The shocking, yet playful take on the theme of memento mori in Laurie Lipton’s work is unmistakable. There are no lack of skeletons in Lipton’s closets, dance halls, funerals, school photos, subways and doll houses, and indeed, every other place common in life.
In stark black and white tones we see a group of officials standing around ruins, looking quite satisfied with themselves in “Collateral Damage”, reminding us that there is more than one kind of death in life.
The only living people in her pictures that I’ve seen so far, aside from the officials, tend to be old women, missing teeth and exuberant, people looking death in the face, or the recently deceased. In this way she plays games with life, and while the macabre element is undeniable, I feel a great yearning for life in these works.
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