"Heathcliff", 30 x 22", acrylic on paper

Tuesday, October 2, 2012

Joyce Lieberman's paintings are at the Talking Stick for the month of October! The Talking Stick is a coffee/lunch and musical venue located at 1411-C Lincoln in Venice at the corner of Lincoln and California.

With it's colorful walls and lively spirit, it's a great fit for Lieberman's huge oils from BC/Before California days in Texas and her 18 foot canvas "Trifecta" created in 3 sections with mops and brooms and other paint brushes in her Venice Garden. Lieberman is in her 29th year in Venice painting and gardening. Many of her paintings are created in the garden. One piece from her ongoing UNSTill Life series entitled "Summer" is also on view.

Other notables are her enchantment with the huge ballerina/clown at Rose and Main in the framed painting "My Barofsky". Like the famed Venice Artist Jonathon Barofsky who created the clown, Lieberman has added strings of numbers to the piece as he was known for numbering everything he made. That androgenous oversize sculpture seems to typify the Venice spirit. The piece hung in Rosendahl's office for the last five years.

$5 Palm Tree posters from Lieberman's monporint at 'St. Jives by the Sea' days are available. Ask behind the counter. There is a Framed example in the bathroom.

The Talking Stick is open days and evenings. Come by anytime to see the show or join us at the midmonth
Reception Sunday October 14th from 5-7.

Joyce Lieberman "Trifecta" 5'H x 18' W Acrylic on canvas

Joyce Lieberman "Texas Heat Fatigue Series: Interior TV Glow", 4x5' oil on canvas
and "Moonlight on the Zebra Skin Rug", 5x4' oil on canvas

Joyce Lieberman "The Masquerade: Oh! But He's So Green" 4x5' oil on canvas

Joyce Lieberman "Summer" 4x3' acrylic on canvas

Wednesday, July 18, 2012

Summer Cafe Exhibitions

Ann Arbor, Michigan is a beautiful town. I have loved the old west side since my college days there at the University of Michigan School of Art. I have a show of my Garden Unstill Life's hanging at Cafe Zola through the fabled Ann Arbor Artfair until August 2. Please visit if you get to town. Café Zola cafezola.com/ Café Zola. 112 W. Washington St. Ann Arbor, MI 48104. 734.769.2020 phone. info@cafezola.com · Concurrently Chemers Gallery in Tustin has presented a series of my large floral works on canvas at Plum's Cafe in Costa Mesa. www.plumscafe.com/ Plum's Cafe 369 E. 17th St., Costa Mesa, Ca 92627 949-548-7586 Here I am just after installing the 8 pieces at Cafe Zola. Both are known as special brunch restaurants. I hope you get the chance to enjoy the ambiance if you go.

Monday, January 16, 2012

Great Review of my U of M Exhibition!

art review
U-M Health System showcasing floral works of Joyce Lieberman
by John Carlos Cantu

Posted: Mon, Jan 16, 2012 : 5:19 a.m.


Finding the universal in the everyday isn’t an easy task for any artist, but Joyce Lieberman hasn’t had to look any further than her own garden to find her inspiration.

Transferring her love of flowers to her table top and transferring that table top to a series of vibrant expressive paintings allows Lieberman’s “Gardens: UNstill Life Acrylic Paintings” at the University of Michigan Hospital to mature into full cosmic bloom.

As this Venice, Calif.-based painter with U-M undergraduate roots says of her Gifts of Art exhibit, “Flowers are pretty. Their bright flashes of color as they bloom represent the best part of the life cycle. They show promise and hope.”

Yes, they do. But this is also, obviously, a lot of weight for a delicate subject to bear. Lieberman’s display of seven oversized paintings in the U-M Hospital’s spacious entry level showcase is meant to shoulder this burden. For each painting—some as large as an oversized five by four foot—is an expressionist’s delight due to its rich, multihued intensity.


“With this series of paintings,” she says, “I compress beauty of the world into a focused arrangement of flowers, while pushing the spinning complexities of life out to their border.

“There’s an abstracted peripheral complexity here,” Lieberman concludes, “but my aim is to provide a focal point—a lively-yet-calming place where the viewer can rest. I believe if you can engage the power of focus, the rest of the world’s spinning becomes more manageable and less urgent, while the power of art becomes more persuasive and transformative.”

This is an interesting artistic strategy, since the floral genre has tropes that any enterprising talent has to follow, whether with fidelity or transgression.

Among the floral genre restrictions is the balance of palette as weighed against the work’s essential compositional structure. Lieberman’s acrylics allow her to expressively vary the appearance of her work while also reworking her chosen motif.

Working in palettes that can range from contrasting primaries to complementary color schemes, Lieberman varies the tenor of her work. Each work features an arrangement where a vase sits at the center of composition with the flowers jutting forth. She thereby harnesses her penchant for color through a strategy that’s unusually dynamic, given her genre’s constraint.

Two five- by four-foot paintings—“Genie’s Garden” and “Sunset”—illustrate Lieberman’s varying strategy. Both paintings feature a vase set on a table with blooming flowers. But “Genie’s Garden” has a relatively complementary palette whose range animates its pink vase set against a mottled border, while the flowers themselves serve to supplement the painting’s internal harmony.

“Sunset,” by contrast, is far more abstract, with undulating pigments swirling around equally abstract red blossoms in the work’s center. Where some Lieberman paintings tend to abstract the table upon which the flowers and vase sit, she’s instead carefully articulated its design in this instance, thereby making the painting exceedingly fluid.

Lieberman’s “Celestial Nosegay” is the exhibit’s masterwork, where she pulls together all the tricks of her trade to craft what is seemingly a final observation. Indeed, “Celestial Nosegay” tells us everything she’s intended with this exhibit. Her essential optimism is illustrated by a tablecloth that looks like a globe. The painting’s centered blue vase is set against an equally rich blue sky. It features a lively arrangement of purple flowers set against foreground turquoise daubs. These explosive acrylic dashes and daubs create a chromatic tension—the restless motion that must mingle artistically to create the origin of life.

Granted, this is all rather astronomic for the humble floral genre; but then again, it’s the joyful artwork that so readily crystalizes an artist’s intent. And in this regard, Lieberman’s “Celestial Nosegay” does the job quite well.

“Gardens: UNstill Life Acrylic Paintings” will continue through Feb. 6 at the University of Michigan Health System Gifts of Art Gallery—University Hospital Main Lobby, Floor 1, 1500 E. Medical Center Dr. Gallery hours are 8 a.m.-8 p.m. daily. For information, call 734-936-ARTS.

Tags: University of Michigan, art & exhibits,