https://www.lawrencegipe.com/gipe daily 1.0 2025-11-29 https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1526613077705-OA7B1QYGYC79VNTZUYMF/Gipe_Monongahela_final_300.jpg Recent & Upcoming "Monongahela River, 1947" 2018 oil on canvas 56" x 58" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1576252954056-3HIEUTBFD04L2UTYP0OK/20191105_113344.jpeg Recent & Upcoming - Installation at Tsinghua University, Beijing, China https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488081502220-S57K0JIWXBB5T2EPV8DW/28.jpg Recent & Upcoming "Panel No. 1 for the Robert Moses Project", 1994 oil on panel 60" x 72" Private Collection, NY, NY https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1716751194923-P0VX08FZKGF56KHYR67V/%2522Ferris+Wheel+at+Pripyat%2C+2016%2522%2C+2024%2C+pencil+on+paper%2C+19x25+unf.jpg Recent & Upcoming https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1716751482945-76L5GAUQVCT76HO7FOEC/934794F5-0D76-4236-B8E8-BF753D6830D4_1_201_a.jpeg Recent & Upcoming https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1723793599371-DODGJQGW864Y8ZXBX3XA/IMG_20240814_113158374_HDR.jpg Recent & Upcoming https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1731531633826-TW0Q6DOQ5O47D9PQ63UO/IMG_20241108_130627983_HDR+2.jpeg Recent & Upcoming https://www.lawrencegipe.com/curatorialactivist daily 0.75 2017-04-15 https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488083442685-2L2LPA0VLSMR9X4D1WWN/20170225_212639%7E2.jpg Activist "Operation Streamline: An Illustrated Reader", 2014 Published by Lawrence Gipe at the University of Arizona, with funds from a Confluence Center Faculty Innovation Grant. 50 pages, paperback, Edition of 500 In 2014, I received a University of Arizona Confluence Center Grant for “Documenting Operation Streamline,” an on-going drawing project recording the plight of illegal immigrants on their journey through the Arizona court system via the controversial “Operation Streamline” process. With funds from the grant, I published Operation Streamline: An Illustrated Reader (2014-15), which combined sketches from Federal Court with press clippings and original research from UA journalist students (this book was a small edition, and was given away during lectures and events.) https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488083442685-2L2LPA0VLSMR9X4D1WWN/20170225_212639%7E2.jpg Activist "Operation Streamline: An Illustrated Reader", 2014 Published by Lawrence Gipe at the University of Arizona, with funds from a Confluence Center Faculty Innovation Grant. 50 pages, paperback, Edition of 500 In 2014, I received a University of Arizona Confluence Center Grant for “Documenting Operation Streamline,” an on-going drawing project recording the plight of illegal immigrants on their journey through the Arizona court system via the controversial “Operation Streamline” process. With funds from the grant, I published Operation Streamline: An Illustrated Reader (2014-15), which combined sketches from Federal Court with press clippings and original research from UA journalist students (this book was a small edition, and was given away during lectures and events.) https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488084835247-W0VID3Z2BZ06U4WJ08TK/image-asset.jpeg Activist - Illustrating Operation Streamline Created by Josh Morgan in 2014, "Illustrating Operation Streamline" is a short documentary using my Streamline sketches. https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1492233345817-G0N184KPKWIXXFD1EQ0Z/Screen+Shot+2017-04-14+at+10.14.06+PM.png Activist https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488082589457-BYFU2IQHMNTTWUUI5L3S/01_Gipe_In+the+Docks3.jpg Activist "Waiting", 2016 graphite on paper In 2005, the US Department of Homeland Security initiated “Operation Streamline,” as a way to increase “efficiency” with respect to deportation. The program immediately came under fire for being cruel and potentially un-Constitutional; as the site Grassroots Leadership describes it: “Operation Streamline has exposed undocumented border-crossers to unprecedented rates of incarceration; overburdened the federal criminal justice system; and added enormous costs to the American taxpayer while providing a boon to the for-profit private prison