as serial collages, Lipps ensures that no viewer walks away un-pierced. Many artists, and photographers in particular deal in compulsive collections, but Lipps’ presentations are more in line with Mark Dion’s cabinets. Both artists combine the stringent methodology of a historian, mining the recent past with the zeal of a fan. The final arrangements leverage the many valences between images, giving the impression of being at once sentimental and analytical, ironic and sincere.
Irving Penn’s The Twelve Most Photographed Models of 1947. Lipps, an assistant professor at SF State, maintains he’d never attempt to do now what he did so earnestly as a student. Still, the pictures impart a definite sense of loss, the envy of an artist who’s learned well from the past and knows he can’t inhabit it.