Beth Lipman

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Beth Lipman
N6366 STH 32
Sheboygan Falls, WI 53085

Claire Oliver Gallery

513 West 26th St.
New York, NY 10001

Ken Sager

Business and
Studio Manager

Cade Tompkins Projects

198 Hope St.
Providence, RI 02906
(401) 751-4888


Beth Lipman lives and works in Sheboygan Falls, WI. She has exhibited her work widely and has received numerous awards including a Louis Comfort Tiffany Foundation Grant, Wisconsin Arts Board Fellowship, and a Ruth Chenven Foundation Grant. Most recently, she completed Glimmering Gone, a collaborative installation with Swedish artist Ingalena Klenell, for the Museum of Glass (WA), which is on view through March 2012. Lipman has exhibited her work internationally at such institutions as the ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall (Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the Brooklyn Museum of Art (NY), Smithsonian American Art Museum (DC), and the Corning Museum of Glass (NY).

Artist Statement

Still lifes can be contemplated on a purely atheistic level, or they can be interpreted on a political, moral or theological level and are usually influenced by economic or socio-cultural events. Both still life paintings and art from craft processes were considered inferior to other forms of expression.

Mimesis is one of the most outstanding qualities of the still life. Instead of striving for illusionary perfection, I use the craft process of hot sculpting and blowing to record of my ability to control the material- capturing that moment. The use of glass creates a tangible third dimension, capturing the painting’s polished quality; it foils the viewer’s eye; it frustrates efforts to claim and own what is seen. The absence of color captures the essence of an object and offers a counterpoint to trumpe l’oeil (deception of the eye) found in still life paintings. As with painting, glass makes perishable objects everlasting. The compositions are simultaneously in the process of formation and decay.


Solo/Two Person Exhibitions

  • Claire Oliver Gallery
  • Flotsam and Jetsam, Grand Rapids Art Museum
  • Faded Bloom, Claire Oliver Gallery
  • Beth Lipman: A Still Life Installation, Norton Museum of Art
  • Cade Tompkins Projects
  • Glimmering Gone, Collaboration with Ingalena Klenell, Museum of Glass
  • de Rigueur, Heller Gallery
  • Meticulous Ferment, Institute of Contemporary Art
  • Want Not, Museum of Wisconsin Art
  • After You’re Gone, Rhode Island School of Design Museum
  • What Remains, Heller Gallery
  • s12 Galleri og Verkstad
  • Museum of Glass
  • Heller Gallery
  • John Michael Kohler Arts Center
  • Mangel Gallery
  • Heller Gallery

Selected Group Exhibitions

  • Still Life with Kudzu, Kemper Museum of Contemporary Art
  • Flowers, Bread Chalice, and Sticks, Hunter Museum of Art
  • Curiosities and Things of Wonder, H.F. Johnson Gallery
  • New North, Bergstrom Mahler Museum
  • Shattered: Contemporary Sculpture in Glass, Meijer Sculpture Park and Gardens
  • Twenty-First Century Heirlooms, Racine Art Museum
  • Antifragile, Museum of Wisconsin Art
  • 0 to 60, North Carolina Museum of Art
  • Between the Knowing, Torrance Art Museum
  • Still Life with Challah, Jewish Museum
  • GlassStress New York, Museum of Art and Design
  • Fusion, Oklahoma City Museum
  • Beyond Bling, Claire Oliver Gallery
  • Decadence and Disarray, SPQ Projects
  • Buds, Blooms, and Berries: Plants in Science, Culture, and Art, Everhart Museum
  • Eat Drink Art Design, Museum of Art and Design
  • A Case for Wine, The Art Institute of Chicago
  • Motion Blur- American Craft, Gustavsbergs Konsthall
  • See Through, Islip Art Museum
  • Remains: Contemporary Artists and the Material Past, Milwaukee Art Museum
  • Art of Glass, Chrysler Museum
  • High Honors, Wisconsin Academy of Sciences, Arts, and Letters
  • True Grit: Frames, Fixations, and Flirtations, McColl Center for Visual Arts
  • Beautifully Crafted, National Glass Centre
  • Shattering Glass: New Perspectives, Katonah Museum of Art
  • From the Ground Up, Renwick Gallery of the Smithsonian American Art Museum/li>
  • Wisconsin Triennial,, Madison Museum of Contemporary Art
  • Interiority, Hyde Park Art Center
  • The Edges of Grace, Fuller Craft Museum
  • 9th International Shoebox Sculpture Exhibition, University of Hawaii
  • Minimalism, D & A Fine Arts
  • Cheonju International Craft Biennale 05
  • Sculpture in Glass, Block Museum, NorthWestern University
  • Philadelphia International Airport, Terminal B
  • A Periodic Table, Wexler Gallery
  • 20/20 Vision, Museum of American Glass
  • Interpretations of a Still Life, Forrest Scott Gallery
  • Under the Influence, Islip Art Museum
  • Good Business is the Best Art, Bronx Museum of Art
  • Glass Express, DUMBO Art Center
  • Glassworks: Emerging Artists, Brooklyn Museum of Art