industry.” https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488082598147-I3W3FT3K2BAIA9876XCL/02_Gipe_Sentencing_wide+view.jpg Activist "Sentencing", 2013 graphite on paper In 2012, a UA journalism student named Sam McNeil was writing an article about “Operation Streamline” for the activist blog truthout.org. Photography is prohibited in federal court, so he couldn’t supply imagery to accompany his exposé. McNeil asked me to illustrate the topic with drawings made in court, and to appear in a video called “Illustrating Operation Streamline”, which he was producing as his graduate thesis project. https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488082609771-BSL7BRAN48LGB2X42T8R/05_Gipe_Portrait+of+Fabiana.jpg Activist "Portrait of Marcella", 2014 graphite on paper After attending over 50 Streamline proceedings, I had a variety of sketches dealing with every visible aspect of the process - the deportees in the docks, the lawyers, judges and border patrol agents. https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488082660411-NMI2C53MCK0V1UIYLADQ/07_Gipe_USMarshal.jpg Activist "U.S. Marshal", 2013 graphite on paper The original sketches are in the University of Arizona’s Special Collections Library as part of “The Documented Border: A Digital Archive,” an interactive Digital Humanities project dedicated to generating and housing verbal, written and visual material about all aspects of the border, with an emphasis on controversial or “hidden” issues that need exposure and re-consideration. https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488082658023-BP8PUOHQ0KK6UP7SU4P3/08_Gipe_Sentencing6_Caught+in+Douglas_.jpg Activist "Caught in Douglas", 2013 graphite on paper Sketching in Streamline court allowed me to create expressive drawings while addressing a political reality that impressed me as unjust and authoritarian. Although there is word of future legislation to eliminate for-profit, private prisons, there are thousands of deportees enduring long and punitive sentences in these facilities (many are centered 100 miles north of Tucson in Florence, AZ). https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488082723493-4SGW2Q5UEDTMF4OQWPMU/10_Gipe_Sentencing3%3A4.jpg Activist "Pleading Guilty", 2014 graphite on paper https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488082730034-ZK8Y5P383U9AJ020JIXP/11_Gipe_Shackled5.jpg Activist "Shackled", 2013 graphite on paper https://www.lawrencegipe.com/howswifthowfar daily 0.75 2024-05-15 https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094056420-T8QNTQWCXSAKUECFQ91F/IMG_20230415_173609.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094056420-T8QNTQWCXSAKUECFQ91F/IMG_20230415_173609.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707095128460-XGIQSF1I7F2N76A8FADH/Screenshot_20230810-205628.png "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094465436-A6CLS0OB560BB0TF7LQY/IMG_20230916_145457234.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094466085-PUZKWMLAZJGI3GP6CLUP/IMG_20230916_145450725.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094482079-IJU4KHE25R24485EYIY8/IMG_20230916_145526758_HDR.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707095142564-PGLNDOOTPQSOGCTAJ8A5/IMG_20230816_153935134.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094461735-I39Y3GZPFX1GPIU8C7C4/IMG_20230916_145336202_HDR.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094474018-B68KE38KXT9DT3AP0ZOR/IMG_20230916_145312988.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707095135204-74KUL3IFFXIQ26TLVT8L/IMG_20230816_160453891.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094471468-54FCVCA5GXG9RJZBLE9T/IMG_20230916_145700321_HDR.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707095135373-4WP0IPIVNTQ90P3AIG5N/IMG_20230818_195013997_HDR.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707094685745-QU8MEW4Y3ZCNUCA7I4CN/HBAC_outside_exhibition_BANNER_By+Degrees_Small.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707093416912-Z3IR7MH1L62TP8PLYD71/IMG_20230415_205845.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707093399483-SR8RNEG81GKJOWGJIDL4/IMG_20230415_174224.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707093388925-3TQOJYFCO4K9OAI0FZT9/IMG_20230415_205928.