Rebecca Lipsitch

How do we play?

by Elika Broumand

Imagine you’re going to a party. You step into the home and it’s jam-packed with a diverse crowd of cool, creative people. You walk around the room and there’s tons of talented artists' pieces on the wall. A swing is attached to the ceiling, a piñata is ready to be smashed open, two trampolines are in the center of the room, and there is candy everywhere. Then, you remember this isn’t an ordinary party—this is Rebecca Lipsitch and Grace Miskovsky’s gallery opening for their most recent curation endeavor “How Do We Play?” A fun, interactive, and deep exhibit that allows us all to remember, and tune into, our inner child. 

I had the pleasure to speak to Ms. Lipsitch on her newest, exciting venture.

So we are here with Rebecca Lipsitch to talk about her most recent curation project: How Do We Play? What is the vision for How Do We Play? What did you want it to be? 

Yes, so this has been a vision I've had for really some years now. My concentration at Gallatin is called “Curating Connection Through Spatial Design and Community Programming.” So really what that means is I'm interested in how people come together within space, but how you make that happen through curation—whether that be the architecture or the art on the walls or the interior design, but then also the community programming aspect is like, how can we get people together through sort of curated, quote-on-quote, “events.” And I did a show last year called “Connected Cosmos,” which thought about that idea a bit. We had eight student artists, and I designed this bingo-esque scavenger hunt, because I go to a lot of openings and a lot of shows, which I love, but I always feel like, especially during openings, it's hard for people to like really talk and connect, because they're just sort of stuck in their own bubbles and clicks. 

And often they aren't really looking at the art on the walls, and they're just kind of distracted in their own talks. So I was like: How can we design a bingo or a scavenger hunt, sort of for people to be able to connect to the art even more? And so I did that last year, and then sort of out of that came this realization that what that bingo really was, was essentially a game. And I took this amazing class called  “Science of Human Connection” last year, and we thought a lot about how do people connect? And a lot of that is through curiosity and question—asking and really trying to connect with someone through learning about them rather than just relating to yourself. But then also, we were thinking a lot about how the simple act of, like picking up a wine glass at the same time as someone else, and sort of like body mirroring, or mirroring someone's body, is also a way that we connect with people—especially like on dates or when you're with your friends. But then most obviously is through games and playing, and that's, I think, really how this idea started, because I was really lucky to have a super amazing childhood. 

I spent a lot of time on the playground, specifically monkey bars, fire poles. I also did gymnastics for a bit. And I would say that a lot of my really solid friendships formed on the playground or at recess and even now, I'm like, why can't we go to Sky Zone? Why can't we, like, jump around on trampolines, just because it's fun, and we don't do that anymore, and I was explaining this during the tour, but I think that what's hard about being a grown up is to make friends: you're asking people to go out to drinks or go to dinner, but oftentimes what you're then talking about is just like recounting your old experiences rather than experiencing something new together. And so I think that the power, especially like music festivals or going out together and kind of like having new experiences together, is really what is what connects adults. And so I was like: How can I kind of find a middle ground between adult play in the non-sexual sense and also childhood play? And so to kind of strike that balance, I was like, alright, let's have some really meaningful quality art on the walls, but then also learn how to install a swing and get some trampolines and have a fun band, and basically let people jump around and swing, while also being able to to think about 19 different artists and sort of how they connect to the idea of play. 

And so I put a lot of emphasis on the opening and really, we had probably 400 or 450 people come, and people were saying that they met a lot of people on the trampolines and on the roof. And so that was really my goal, in addition to having people view the art.

That's very lovely. I love the whole idea behind, How do we play? and how it came to fruition, yeah, and being here for the opening was like a blast. There was candy, and I was losing it. You do feel that childhood sense. Then the venue in which you did it is a workspace where people are always collaborating. So did that impact your decision to choose this venue? Since, how do we play? is very collaborative area and a collaborative gallery, and is it being held in a collaborative like space?

Yeah, that's a great question. I would say definitely yes. I mean, the only other show that I did was also in a relatively untraditional space. It was more gallery, but it wasn't. It was called a community space, quote-on-quote. So their main idea wasn't to be a gallery. And the more that I come up with these ideas, I think the more intentional it is to actually get people together in an unconventional space. Because, number one, I think it kind of eliminates the pressure and sort of the feeling of just a really sterile, obviously white box is the traditional place. And also, for a concept like this, I don't think that a traditional gallery space would work well, especially hanging things from the ceiling with the piñata, and there's just a lot of liability issues that I don't think a normal gallery would really want to deal with. 

But at the same time, it's been really fun. I know nothing about software engineering, but we've been able to, like, meet a decent amount of software engineers, because that's what the coworkers do, who all have generally had a very positive response to the show, and the owner of the space is also really happy about it, because the space that the show is in is sort of acting as like a cafe slash lounge space for people to decompress, because in the other room, some of the the workers are working, like 50, 60, sometimes 70 hours a week. And so they do have these, like gymnastics rings in another room. But Andrew was, like, very excited to get the trampoline and to get the swing. So I think it's like a great overlap of a technology workforce with artists. 

And then also in there, there's someone actually living and so obviously we have a kitchen and a bathroom. And at first I was like, “oh, this is gonna be a little bit awkward!,” but many people have actually really positively responded by saying that it feels like, I mean, you are in a home, and it feels much more like you're just walking into the living room, or, like with the comfy couches, it feels a lot more approachable and easy. And it's more easy, I think, to connect with the art and the artists, because it literally just feels like you're walking into a home, rather than a space where the gallerist, like, maybe won't greet you or won't say hi to you. So, yeah, I'm really glad it's in this space.