  • Speed Museum
  • Brooklyn Museum of Art
  • Corning Museum of Glass
  • Museum of American Glass
  • John Michael Kohler Arts Center
  • Kohler Company
  • Arkansas Arts Center
  • Milwaukee Art Museum
  • Museum of Art and Design
  • Museum of Glass, Tacoma
  • Smithsonian American Art Museum
  • Norton Museum of Art
  • RISD Museum


  • United States Artists Berman Bloch Fellow Pollock-Krasner Foundation Grant
  • Residency, Studio of the Corning Museum of Glass, Corning
  • Wisconsin Arts Board Fellowship
  • Young Talent Award, UrbanGlass Awards Dinner
  • Artist in Residence, Museum of Glass
  • Louis Comfort Tiffany Foundation Grant
  • Artist in Residence, Arts/Industry Program, John Michael Kohler Arts Center
  • American/Swedish Exchange, Travel Grant, American Scandinavian Foundation
  • Grant, Ruth Chenven Foundation
  • Professional Advancement Grant, NH State Council on the Arts/NEA
  • Fellowship, Creative Glass Center of America
  • Grant, Peter S. Reed Foundation
  • Community Arts Re-Grant for “Gift,” DCA/The Brooklyn Arts Council Inc.
  • Artist in the Marketplace Program, Bronx Museum of Art