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707095707654-03IVER0HPUAPM75RA6YF/Screen.JPG "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707095977700-V81DDAA7OMB0FD596PA9/20220411_113653.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707096108886-PVR8LSO2NEIQPOKZL3VC/20220411_113521.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707095752943-MSHGORXOUJ5HKUF549MX/20220411_114008.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707095985474-M8QFO4W4D3QG00T73HF9/20220411_112533.jpeg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707096189641-69GPDM2LFMIOO0DQYY26/20220411_113010.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707096078048-I6YKS9WZKDPK06TGQUDE/20220411_112845_HDR+2.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1707096176871-HLDR6PW3TU6MNANDBO11/20220411_113742+2.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561497121644-PFERKDL2LG8H5QN3O10V/1.Pate_Gipe_Manley_Transiting_install.jpg "How Swift, How Far"/other curatorial Transiting 1 at Arena One Gallery, Santa Monica, CA (July 24 - Aug 16, 2018) I’ve organized 7 exhibitions in the last three years for non-profit and university galleries. Often these shows are developed in collaboration with others, as in the Transiting project, a joint venture between Gipe, Kim Griffith and John David O’Brien. For Gipe, the Transiting concept grew out of an interest in Situationism, and making work while under the self-guided hypnosis of the dérive. The origin of the title comes from O’Brien’s interest in philosopher Mario Perniola's Transiti (1980), an essay that examines the role of images in a wide range of aesthetic and social contexts, finding the notion of transiti as a suitable way to capture the cultural aspects of technology that have altered today’s society. It is the organizers’ intention to continue Transiting as an event held in a different city each year, building on a roster of artists making work at the intersection of art and movement. https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561494501733-KALXI3I0IB7PPUBZV5YB/20190529_160750-1.jpg "How Swift, How Far"/other curatorial Transiting 2/GipeArtFax_SimoneGad Gipe’s contribution to Transiting 2 was a fax machine, set to receive transmissions all summer. One of the first was Simone Gad’s haunting drawing. https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561494926019-QLL70V65L716GGRG9MPW/20190521_153111.jpeg "How Swift, How Far"/other curatorial Transiting 2/ Joseph Gross Gallery/ University of Arizona Left to Right: Kio Griffith Jason Manley Maseo Okabe Astrid Kaemerling Michal Wisniowski John David O’Brien https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561494850844-8DT7GRH2M76STWZR1C6D/20190521_153006.jpeg "How Swift, How Far"/other curatorial - Transiting 2 / Joseph Gross Gallery/ University of Arizona Transiting 2 / Joseph Gross Gallery/ University of Arizona Left to Right: Julio Romero Michal Wisniowski Cara Levine Jason Manley Meital Yaniv https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561496044817-URCKBH1YHA5QT79HX98X/20190523_121434.jpeg "How Swift, How Far"/other curatorial Kio Griffith on ramp wall. Its length allowed the activation of a space that is usually unlit and empty. Manley, Wisniowski in foreground. https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561496887347-H7H66L4OHO37831KJXE0/20190521_153022.jpeg "How Swift, How Far"/other curatorial Paintings by Dimitri Kozyrev Video by Sebastian Alvarez https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561496489916-S87NQ1TBMFS4RLNQD3QD/fullsizeoutput_1e53.jpeg "How Swift, How Far"/other curatorial Kio Griffith https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561496409382-VYL1N5B3G151CV838S7I/fullsizeoutput_1e52.jpeg "How Swift, How Far"/other curatorial Julio Romero How to Dismantle a Wall photographs and video https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561496564989-C9HFBD6069LPL23HSQFR/20190531_121034.jpg "How Swift, How Far"/other curatorial Meital Yaniv https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1561496788426-F1IWLBAY4ZS4CGHQ4P4K/received_2273890652825326-1.jpg "How Swift, How Far"/other curatorial ARTfax: Lawrence Gipe/Durden and Ray Collective https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1517513290278-M1MNA6QF1CNCPTA4Z6QE/2.OneYear_entry.