201cand he almost failed me.\u201d<\/p>\n\n\n\n

\"a
Joe Wilensky \/ Cornell University<\/figcaption>
Lipsky\u2019s only sculpture, made on the Hill.<\/figcaption><\/figure>
\n

<\/p>\n\n\n\n

The assignment, she explains, was to sculpt the head of a classmate\u2014and hers wasn\u2019t going well.<\/p>\n\n\n\n

With the deadline looming, Lipsky finally got the clay to take on female characteristics, even if it didn\u2019t much resemble her subject.<\/p>\n\n\n\n

She then completed the various steps to create a plaster cast, and left the project on the studio floor to set.<\/p>\n\n\n\n

\u201cIn the morning, it wasn\u2019t there,\u201d she recalls. \u201cSomeone had mistakenly thrown it out.\u201d<\/p>\n\n\n\n

Panicked, Lipsky found a friend with a car and they sped to the city dump. <\/p>\n<\/div><\/div>\n\n\n\n

Searching under a steady snowfall, she found it\u2014and passed the course.<\/p>\n\n\n\n

\u201cThe fact that I retrieved it was so tremendously important,\u201d she says. \u201cIt became a symbol of my studio, and it has been with me ever since.\u201d<\/p>\n\n\n\n

Top: Lipsky in her studio with a painting titled <\/em>Pagoda. (Joe Wilensky \/ Cornell University; all other images courtesy of Lipsky and James Fuentes Gallery, unless otherwise indicated<\/em>)<\/p>\n\n\n\n

Published February 17, 2026<\/p>\n\n\n\n

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