Sandra Gottlieb – Images of the Sea
Artists have been fascinated by water at least since the ancient Egyptians showed rivers and lakes as schematized wavy lines at the base of wall reliefs. With greater sophistication of means and vision came more convincing representations of the mysterious moods of the stuff that covers nearly three-quarters of the planet, with certain artists, like J.M.W. Turner and Winslow Homer, making the sea the most compelling focus of many of their mature works. Even a seemingly landlocked painter like Edouard Manet, the consummate chronicler of city life, tried his hand at capturing the sea’s roiling unpredictability.
The growth of photography in the last 150 or so years should logically have led to even greater attention being paid to the ocean’s ever-shifting temperament, at different times of year and day, but with the exception of the largely conceptual strategies of Hiroshi Sugimoto, I can think of few who have trained their camera on the sea in a sustained and serious way. For the last 15 years Sandra Gottlieb has done just that, producing several series shot from a secluded beachfront in Rockaway Beach, New York. Her three most recent bodies of work are remarkable for showing just how different the same stretch of water and sand can look when an artist trains her eye and camera on one of Nature’s most glorious and fickle spectacles.
Arguably the most sensational and painterly of her latest series is “Summer 2009,” taken over a two-month period with a Canon digital camera. In some of these the colors are so brilliant and jewel-like the scenes seem almost tropical (but, no, they are all of a beach in Queens); in others the effects of haze give a luminosity that suggests a filter or manipulation on a computer (again, no--Gottlieb says that what you see is what she gets with just the camera). Some, such as No. 2 and No. 8, are so disorienting the world feels topsy-turvy, sky and sea dizzily reversed. Most demonstrate the artist’s sharp feel for composition: areas of placid water, pounding surf, and slick sand are as sharply delineated as blocks of color in a Japanese woodprint.
Equally painterly but more subdued is “Winter 2009,” in which all the images were captured in half an hour in the face of an approaching winter storm. Certain artists, like Whistler, are famous for coaxing the maximum resonance from all the variations of the color gray (if you consider gray a color at all), and Gottlieb also shows how much punch you can muster by setting subtle chromatic variations side by side: steely blue-gray against deep Prussian blue against a muddy taupe. Throw in a rivulet of creamy surf or a sliver of peach sky and the whole composition snaps to life; we find ourselves amazed that both the camera and our eyes can discern so many subtleties.
Gottlieb’s most recent series, “Waves In Black and White 2011,” makes a completely different statement about the ocean. Many of these photos, such as No. 7 and No. 21, suggest the sea as primal force; the brute indifferent frenzy of water could carry us off without leaving so much as a trace. Indeed, one of the most powerful photos from this series, No. 25, presents the sort of curling, cresting wave that may be a surfer’s delight but presages a soggy roll for the rest of us. Other images are more benign: the lacy or sudsy ripples of surf have a syncopated, musical quality. But all have a different kind of drama from the color series—in the same way that a black and white film can offer up a sharper jolt of terror or suspense than its equivalent in Technicolor.
The artist has professed her admiration for painters who have a strong feel for simplified abstract composition, like Mark Rothko and Milton Avery, and her work does depend on a similar unerring sense of design. But the way Gottlieb works seems to have the greatest affinity with Claude Monet, who patiently recorded the changes of light on a cathedral fašade or a field of haystacks over a period of days or weeks. The advantage of the camera lies in its ability to record the way Nature can change in a split second, as much so as in a season. In choosing the sea as her subject matter, Gottlieb speaks to something very primal in all of us (about 60 percent of the body is made up of water, after all), and whether we live near an ocean or not, there remains something peculiarly fascinating about this least-explored phenomenon of the earth’s surface. Gottlieb helps take us there. Ann Landi, writer, ARTnews, 2011
|Sandra Gottlieb – Reviews
Images of the Sea
“Sandra Gottlieb’s powerfully suggestive “October Waves” series pertains to many things. Among them is her inner journey of connectedness with the discourse of the Deep, parsing out the language of water to arrive at something close to revelation.”
- Dominique Nahas, Curator and Critic based in Manhattan, 2014
“In Gottlieb’s images of the sea, there is a confounding intimacy. The translucence of the waves, the starkness of the white water, the vagueness of the distant fields all create a strange sort of unsteadiness as we process the information before us. Yet these pauses in the action, the collective and collapsing energy…are truly remarkable.
- D. Dominick Lombardi, Huffington Post, June 19, 2014
“Her three most recent bodies of work are remarkable for showing just how different the same stretch of water and sand can look when an artist trains her eye and camera on one of Nature’s most glorious and fickle spectacles.
- Ann Landi, Artnews, 2011
“Gottlieb’s attention to natural themes, sensitively conveying their frailty and mutability, is daring in its clarity and sincerity.”
Mary Hrbacek, The M Magazine, July 2009
“In just one series, “City Tulips”, Gottlieb has demonstrated both remarkable powers of observation and a thorough mastery of her medium.”
- Ann Landi, Artnews, 2008
“It is hard to imagine a more romantic view of such subject matter, which overwhelms its audience with its restrained, yet powerful radiance.”
Jonathan Goodman, Art Critic, New York City 2007
“Sandra Gottlieb’s unique contribution may very well be the stunning synthesis that she achieves between the naturalistic and experimental traditions of modern photography through her singularly austere yet passionate vision.”
Lawrence Downes, Gallery and Studio, Aug 2004
“Sandra Gottlieb’s “One Cloud No.2” transforms a straightforward picture of sky and horizon into a meditation on atmosphere.”
New York Times, Sunday, Dec 17,2000
“It is artists such as Gottlieb who make clear why photography can now stand right alongside painting as a major art form.”
Gallery and Studio, Sept 1998
attention to natural themes,
sensitively conveying their frailty and mutability, is daring in its
|"Inside that one small flowerbed, Gottlieb
discovered both high Baroque drama and quietly minimalist
In just one series, Gottlieb has demonstrated both remarkable powers of
observation and a thorough mastery of her medium."
|'It is hard to
imagine a more romantic
view of such subject matter, which overwhelms its audience with its
yet powerful radiance."
|"Sandra Gottlieb's unique contribution
may very well be the stunning synthesis that she achieves between the
and experimental traditions of modern photography through her
austere yet passionate vision."
|"Sandra Gottlieb's "One Cloud #2" transforms
a straightforward picture of sky and horizon into a meditation on
|"It is artists such as Gottlieb who make
clear why photography can now stand right alongside painting as a major