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Susan Lipper Biographical Note
Susan Lipper was born and raised in New York City. After studying English Romantic poetry in college with a concentration on Yeats (including her junior year abroad in London), she graduated with an MFA in photography from Yale School of Art in 1983. Later she received fellowships from the National Endowment for the Arts and the New York Foundation for the Arts, and most recently the 2015 John Simon Guggenheim Memorial Foundation Fellowship. Public collections include the Metropolitan Museum of Art, New York; The Museum of Contemporary Art, Los Angeles; The San Francisco Museum of Modern Art; The Museum of Fine Arts, Houston; and The Victoria and Albert Museum, London.
After leaving Yale and a three-year residence in London, she returned to New York and started making trips around America in order to take photographs, resulting in a body of work that exists both within and outside the documentary tradition. In 1987, her travels took her over most of the country, sparked by a newly found patriotism as well as a commitment to furthering photographic literacy through her work.
Lipper’s practice was to travel on small rural roads, yet she also wanted to stay longer in one environment in order to execute a project with more depth. A series of chance events led to her visiting Grapevine, a small unincorporated town in West Virginia, where she was immediately adopted by most of the inhabitants and, in particular, by a certain family.
Her first monograph, Grapevine, was published in Great Britain in 1994 and was later distributed in the United States. In her pictures of rural West Virginia, the British public recognized traces of their own culture—Appalachian communities themselves having stemmed from the northern British and Scots-Irish immigrations of the nineteenth century. Though the work was perceived as being part of the classic documentary tradition, Lipper’s work strongly spoke to a diaristic dramatization of her new home, with friends and adopted family playing part. The series contains scenes of collaborative staging underscoring the often polarized roles of rural men and women.
trip, her second monograph, is a fictionalized non-narrative jaunt through small-town America, photographed mostly on and off Interstate 10 in Louisiana, Mississippi, and Texas, and plays with the fabled—mostly male—stereotype of the transcendental American cross-country voyage. Here Lipper
uses staged and found objects purposely to insert humor and to emphasize the subjective nature of her manufactured story.
During her travels Lipper was reading the works of Frederick Barthelme, in particular Painted Desert. As
plans for trip progressed they entered into a yearlong collaboration over the Internet. They have never
met in person. The finished book, which incorporates Barthelme’s writing, underscores an interest of
Lipper’s in the conflicting roles of image and text and is not your typical 1930s photo story.
After trip, Lipper began a prescient series that was not unified by geography. In the Not Yet Titled series,
she intended to combine selected found text from military installations with her images of a fictional cold
war that reflected a dread of future conflict. The events of September 11, 2001, made her efforts
irrelevant. By chance, at dinner one night in 2002, a female architect friend, also born and bred in New
York, assembled a series of diptychs from her proofs. Lipper then decided to finalize the time capsule of
joint associations by mounting the two gelatin silver prints for each work on aluminum.
During this period she divided her time between New York, London, and Grapevine. Off Route 80, a
series of photographic landscapes and video portraits begun in 2006, returns to Grapevine but in an
abstract yet romanticized way. It deals with the dichotomy of the viewer looking and being looked at. The
wild landscapes depict a world almost Eden-like while intimacy with the sitters is both shared and
withheld. This echoes the sentiments of her early portraits of Yale graduate students, completed in 1983,
which investigated the role of the photographer’s and subject’s narcissism in the photographic portrait.
However, narcissism is not the focus in this series; rather, the possibly intimidating experience of joining a
small community is explored.
In 2012, she began a series in the California desert, which is still ongoing. What initially attracted Lipper
was addressing the formal differences between her previous habitat of Appalachia and journeys along I-10. However, fueled by research covering topics related to the desert as trope and as prior photographic
subject, and—in the light of the idea of Manifest Destiny—society’s attempts to comprehend a possible
positive future for our country, the project has continued to evolve. She sees this project as completion of
a sort of trilogy of her travels from East to West.
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Education
| 1981-83 |
MFA Yale University (Photography). |
| 1975 |
BA Skidmore College (English Literature) including academic credits from Tufts University
in London and Dartmouth College. |
Selected One and Two Person Shows
| 2012 |
Motus Fort, Tokyo. |
| 2008 |
Motus Fort, Tokyo. |
| 2004 |
The Tang Teaching Museum and Art Gallery, Saratoga Springs, NY. |
| 2000 |
Galerie Lichtblick, Cologne, Germany.