Yeah, I definitely agree it did. It is kind of like it's homey, and then it also can remind you of those childhood memories you experienced in that home. It's very full circle. So your co-curator Grace, who is a senior at Fordham, studying Art History: How did her kind of curation methods also come into play?

So this has been great. I'm so glad we've done this as a duo. This would not have been the same show without her. So when I initially asked her, I did it for a few reasons. Number one, she's had a lot of experience working at more like blue chip galleries and selling art. I think she sold over like $15,000 worth of art, and just really good with the business side of it, which I'd say is something I'm still learning a bit about—because I have more of an experimental approach to this all. But I knew she would be really great with thinking and reaching out to collectors and then her actual curation role, we sort of realized, as we started curating this together, is that how I did it is, I posted on different social media, like an open call, because I was really excited to get to meet new artists, and to have new new people apply. 

But then for her, she was really excited about reaching out to, like a more established group of international and professional artists. For example, Paria, she moved from Iran a few years ago and got her Master's, I think at Parsons, is now a full time artist, and then someone like Aleksander, who made that sculpture, is also a full time artist in Edinburgh. And so her role has really kind of come through, with her focus on these more mid-career, even fully successful artists, while I was more focused on emerging and student artists, which has been a lot of fun, because the last show that I did was just eight student artists, and so it's great to get sort of a variety of artists at different levels in the space. 

To have more well established in the world artists and student artists—like double collaboration. You're just collaborating all around, and you still learn from people who are learning. And people learn from people who have learned, right? And so we're always learning. And it kind of goes back to this, the whole root of the exhibit is really neat.

Yeah, and I think another thing I was thinking about a lot is like, we had a very short time span to get this all together, but I was super intentional that I wanted there to be some sort of artist get together before the actual show, because for me it's so important for, as we were saying, artists to get to meet each other. And I think another thing in terms of my curation style is, a lot of curators, separate artists on the walls, but I feel like for me personally, the fun of curating is to find overlap between different artists. For example, like this food wall or the animal play wall, we were really pretty intentional about finding the ways in which a variety of mediums, like Eleanor's photograph with Nicholas's drawing of the boxing overlaps. I think it's really fun for those artists who are put together, especially to be able to meet each other and be like, “Oh, wow. Like we're talking about similar themes or ideas, but just using like, such a variety of mediums.” So yeah, and really, regardless of how far they are in their career, I think it's fun for them to be able to get to meet each other. 

I did want to ask one last question. As a Gallatin student, you kind of don't feel that like a student half the time, because you're building so much on your own, but at the same time, you feel like a student, we have grades, we have assignments and everything. And this exhibit has very well impacted your concentration. Your concentration has impacted the exhibit. But how has this experience helped you in choosing and preparing for your future career? You're leaving soon, right? And you've done so many cool [gallery and curation exhibitions]. How has it impacted you, and how has it prepared you?

I think most directly, what's been really rewarding about this experience and the show that I did last year is given that it's such a personal idea, and both shows, I had someone in mind I wanted to help me out with like, it's a two person team, which I'm quickly realizing, especially for a show of this size, I think, is no longer feasible. But I learned so much because it was just us doing everything: doing the marketing, the curating, the organizing, the dropping off, the getting the drink[s]. Like there was just so much to think about all of the time, and it was really just us doing all of it. And so that, I think, literally career wise, was helpful for me to figure out, what am I good at, what do I still need to improve upon? What do I really like? 

I'm terrible, terrible at marketing. Originally, I remember I was looking for an internship and sort of like the PR art world, and I'm realizing that's definitely not for me. But moving forward, it would be great to get even a Gallatin freshman who would be interested in helping out to sort of like, do that marketing and like learning how to build the team. But then also, given that it's such a passion project, and very personal, it was really fun for me to think about what skills do I want to build. And so, for example, it's a little stupid, but I had never used a drill before, and I just had this vision of having the swing. 

Coincidentally, I had a friend connect me with this guy who had an extra swing, and he was super duper great. And not only came over and helped me install the swing, but like, taught me how to use the drill we installed together. He runs a building camp for kids, and was just a super great teacher in that way. And so that was a really fun skill. And then also, I learned how to use the vinyl cutter at STAC at Gallatin, which was something I was hoping to do. I think going forward like it's been fun too, to sort of learn how to manage people, even though it was just one other girl, but like managing artists and drop off times and things like that. And it's also been really good practice in terms of leading tours, because I will say that I've been a little nervous about public speaking, and obviously, again, I've said this so many times, but because it's so personal, I really want to represent the artists in a way that feels accurate and meaningful to them. 

Just to touch back to Grace, I've really admired the way that she's been able to talk about the work so eloquently and do the artist justice in that way. It's definitely been harder for me, but also something I'm realizing I love to do, and would love to continue improving upon, and especially with the show of this size. There's so much to remember, so many different types of work and artist backgrounds. Back to your original question, going forward, I would love to do more curation, perhaps with a bigger team, and really think about the things that I care most about and work on those. 

Are there any final things you want to add for the future curators and artists?

I think a lot of people have been asking me “oh, is this part of like, Was this an assignment, or was this something that you're doing for a class?” And, no – it's just something I was truly passionate about. My advice would be [to] collaborate. Even if something feels really personal to you, it's so much fun to work with others, and I don't think the show would have been the same without all 19 artists and Grace and the owners of the space and the performers. We had so many people come together and make this what it was. And it was really fun to be able to curate all of these people into an amazing team. Especially being in New York, we're so lucky to have such thoughtful and smart and artistic people around us. Especially being a 21 year old and still young, I think it's really beneficial to get so many different opinions. And, so I would say, definitely collaborate and learn from others and go with what you're passionate about.