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1517513373131-CR717IDKTFB76922Z5KL/5.OneYear_Rm1.jpg "How Swift, How Far"/other curatorial ONE YEAR: Linda Vallejo, Kohshin Finley, HK Zamani, Nery Gabriel Lemus (floor) https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1517513745924-NKHR3HWXWNYKP62B5Q05/9.Bert_Vallejo.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1517513374746-8FFC4OVANQTCU2PTPJZU/20c.Rm2.jpg "How Swift, How Far"/other curatorial One Year: Ben Sakaguchi, Keiko Fukazawa, Star Montana, Constance Mallinson https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1517513607981-QC8R0MAXE4TEG9LHIK40/20.Rm.2.jpg "How Swift, How Far"/other curatorial ONE YEAR: Constance Mallinson, Keiko Fukazawa, Lawrence Gipe https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1502064654613-K4FWVKM5V8UPPX0KIAB9/Kamikaze+PR.jpg "How Swift, How Far"/other curatorial - Kamikaze Dérive @ PØST (Nobody Walks in LA) Kamikaze Dérive @ PØST (Nobody Walks in LA) Lawrence Gipe, Organizer Kamikaze Dérive @ PØST (Nobody Walks in LA) is a group exhibition of works by 15 LA artists that draws from the experience of wandering about the SoCal’s rich and varied urban landscapes. For Dérive Kamikaze @ PØST, Gipe asked artists to engage in a loosely-defined notion of dérive as a template for exploration and production, with an artwork being a visual manifestation of the experience. Exhibiting artists include Kim Abeles, Laura Atchinson, Gary Brewer, Nick Brown, Eileen Cowin, Joey Forsyte, Bobbi Gentry, Audra Graziano, Kio Griffith, Alexander Kritselis, Jon Kuzmich, Aline Mare, Thinh Nguyen, Don Porcella and Jody Zellen https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1502064723815-QSUS7F6YPGTUCNUVX4VS/_M7A6833_800.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1502064738947-0SS7LV50QPF4VK8XO8D4/_M7A6835_800.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1502064837891-HBT9XMKVBJC76KS4FVSM/20170723_182145.jpg "How Swift, How Far"/other curatorial https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488086155467-OCRZ10A2QJE24IBWMEPI/ProArts_graphic_final.jpg "How Swift, How Far"/other curatorial "Everyone is Hypnotized: Artists Dérive the Bay Area" Curated by Lawrence Gipe and Sarah Tell May 5-24, 2017 at ProArts Gallery, Oakland, CA With: Brian Dean, Sebastian Alvarez, Joanne Easton, Marshall Elliott, Jon Gourley, Jon Kuzmich, Leora Lutz, Andréanne Michon, Maria Porges, Michal Wisniowski and Minoosh Zomorodinia https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1494172180089-CESB12NZQQCQ1T381HNQ/20170504_170212.jpg "How Swift, How Far"/other curatorial "Everyone is Hypnotized: Artists Dérive the Bay Area" 2017 Installation View at ProArts Gallery from left to right: Joanne Easton, Marshall Elliott, Bruce Dean, Andréanne Michon, Jon Gourley https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1494172529695-E3H4T2G6VWKZZKW7FIAE/F-LIne.jpg "How Swift, How Far"/other curatorial Faultline 2017: A Group Exhibition at The Brewery Artwalk Co-curated with Joey Forsyth and Alex Kritselis April 28-29, 2017 with: Kim Abeles, Dennis Callwood, Eileen Cowin, Daniel Dove, Sydney Foreman, Joey Forsyte, Keiko Fukazawa, Lawrence Gipe, Mark Steven Greenfield, Scott Greiger, Susan Joseph, Emma Jurgensen, Alex Kritselis, Luisa Martinez, Jim Morphesis, Amitis Motevalli, Bella Parisot, Milo Reice, Roxene Rockwell, Alexis Smith, Thinh Nguyen, Linda Vallejo, Mark Dean Veca, HK Zamani https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1494172600328-UKEU8QG1DX50QNEVB4AT/20170430_182927.jpg "How Swift, How Far"/other curatorial Fault Line 2017: Kim Abeles, Mark Steven Greenfield, Sydney Foreman, HK Zamani, Emma Jorgensen, Linda Vallejo, Mark Dean Veca https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488085413361-713TAJ959WQC6DJI7EBM/TheKnownUniversePoster.jpg "How Swift, How Far"/other curatorial "The Known Universe" March, 2015 Curated by Lawrence Gipe and Sarah Tell Poster Design by Sarah Tell   https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488085300724-REMKNN6WVOIWRE3X87Q4/KU_Install_1.jpg "How Swift, How Far"/other curatorial "The Known Universe" Curated by Lawrence Gipe and Sarah Tell Installation View at Root Division Gallery, San