Fotografie Forum International, Frankfurt, Germany.
Viewpoint Gallery, Salford, England. |
| 1999-00 |
New Orleans Museum of Art.
Bed and Breakfast, curated by Val Williams, produced by PhotoWorks,
touring exhibition in UK. |
| 1997 |
Zelda Cheatle Gallery, London.
BOOKS & Co in association with banning + associates, ltd., New York. |
| 1995 |
Portfolio Gallery, Edinburgh, Scotland.
Cornerhouse Gallery, Manchester, England. |
| 1994 |
Buhl Foundation Gallery, New York.
Arnolfini Gallery, Bristol, England.
In the Hollows: Susan Lipper and Wendy Ewald, pARTs Gallery, Minneapolis.
The Photographers’ Gallery, London. |
| 1991 |
Chenango County Arts Council, Norwich, NY with Andrea Modica. |
| 1990-91 |
Fordham University, Duane Gallery, New York. |
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Selected Group Shows and Juried Exhibitions
| 2016 |
The Human Document, Mead Gallery, Warwick Arts Centre, Coventry, UK with Richard Billingham, Paul Graham,
Sunil Gupta, Chris Killip, Eileen Perrier and Akram Zaatari.
Slouching Towards Bethlehem, IDA SCHMID, Brooklyn, NY with Justine Kurland and Laura Parnes.
Strange and Familiar, Monograph Section, curated by Martin Parr, Barbican Art Gallery, London.
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| 2015 |
Behind the Lens, Tipton St. Gallery, ETSU, Johnson City, TN.
Tracing the American South, Cassilhaus, Durham, NC.
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| 2014 |
Lilts and Drawls, Artbeat, Columbus, GA.
The Sandbox, Carnegie Museum of Art, Pittsburgh, PA. curated by Ed Panar and Melissa Catanese
Collectors Eye / The Maloney Collection, Fotofest, Houston, TX.
Breaking Ground, Andrews Gallery, The College of William and Mary, Williamsburg, VA
The Female Gaze, Atrium Gallery, Haverford College, Haverford, PA. |
| 2013 |
One Minute Film Festival 2003-2012, Mass MOCA, North Adams, MA. |
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Untitled - Sandy, Motus Fort, Tokyo. |
| 2012 |
Looking at the Land - 21st Century American Views, RISD Museum of Art, Providence.
Looking at the Land - 21st Century American Views, FotoWeek DC, Washington DC.
Snail Mail, Museum of Fine Arts, Houston.
Spring has Sprung, Motus Fort, Tokyo. |
| 2011 |
Blank Canvas Project with Jason Evans, University of Wales, Newport, UK.
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| 2010 |
Myth, Manners and Memory: Photographers of the American South, De La Warr Pavilion, Bexhill on Sea, UK.
.Matrix, Philadelphia Photo Arts Center, Philadelphia.
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| 2009 |
Deep End, The Company, Los Angeles.
One Minute Film and Video Festival, organized by Jason Simon and Moyra Davey, Narrowsburg, NY.
Thorn Eye, Motus Fort, Tokyo.
International Festival for Photography and Video, Go Eun Museum of Photography, Busan, Korea. |
| 2008 |
Spectral Analysis, Motus Fort, Tokyo.
Solitary States, Chelsea Galleria, Miami.
Where are We? Questions of Landscape, Plymouth City Museum and Art Gallery, Plymouth, UK.
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| 2007 |
Global Warning, Chelsea Galleria, Miami.
Where are We? Questions of Landscape, Graves Art Gallery, Sheffield.
How We Are: Photographing Britain, Tate Britain, London, curated by Val Williams and Susan Bright.
Regarding Intimacy, The Bertha and Karl Leubsdorf Gallery at Hunter College, New York. |
| 2006 |
Artist Poster Project, Free Frisbee, Art Basel, Miami.
Photographs 1965-2006, National Portrait Gallery, London.
vicarious illumination, Christine Callahan Studio, New York.
Leave New York, Sweet Home Gallery. New York.
Native Spirit, Supreme Trading Co., Brooklyn, curated by David Gibson.
The Seventh Side of the Die, Alona Kagan Gallery, New York, curated by Anat Ebgi and Tom Brauer. |
| 2005 |
"No Eyes" selection from the Collection
Dancing Bear, Rencontres Arles, Arles, France. |
| 2004 |
Cakewalk, Ambrosino Gallery, Miami, curated by Jen Denike.
