{"id":19741,"date":"2025-07-03T03:00:49","date_gmt":"2025-07-03T03:00:49","guid":{"rendered":"https:\/\/artoday.net\/?p=19741"},"modified":"2025-07-03T03:00:49","modified_gmt":"2025-07-03T03:00:49","slug":"jane-gottlieb-living-through-color","status":"publish","type":"post","link":"https:\/\/artoday.net\/?p=19741","title":{"rendered":"Jane Gottlieb: Living Through Color"},"content":{"rendered":"\n

Jane Gottlieb<\/a> has spent a lifetime chasing boldness through pigment. She started in Los Angeles with brushes and paint, but over time, her creative path shifted. Photography caught her attention, and eventually, she found her rhythm by combining the two. More than thirty years ago, she began painting directly on Cibachrome photo prints\u2014an intense, hands-on process that blended photography with the energy of painting.<\/p>\n\n\n\n

That work laid the foundation for what came next. When digital tools arrived, she didn\u2019t hesitate. She began scanning her hand-painted prints and refining them in Photoshop, creating vibrant works printed on aluminum, canvas, or paper. The digital version wasn\u2019t a departure\u2014it was a continuation. Her process has always been additive, building layer on top of layer, medium over medium.<\/p>\n\n\n\n

Gottlieb\u2019s art is immediate. The colors are loud. The compositions are full of movement. She doesn\u2019t aim for subtlety or quiet beauty. She goes straight for impact\u2014art that lifts, jolts, and surprises. For her, color isn\u2019t about harmony. It\u2019s about joy, and maybe even disruption. A reminder to see the world with brighter eyes.<\/p>\n\n\n\n

Her installations at UCLA and UCSB\u2014over 140 large pieces across multiple sites\u2014are long-term projects meant to live with the public. She considers them more than decoration. They\u2019re interruptions. Pops of color designed to pull you out of routine and offer something cheerful, maybe even strange, in an otherwise muted space.<\/p>\n\n\n\n

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Frank Gehry Series<\/strong><\/p>\n\n\n\n

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Jane Gottlieb\u2019s Frank Gehry series is part memory, part transformation. She worked with Gehry decades ago, photographing his designs before they became internationally known. That early experience never left her. She kept photographing his buildings, especially in Los Angeles and Bilbao. Over time, she began to reshape those images, using Photoshop to explore her own relationship to his work.<\/p>\n\n\n\n

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Gehry\u2019s architecture is already full of movement\u2014metal that twists, bends, and rejects convention. Gottlieb takes that motion and adds color. Bold, hyperreal color. Magenta, teal, yellow, fuchsia. She shifts the mood of the structures by changing their palette and surroundings. Gehry gives her form; she gives it emotional temperature.<\/p>\n\n\n\n

The buildings stay recognizable, but the world around them shifts. Orange skies, electric gradients, water that looks like stained glass. She isn\u2019t aiming to replicate Gehry\u2019s designs\u2014she\u2019s responding to them. Bending space, flattening shadows, heightening contrast. The images become something else entirely\u2014less about place, more about feeling.<\/p>\n\n\n\n

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Photoshop becomes her tool for invention. Her edits don\u2019t just enhance; they push. She\u2019s not correcting reality\u2014she\u2019s creating a new one. A version where steel glows and buildings seem to levitate. It\u2019s playful, but not careless. She\u2019s precise with her chaos.<\/p>\n\n\n\n

Each piece carries a pulse. They don\u2019t feel like still images. They feel like snapshots taken in the middle of a dream\u2014wild but familiar. There\u2019s humor in the color, but also admiration. This is her way of being in conversation with Gehry. She meets his looseness with her own.<\/p>\n\n\n\n

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Screenshot<\/figcaption><\/figure>\n\n\n\n

What comes through most in the series is her ongoing curiosity. She isn\u2019t trying to document Gehry\u2019s genius. She\u2019s taking what inspires her and turning it inside out. Her edits are explorations\u2014ways to stretch the image, question it, and find new possibilities within it.<\/p>\n\n\n\n

This is Jane Gottlieb\u2019s style across all her work. She finds something she loves\u2014cars, landscapes, architecture\u2014and she paints over it, edits it, brightens it, until it reflects how she sees it in her head. Not just accurately, but fully.<\/em> Loud. Alive. Energized.<\/p>\n\n\n\n

The Gehry series isn\u2019t about the buildings. It\u2019s about what happens when a long-held fascination gets filtered through color, technology, and time. It\u2019s about freedom\u2014the freedom to keep pushing, to stay curious, to turn memory into something electric.<\/p>\n","protected":false},"excerpt":{"rendered":"

Jane Gottlieb has spent a lifetime chasing boldness through pigment. She started in Los Angeles with brushes and paint, but over time, her creative path shifted. Photography caught her attention, and eventually, she found her rhythm by combining the two. More than thirty years ago, she began painting directly on Cibachrome photo prints\u2014an intense, hands-on<\/p>\n","protected":false},"author":1,"featured_media":19746,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46],"tags":[],"class_list":{"0":"post-19741","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist"},"brizy_media":[],"_links":{"self":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19741","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19741"}],"version-history":[{"count":1,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19741\/revisions"}],"predecessor-version":[{"id":19747,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19741\/revisions\/19747"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/media\/19746"}],"wp:attachment":[{"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19741"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=19741"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=19741"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}