Francisco, CA Left: Sandra Yagi By Window: Marshall Elliott Right: Manfred Schroeder https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488085300728-GKIZRXW3V80MXX1GIUYB/KU_Install_2.jpg "How Swift, How Far"/other curatorial "The Known Universe" Curated by Lawrence Gipe and Sarah Tell Installation View at Root Division Gallery, San Francisco, CA Left: Tamra Seal Right: Mido Lee https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488085300979-58FNEZPB94BA41AVU7S6/KU_Install_3.jpg "How Swift, How Far"/other curatorial "The Known Universe" Curated by Lawrence Gipe and Sarah Tell Installation View at Root Division Gallery, San Francisco, CA Left: Michal Wisniowski Center: Nathan Hayden Right: Scott Greenwalt https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488085358059-ZJYA15JP26K13EC3Q3PZ/KU_Install_4.jpg "How Swift, How Far"/other curatorial "The Known Universe" Curated by Lawrence Gipe and Sarah Tell Installation View at Root Division Gallery, San Francisco, CA Left: Scott Greenwalt Right: Marko Peljhan https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488085974587-IQMZIO8176ORTP0GPKGJ/MAS-SFO-banner.jpeg "How Swift, How Far"/other curatorial MAS ATTACK: LA X SF, 2014 Curated by ARTRA, Los Angeles, CA Lawrence Gipe and Sarah Tell, San Francisco, CA at Studio 17, San Francisco, CA https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488085549094-9HPTBT6J77DO850XKWFH/IMG_0730.JPG "How Swift, How Far"/other curatorial Installation View MAS ATTACK, Studio 17, 2014 https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1488085548498-C94ERSWIAQ7OTBE1MWP3/IMG_0715.JPG "How Swift, How Far"/other curatorial Installation View MAS ATTACK, Studio 17, 2014 https://www.lawrencegipe.com/casbahnoir daily 0.75 2025-09-03 https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756865242118-I6DFFKGJNHHYOIFK8E2I/Film+Noir+_5_final.jpg Casbah Noir - Lawrence Gipe: “Casbah_Noir: New Paintings” / Opens 9/27 @ Terry Etherton Gallery, Tucson, AZ Works are oil on panel, 16" x 20", 2025 More Info: lawrencegipestudio@gmail.com / IG: lawrencegipe “Casbah Noir” is a series of oil paintings derived from screenshots of film noir movies set in colonial locales such as Algiers and Cairo. Acting on the success of “Casablanca”, Hollywood created this post-WW2 genre (which I informally call “Casbah Noir”); here, a roster of Hollywood stars (Bogart, Raft, Lancaster) play characters of intrigue between the Colonial North African French and indigenous bureaucrats and rebels. The trope of the Westerner entangled in the other-hood of the “Casbah” was one of “exotic” representations communicated by this subgenre that dates from 1946 - 1954 (the year of Dien Bien Phu and a crucial year in the fight for Algerian independence). https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756865242118-I6DFFKGJNHHYOIFK8E2I/Film+Noir+_5_final.jpg Casbah Noir - Lawrence Gipe: “Casbah_Noir: New Paintings” / Opens 9/27 @ Terry Etherton Gallery, Tucson, AZ Works are oil on panel, 16" x 20", 2025 More Info: lawrencegipestudio@gmail.com / IG: lawrencegipe “Casbah Noir” is a series of oil paintings derived from screenshots of film noir movies set in colonial locales such as Algiers and Cairo. Acting on the success of “Casablanca”, Hollywood created this post-WW2 genre (which I informally call “Casbah Noir”); here, a roster of Hollywood stars (Bogart, Raft, Lancaster) play characters of intrigue between the Colonial North African French and indigenous bureaucrats and rebels. The trope of the Westerner entangled in the other-hood of the “Casbah” was one of “exotic” representations communicated by this subgenre that dates from 1946 - 1954 (the year of Dien Bien Phu and a crucial year in the fight for Algerian independence). https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842419991-ZDQ05G1BBJHC7JNCI3BX/IMG_20250219_231443136.jpg Casbah Noir In 1945, as recent victors of WW2, America was by all standards the major power - and media producer - on the planet. Post-war movies created/reinforced stereotypes of cultures that remain salient today, oft re-visited wistfully and nostalgically by the MAGA political spectrum. A typical example sourced for the series was, “Outpost in Morocco” (1948), which casts George Raft as a spy representing