Pool Party, Yossi Milo Gallery, New York. |
| 2003 |
Collective Memory, Gallery Sink, Denver.
10 years of Collecting at Haverford, Cantor Fitzgerald Gallery, PA.
Images Against War, Galerie Lichtblick, Cologne, Germany. |
| 2002 |
Social Landscapes, Gallery Sink, Denver. |
| 2001 |
Vollbart, Langes Haar...,, Fotografie Forum International, Frankfurt, Germany.
Where are We? Questions of Landscape, Victoria and Albert Museum, London.
Emotional Distance, Gallery Sink, Denver. |
| 1999 |
Female, Wessel + O'Connor Gallery, New York, curated by Vince Aletti. |
| 1998 |
From the Heart, The Sondra Gilman Collection curated by Adam D. Weinberg, touring exhibition.
Naked Truths, New Orleans Museum of Art. |
| 1997 |
Backyards, Robert Mann Gallery, New York.
Bang! The Gun as Image, Florida State University Museum of Fine Arts, Tallahassee.
Winter, Jackson Fine Art, Atlanta. |
| 1996 |
Picturing the South, High Museum of Art, Atlanta.
Delirium, Ricco Maresca Gallery, New York.
The Gun as Icon, Ubu Gallery, New York. |
| 1995 |
Street Gallery, Ansel Adams Center for Photography, San Francisco, curated by Andy Grundberg
with Aziz + Cucher, J. John Priola, David Levinthal, and Cindy Sherman. |
| 1994 |
Who’s Looking at the Family?, Barbican Art Gallery, London.
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| 1992 |
Exhibition of Photography, Berkshire Museum, MA; Juror: John Szarkowski. |
| 1987 |
Current Works 87, Kansas City Art Institute, Missouri; Juror: Peter Galassi. |
| 1986 |
Recent Acquisitions, National Portrait Gallery, London. |
| 1982 |
16th Annual Central Pennsylvania Arts Festival; Juror: Tod Papageorge. |
| 1981 |
American Vision, New York University, Washington Square Galleries, NY. |
Selected Fellowships, Awards and Commissions
Prix Pictet Award nomination, 2016.
John Simon Guggenheim Memorial Foundation Fellowship, 2015.
Leon Levy Foundation, 2015.
ICP Infinity Award nomination, 2011.
New York Foundation for the Arts Photography Fellowship, 2004.
Artist in Residence, Light Work Community Darkrooms, 2004.
Finalist for the International Festival of Arles Prize Dialogue de l' Humanité (Outreach Award), 2002.
Golden Light International Book Award, 1999, 1994.
British Arts Council Publishing Grant (UK), 1999.
Country Life, The Village Hall Exhibitions commissioned by PhotoWorks (UK), 1998.
Mid Atlantic/NEA Regional Fellowship, 1995.
Artist in Residence, Virginia Center for the Creative Arts, 1989.
Selected Collections
Bibliothéque Nationale, Paris.
The Buhl Collection, New York.
Center for Creative Photography, Tucson.
Haverford College Collection, PA.
Sondra Gilman Collection, New York.
Metropolitan Museum of Art, New York.
Minneapolis Institute of Arts.
Museum of Contemporary Art, Los Angeles.
Museum of Fine Arts, Houston.
Museum of Modern Art Library, New York.
National Portrait Gallery, London.
New Orleans Museum of Art.
New York Public Library, New York.
Norton Museum of Art, West Palm Beach, FL.
Portland Museum of Art, Portland, ME.
San Francisco Museum of Modern Art, San Francisco.
The Do Good Fund, Columbus, GA.
JGS, New York.
Victoria and Albert Museum, London.
Yale University Art Gallery, New Haven.
Monographs
Lipper, Susan. Bed and Breakfast. Maidstone: PhotoWorks, 2000.
___ . trip. New York: PowerHouse Books, 1999; Manchester: Dewi Lewis Publishing, 2000.
___ . GRAPEVINE: Photographs by Susan Lipper, The Limited Edition. New York: PowerHouse Books, 1997.
___ . GRAPEVINE: Photographs by Susan Lipper. Manchester: Cornerhouse Publications, 1994.
Selected Books and Articles
-1994-5 Mid Atlantic Regional Fellowships Catalog. Baltimore, 1996.
-Abbe, Mary. “Spotlight/photography exhibit.” Minneapolis Star Tribune, March 11, 1994, 13E.
