Tom LieberLarge Abstract Expressionist Color Monotype Oil Painting Tom Lieber Mixed Media1987
1987
About the Item
- Creator:Tom Lieber (1949, American)
- Creation Year:1987
- Dimensions:Height: 30.25 in (76.84 cm)Width: 44 in (111.76 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU3829324362
Tom Lieber
Artist Tom Lieber’s Abstract Expressionist paintings have a distinct visual language. They are energetic and powerfully emotive yet contemplative through a use of graceful, bold lines, dense colors and neutral backgrounds.
Born in 1949 in St. Louis, Missouri, Lieber attended the University of Illinois where he graduated with a BFA in 1971 before obtaining his MFA in 1974. The following year, Lieber received an award from the National Endowment for the Arts. In 1982, he was selected for the “Emerging American Artists’ Exhibition” at the Guggenheim Museum in New York.
In 1983, Lieber began a collaboration with artist Garner Tullis to create large-scale monotypes. Through Tullis, he met influential artists such as Sam Francis, Helen Frankenthaler, John Walker, Sean Scully, William T. Wiley and Friedel Dzubas.
Since the mid-1980s, Lieber’s abstract paintings, inspired by nature and meditation, have been characterized by his calligraphic mark-making, underlying color fields and masterful tonal variations, often anchored by a single brushstroke. His monumental, oil paint-laden canvases recall the works of Joan Mitchell, while his subtle use of color evokes the art of Mark Rothko.
In the 2000s, Lieber has been inspired by living in Kauai, Hawaii. This is evident in his landscape works and abstract prints such as “Hot Water,” “Lava” and “Black Drop X.”
Lieber’s paintings have been exhibited throughout the United States and internationally at solo and group shows. His works are in the permanent collections of the Metropolitan Museum of Art and the Guggenheim Museum in New York, the Museum of Contemporary Art in Los Angeles, the San Francisco Museum of Modern Art and the Tate in London.
On 1stDibs, find a range of Tom Lieber’s paintings and prints.
- ShippingRetrieving quote...Ships From: Surfside, FL
- Return PolicyA return for this item may be initiated within 3 days of delivery.
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In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...Category
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"Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...Category
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