the French Foreign Legion, who in real-life cooperated and collaborated with the movie studio. Above: Study No. 2 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842480550-S5JTF9Z1XDJR6YYC1CUE/IMG_20250219_231403894.jpg Casbah Noir One of the later Casbah noirs was “Fort Algiers”, partially filmed on location in North Africa. The work above: “Study No. 3 from Casbah Noir_2025_oil on panel_16" x 20", is derived from a screenshot of a momentary appearance of an uncredited background extra. Released in 1953, “Fort Algiers” was nearly a propaganda film for the maintenance of the French colonial order. https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842519443-HSAS2T4FATPYJ8DZH0YR/IMG_20250219_231432560.jpg Casbah Noir “Casablanca” (1942) is considered a predecessor to the genre, with its classic anti-hero Humphrey Bogart playing the character Rick. In the film, Rick symbolizes a non-interventionist America: “I stick my neck out for nobody”. By the film’s end - mirroring America itself in 1942 - Rick has seen enough, and will join the cause against the Axis. By 1946, the US position had changed from anxiety to interventionist triumph, and the new reality was reflected in this subgenre. Above: Study No. 4 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842555483-HN4R49JFKYIHGG3NO2NN/IMG_20250319_151343363.jpeg Casbah Noir In most cases, the American lead character’s storyline is backgrounded by the policing and military maintainance of France’s crumbling colonial empires. As France occupied Casbah-riddled sites such like Algiers, and presented Hollywood producers the opportunity to earn their cred by introducing international actresses to a post-war US public, although in “Outpost in Morocco” (1948), Utah-native Marie Windsor apparently is “exotic” enough to protray a daughter of an Emir of local Moroccan tribes. Above: Study No. 5 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842607741-KILM92D71ZY525A5CVVB/Gipe_Film+Noir+Colonial_4.jpg Casbah Noir Above: Study No. 6 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842695018-49S2RP4F8ZBCYZ1C7HSQ/Gipe_Film+Noir+Colonial_3.jpg Casbah Noir These works reference multiple screen captures from “The Man from Cairo”, as well as the template for Colonial -based Noir, “Algiers” (1941), and it’s musical remake, “Casbah” (1948). For instance, George Raft’s character in “The Man from Cairo” (1953) represents a new, confident American interloper, just as Rick represented an ambivalent American only 4 years earlier. His character mirrors the US’s willingness to take over as mediator, and later aggressor, in maintaining colonial status quo. Above: Study No. 7 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842744582-XKA1P2OJLHQGJ8PR6W5E/IMG_20250326_175744882.jpeg Casbah Noir Above: Study No. 8 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756843416535-726NX2SAKOCHYQ0967NT/IMG_20250414_193853134.jpeg Casbah Noir Above: Study No. 9 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842837437-7LSOH9X0UC9O508WYYUY/IMG_20250326_175835316.jpeg Casbah Noir Occasionally, as in the case of 1951’s “Sirocco”, the setting is placed in the recent past. Set in Damascus in 1925, “Sirooco” sees the French Army battling Syrian insurgents through the wizened eyes of Harry, played by Humphrey Bogart, in a complex update of his “Casablanca” persona. As history has it, the French colonialist government suppressed the rebellion with suficient bombs and brutality, so as a context, did it serve as a cautionary tale? Side note: Said the NYT of “Sirocco”’s ambiance : "Except for a few moody moments in a plaster night-club, called the Moulin Rouge, and some shadowy shots of sloppy Syrians lying around in dingy catacombs, the scene is no more suggestive of Damascus than a Shriners' convention in New Orleans…” Above: Study No. 10 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842905177-A5Q3ZX6Q4POTMD8CP1NH/IMG_20250706_115850382_HDR.jpeg Casbah Noir Above: Study No. 10 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842940145-37M7X630L3ZG92FDS834/IMG_20250706_115924171.jpeg Casbah Noir Above: Study No. 12 from Casbah Noir_2025_oil on panel_16" x 20" (In Progress) https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756842972826-J0AL4BYFMM6WCRTY08OM/IMG_20250414_193907477_HDR.jpeg