-Aletti, Vince. “Voice Choices. ” Village Voice, July 21, 2004, 47.
___ . “Shot through the Heart” Village Voice, February 8, 2000, 67.
-Aperture, No.148 (New York, Summer 1997) 38.
-Badger, Gerry. The Pleasures of Good Photographs. New York: Aperture, 2010.
___ . Collecting Photography. London: Mitchell Beazley, 2003.
___ .“Southern Discomfort.” British Journal of Photography, no. 6961 (London: February 17, 1994)12-13.
- Baetens, Jan. “Motifs of Extraction” History of Photography, vol. 29, no. 1 ( Spring 2005) 81.
-“Bibliothéque Nationale, Paris (collection du XXe siècle, entrées Avril 84- Février 85).”
-Photographies, no. 7 (Paris, 1985) 87.
-Brittain, David. “Accentuate the Positive: Grapevine by Susan Lipper.” Creative Camera, no. 328 (London, 1994) 45-46.
-Carson, Matthew, Russet Lederman and Olga Yatskevich. 10x10 American Photobooks. New York:
10x10 Photobooks & dummypress, 2013
-Catanese, Melissa and Ed Panar, eds. Notes From the Foundry. Pittsburgh: Spaces Corners, 2013
-Coleman, A.D. “A View of Beardʼs Wild Life; An Appalachian Journal.” New York Observer, November 21, 1994, 26.
___ .“Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End.” In The Social Scene. Los Angeles: MOCA, 2000. 35.
-Contemporary Photographers. 3rd ed. New York: St James Press, 1995.
-Cotton, Charlotte. The Photograph as Contemporary Art. ( World of Art ) London: Thames & Hudson, 2004.
-Contact Sheet, no. 132 (Syracuse, July 2005) 59-63.
-Cork, Richard. Breaking Down the Barriers, Art in the 1990s. New Haven: Yale University Press, 2003.
-Davies, Celia. ed. Myth, Manners and Memory : Photographers of the American South, exhibition catalog, Brighton: Photoworks, 2010.
-“Documentary Notes” Doubletake, vol. 16, no. 3 (Somerville, 2000) p. 106.
-Dugan, Ellen. ed. Picturing the South. exhibition catalog, San Francisco: Chronicle, 1996.
-Edwards, Susan Harris. Review of GRAPEVINE: Photographs by Susan Lipper. History of Photography, Vol. 19, no. 2 (1995) 180-81.
-Esanu, Octavian. JFL: What Does “Why” Mean? Atlanta: J+L Books, Inc., 2005.
-Evans, Jason. “No Vacancies.” Review of Bed and Breakfast. Maidstone: PhotoWorks, 2000. ID, no 205 (London, January 2001) 46.
-Esquire Russia, no. 80 (Moscow, September 2012) 162-171.
-Fletcher, Alan. The Art of Looking Sideways. London: Phaidon, 2001.
-Fotograf, Vol. 4, no. 5 (Prague, 2005) 62-69.
-Fulford, Jason and Gregory Halpern. The Photographers Playbook. New York: Aperture, 2014.
-Giardina, Denise. Review of GRAPEVINE: Photographs by Susan Lipper. Doubletake, Premier Issue (Durham, 1993) 117-118.
-Gore, Al and Tipper. eds. The Spirit of Family. New York: Henry Holt and Company, 2002.
-Gori, F. , ed. “Grapevine. Susan Lipper.” La Fotografia Actual. no. 57, (Barcelona, Oct/Nov 1996) 38-41.
-Graduate Photography at Yale 1982-83. New Haven: Yale School of Art, 1983, 19-23.
-Granta, No. 47 (London, Spring 1994) 160.
-Hall, James. “The Art of Erotica.” Guardian, (London) February 14, 1994, Sec. 2, 6-7.
-Hilton, Tim. “Mannʼs Family and other Animals.” Independent on Sunday, Sunday Review. (London) May 29, 1994, 26.
___ . “If you go down to the woods today.” Independent on Sunday, Sunday Review. (London) February 6, 1994, 30-31.
-Johnson, Ken. “Art in Review.” The New York Times, July 23, 2004, E31.
-Kreisel, Martha. American Women Photographers: A Selected and Annotated Bibliography (Art Reference Collection)
Westport: Greenwood Press, 1999.
-Kent, Sarah. “Susan Lipper.” Time Out, no. 1226 (London, 1994) 39.