Articles and Publications

  • Hotchner, Berengo, Paparoni, Museum of Art and Design, Glasstress New York, catalog
  • Ruth Reader, “Art of Glass,” Art Ltd, pgs 60- 64, March/ April 2012
  • R. Reader, “Artist Beth Lipman Receives Prestigious Grant,” GLASS Quarterly, pg 16, Spring 2012
  • Michael Mills, “Beth Lipman’s Glass Installations at the Norton: A Meditation on Life, Decay, and Death" New Times Broward Palm Beach, March 22, 2012
  • Monica Moses, “Restrained, Cut Loose,” American Craft, pgs. 128-130, February/March 2012
  • Christina Wood, “Blown Away,” Art & Culture, pgs 52-56, Volume 6 Issue 2
  • Scott Eyman, “Arresting Glass Sculpture at Norton Bridges Visual Arts, Death,” The Palm Beach Post, January 30, 2012
  • Jan Sjostrom, “Norton Museum of Art Hosting a Trio of Glass Shows,” Palm Beach Daily News, January 21, 2012
  • K. Murrell, “The Tool at Hand: Necessity, Caprice, and Industry at MAM,” Third Coast Digest, 12/20
  • Jim Higgins, “WI Artist Lipman Wins Major Grant,” Milwaukee Journal Sentinel, December 5
  • Joseph Stromberg, “The List: Five Feasts in American Art,”, November 23
  • Renee Doucette, Art Review: “Borderline” + Beth Lipman, Go Local Prov, November 18 page 3
  • Mary Louise Schumacher, “Assessing a Decade of Art at the Milwaukee Art Museum,” Milwaukee Journal Sentinel, Art City, October 28
  • M. O’Sullivan, “10 Objects That Will Amaze You,” Washington Post, August 5, 2011, pgs 20-23
  • Victoria Josslin, "Fermata," GLASS, Summer 2011, pgs 36-39
  • Suzanne Beal, "Vanishing Point," American Craft, June/July 2011, pgs 28-31
  • Andrea Moody, Melissa Post, Anders Stephanson, Museum of Glass, Glimmering Gone, catalog
  • Rosemary Ponnekanti, “Glimmering Glass Displays in Two New Tacoma Exhibits,”News Tribune, Nov 21
  • Brangien Davis, “Shine On,” Seattle, Datebook, Oct 2010, pg 139
  • Lauren Fensterstock, ICA, MECA, Meticulous Ferment, catalog
  • John Drury, “Beth Lipman: Black and White,” Neues Glas, pgs 18-25
  • Jody Clowes, Beth Lipman, Banquet Years,” American Craft, June/July, pgs 36- 45
  • Pilar Viladas, “Now Showing the Bold and the Beautiful,” New York Times T Magazine online, March 5
  • Andrew Page, “The Icy Still Lifes of Beth Lipman,” GLASS, pages
  • Benjamin Genocchio, “Where a Close Look Goes Right Through,” New York Times, Jan 12, 2010
  • Sophie Dawson, The Milk Jug Redesigned, Vanity Fair Blog
  • Juror’s Choice, New Glass Review 30, 2009
  • Pedro Velez, “Report from Milwaukee,” Aesthetica, Artnet Magazine, June 3
  • Mary Louise Schumacher, “Remains and Voids,” Milwaukee Journal Sentinel, Feb. 26, 2009, pgs. 1E, 4E
  • Doug Norris, Review, “Beth Lipman: After You’re Gone,” Art New England, Dec/Jan 2009, pg. 46
  • Review, Sculpture, “Shattering Glass,” December 2008
  • Bill Van Siclen, Providence Journal, “After You’re Gone: A Ghostly Banquet That No One Can Eat,” Oct 9, 2008
  • Sebastian Smee, Art Review, Boston Globe, “Heart of Glass,” October 3, 2008
  • Alix Browne, New York Times Style Magazine, “Going for Broke,” September 28, 2008, pages 90, 91
  •, “The RISD Museum of Art Presents After You’re Gone, an Installation by Beth Lipman,” August 29.
  • Lena Bonnevier, VF Kultur & Noje, “Granslos Passion for Glaset,” September 16, Vecka 38
  • Judith Tannenbaum, After You’re Gone, RISD Museum of Art, catalog, 2008
  • Barbara MacAdam, Art News, “Shattering Glass,” June 2008, page 139
  • Blanch Craig, Contemporary Glass, 2008
  • John Drury, GLASS, ”What Remains,” Winter, pg. 57, 2007
  • Mary Louise Schumacher, Milwaukee Journal Sentinel, “Collective Vision,” Cue, May 27
  • Benjamin Genocchio, The New York Times, “Really? It’s All Made of Glass?” In the Region, Dec 30, 2007
  • Neil Watson, Ellen Keiter, Shattering Glass: New Perspectives, Katonah Museum of Art, checklist, 2007
  • Jane Milosch, Susanne Frantz, From the Ground Up, Renwick Gallery, Smithsonian American Art Museum, catalog, 2007
  • Robin Tierney Washington Examiner, "Flights of Hand: Supreme Craft," Weekend, March 10 & 11, 2007
  • Blake Gopnik, Washington Post, Here & Now, Sunday, March 25, 2007
  • Audrey Hoffer, Milwaukee Journal Sentinel, "National Treasures," Cue, March 25, 2007
  • Mary Louise Schumacher,, "More on Last Suppers in Art," video, March 30, 2007
  • Eve Zibart,, "At the Renwick, Beauty Grounded in Nature, April 13, 2007
  • The Louis Comfort Tiffany Foundation: 2005 Awards, catalog, 2006
  • Museum of American Glass, The Fires Burn On, book, 2006
  • Juror’s Choice, New Glass Review, 2005
  • Robin Rice, Hourglass, GLASS, “Glass Sculpture”, Summer, 2005
  • Robin Rice, Art News, “A Periodic Table”, January 2005
  • Cate McQuaid, Boston Globe, “Beth Lipman: Bancketje”, December 23, 2004
  • Robin Rice, GLASS, “Beth Lipman Invites Fellow Artists to a [Banquet],” Winter, 2004
  • Leslie Umberger, John Michael Kohler Arts Center, Beth Lipman: Still Lifes in Glass, Checklist, 2003
  • Ken Johnson, New York Times, “Glassworks: Emerging Artists,” July, 2000
  • Phyllis Braff, New York Times, “Leaves of Glass… Other Metaphors,” January, 2000


  • BFA, Tyler School of Art, Temple University