Casbah Noir Study No. 1 from Casbah Noir_2025_oil on panel_16" x 20" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1754350746734-5WPHB1UBKO7TID79OPXI/IMG_20250804_134827960.jpeg Casbah Noir Above: Study No.14 from Casbah Noir_2025_oil on panel_16" x 20" (In Progress) https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756843029824-T5F08LY3OH86L3X9R716/IMG_20250804_134904788_HDR.jpeg Casbah Noir Above: Study No. 11 from Casbah Noir_2025_oil on panel_16" x 20" (In Progress) https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1756843122455-8NVR30GLSYN9K3PX65RW/IMG_20250805_153032232.jpeg Casbah Noir Above: Study No. 16 from Casbah Noir_2025_oil on panel_16" x 20" https://www.lawrencegipe.com/departure-locomotive-series daily 0.75 2025-05-27 https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1748389968639-AB081O8882PPZMGBQT90/image-asset.jpeg "Departure" / Locomotive Series - "Departure"_Unveiled April 2025 for permanent display in Union Station, Kansas City https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1748389968639-AB081O8882PPZMGBQT90/image-asset.jpeg "Departure" / Locomotive Series - "Departure"_Unveiled April 2025 for permanent display in Union Station, Kansas City https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1744937692872-NJB9QACTNKJUAML62LJ3/Wolff.JPG "Departure" / Locomotive Series - "Berlin, 1937 (After Paul Wolff)", 2014, oil on panel, 60" x 42", Private Collection, Los Angeles, CA https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1744937431292-FY3J2A1J0Y4U9LHKGERJ/Gipe_Train_1.jpg "Departure" / Locomotive Series https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1744937597778-AVAQN7G9RSBSGVZ1ONFG/Gipe_train_3.jpg "Departure" / Locomotive Series - "Study Panel for The Century of Progress Museum (Fortune Magazine)", 2000, oil on panel, 32" x 24", Collection: Helman Foundation, Todi, Italy https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1745523931324-BOCESBE0C5UCPWVH2JQT/Gipe_Train_1.jpg "Departure" / Locomotive Series - "Study No. 2 for The Krupp Project (Necessity Knows No Law)", 1989, oil on panel, 24" x 36" Collection: Los Angeles Co. Museum of Art (Gift of Barbara and Eugene Schwartz) https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1744937064954-1TV4JGJUPFQ1D5GGIXB4/Gipe_train_5.jpg "Departure" / Locomotive Series - Study from the Locomotive Series (Lubricating the Wheels of Commerce)", 1995, oil on panel, 60" x 72", Private Collection, San Francisco, CA https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1744937676095-2M81600PH4DEYHW1MLZU/20211112_123409_HDR.jpeg "Departure" / Locomotive Series - "Acquisition" and "Dresden, 1950", in studio, oil on canvas, 96" x 72" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1744937716816-45Q4N6ZKG4V35QO04JCH/10.+Lawrence_Gipe.JPG "Departure" / Locomotive Series - "USSR, 1930", 2007, oil on canvas, 72" x60", Private Collection, Los Angeles, CA https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1744937061885-B6B244890G441TPEUV0T/Gipe_Train_4.jpg "Departure" / Locomotive Series - "Study for the Propaganda Series (Preparing for New Conquests)", 1990, oil on paper, 36" x 42" , Private Collection, Munich, Germany https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1744937699228-98NAQTRZJXPRSBDHC4PP/Wolff_Mahder_1.jpg "Departure" / Locomotive Series - "Berlin, 1938 (After Paul Wolff)", 2021, oil on panel, 42" x 30" https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1745525806229-8KNDR5KW9APTZ80TLOX8/Screenshot+2025-04-24+at+1.13.12%E2%80%AFPM.jpeg "Departure" / Locomotive Series - "Study for Departure (Solace)", 1995, Aquatint etching, 35" x 35", PP 3/3, Riverhouse Editions https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/1745526023385-7XJSPWWVIPMCOKE70JLC/Screenshot+2025-04-24+at+1.12.47%E2%80%AFPM.jpeg "Departure" / Locomotive Series - "Steam's Up", 1995 , Aquatint, Edition Size: PP 3/3 , 15 x 20 1/4 inches https://www.lawrencegipe.com/presscontact daily 0.75 2025-08-05 https://images.squarespace-cdn.com/content/v1/58a8aae246c3c4e069886061/f9eb95b3-0a1f-4ea6-b102-daad8973c4b4/Gipe_Gardi+Sugbud_Installation.jpg Press/Contact/CV - Make it stand out Whatever it is, the way you tell your story online can make all the difference.