-“The Legend of Grapevine Hollow” Telegraph Magazine, (London) January 29, 1994, 40-45.
-Lipper, Susan. “Yale Portraits 1981-1983” Photography and Culture, vol. 3, no. 3 (2010) pp 339-348.
-Mader, D.H. “Family Values.” Perspektief. no. 49 (The Netherlands, Spring 1995) 6, 7.
-Marshall, Peter. “Skinning a Grape. ” InSCAPE. no. 7 (London, 1994) 26, 28.
-Marsman, Eddie. “Grapevine.” FOTO, nos. 7/8, (The Netherlands, July/August 1994) 32-37.
-New Statesman, vol. 123, no. 4179 (London,1994) 39.
-Palladino-Craig, A. ed. Bang the Gun as Image. exhibition catalog, Tallahassee: Florida State University Museum of Fine Arts, 1997.
-Parr, Martin and Gerry Badger. The Photobook: A History Volume III. London: Phaidon Press, 2014.
-Pedersen, Martin B. ed. Graphis Fine Art Photography 95. New York: Graphis, 1996.
___ . ed. Graphis Fine Art Photography 2. New York: Graphis, 1997.
-Perloff, Stephen. “At the Intersection of Nature and Culture: Susan Lipper and Elaine Ling.” The Photo Review, vol. 22, no. 1
(Langhorne, Winter 1999) pp. 15-19.
-Photo Speaks 2009. Korea: The Society of Korean Photography, 2009.
-Photoworks Annual, Issue 20. (Brighton, 2013) 95.
-Review of trip. PowerHouse Books, New York, 2000. Art on Paper, Vol. 5 no. 2 (New York, December 2000) 99.
-Robbins, Saul. Regarding Intimacy. New York: Bertha and Karl Leubsdorf Art Gallery at Hunter College, 2007.
-Say Cheese?. Falmouth: Trace Editions, 2010.
-Shu, Michael. “Received and Noted.” Afterimage, vol. 27, no. 6 (Rochester, May/June 2000) 19.
-Slyce, John. Contact Sheet, no. 132 (Syracuse, July 2005) 58.
___ . “Reading Lessons. Susan Lipper's 'trip'.” Camera Austria, no. 72 (Graz, October 2000) 37-44.
___ . “Sweet Home Louisiana.” British Journal of Photography, no. 7141 (London: September 3, 1997) 12-13.
-Smirnoff, Marc, ed. “Is the South Still Gothic? A Photographic Forum.” Oxford American, (Oxford, MI, October/November 1996) 52.
-Smith, Caroline. “Susan Lipper, Louisiana Series.” KATALOG, vol. 10 no. 1 (Odense, Spring 1998) 61.
____ . "Manifest Destiny." Black Book, no. 4 (New York, Spring 2000) 62-68.
-Squires, Carol. “Something to think about.” New York Newsday. December 4, 1994, Fan Fare, pp. 30-31.
-Strausbaugh, John. “Worn on the Bayou” New York Press, December 22, 1999, 13.
-Times Literary Supplement. no. 4766 (London; Aug 5, 1994) 7.
-Todd, Colin and Michael Vahrenwald eds. NET 05: Bastards!. Boston, MA and Brooklyn, NY: Oranbeg Press, 2014.
-Turn Shake Flip. New York: Eyestorm, 2001.
-“Uneasy Rider, Susan Lipper's Louisiana.” Independent on Sunday, Sunday Review, (London) August 24, 1997, 6-11.
-vanMeenen, Karen. “Grapevine: photographs by Susan Lipper.” Afterimage, vol. 23, no. 1 (Rochester, June 1995) 26.
-Walters, Guy. “Theories of Relativity.” Times Magazine, (London) May 21, 1994, 32-35.
-Weinberg, Adam D. From the Heart: The Power of Photography - A Collector's Choice, The Sondra Gilman Collection.
New York: Aperture, 1998.
-Williams, Val. “Susan Lipper: Collisions of Experience.” Photoworks, issue 12 (Brighton, May 2009) 56-63.
____ , and Susan Bright. How We Are Photographing Britain. London: Tate Publishing, 2007.
____ . ed. Whoʼs Looking at the Family. exhibition catalog, London: Barbican Art Gallery, 1994.
____ . “Where Women Dare to Tread.” Womenʼs Art Magazine, no. 59 (London, June/July 1994) 6-9.
____. When Photography Really Works. London: Quintessence, 2012.
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