PARADOXA: Recent Works by Kathy Goodell
"Two-time NEA recipient exhibits at Albany Center Gallery"
Albany Center Gallery presents PARADOXA, Recent Works by Kathy Goodell to
be held September 21, 2010 through October 30, 2010. The reception will
take place on Friday, October 1 from 6 p.m. to 8 p.m. in congruence with
1st Friday. The Brown Bag Lunch Discussion Series with the artist will be
held on Friday, October 22 from Noon – 1 p.m. Albany Center Gallery
is located at 39 Columbia Street between N. Pearl and Broadway in Downtown
Albany, NY.
Kathy Goodell is a contemporary
artist who works in sculptural objects, installation and drawing. In both
her drawings and sculpture she pursues an organic sense of space where the
inside and outside are laced together, using forces of erosion and accretion,
mimicry and dislocation, creating a world of mystery and resonance. Her
poetically abstract explorations of space, time and memory are affected
by both the idiosyncrasies of her personal imagination in combination with
her philosophical interest in the art/working process as a vehicle of personal
transformation.
Kathy Goodells’ work has been included in numerous solo and group
exhibitions, both nationally and internationally, to name a few of the many
diverse venues: The Scales Art Center at Wake Forest University; The New
York Public Library; The Mid-Manhattan Branch; The Queens Art Center; The
Museum of the City of Mexico; The Berkeley Museum; The Drawing Center, NYC.,
Virginia Beach Center for the Arts; Los Angeles Institute of Contemporary
Art; and Art Basel, Miami, Florida, In addition to her extensive exhibition
record, Kathy Goodell has been the recipient of numerous grants and awards.
Selected awards include two National Endowments for the Arts Fellowships,
two New York Foundation for the Arts, Fellowships, a Pollock-Krasner Grant,
a Fulbright-Hays Fellowship, a California Commission for the Arts, Grant,
and many other awards and honors.
Ms. Goodell has been included in several books, most notably, Tong and Loefflers,
Performance Anthology; Richard Yellen, International Glass Art,; Thomas
Albrights, Art In the San Francisco Bay Area; Christopher Brown and Judith
Dunham, New Bay Area Painting and Sculpture. She was included in the movie
Crumb (directed by Terry Zwigoff) a biographical documentary about the artist
Robert Crumb, where she plays herself. She has been written about in such
publications as; Juxtapose magazine, The Palm Beach Post, The New York Times,
The Sciences Magazine, Arts Magazine, The San Francisco Chronicle, The Oakland
Tribune, and The Sacramento Bee and Avalanche Magazine. Catalog essays include
writings by, Jonathan Goodman, Eleanor Heartney, Peter Plagens , Terry Myers,
Walter Hopps.
Kathy Goodell was born in San Francisco, California and was educated at
the San Francisco Art Institute (B.F.A. and M.F.A. in sculpture). She has
taught at numerous institutions, including, the San Francisco Art Institute,
San Francisco State University, University of California, at Davis, Moore
College of Art and Design, The School of Visual Arts, and the State University
of New York, New Paltz, where she is a Professor within the Art Department.
“I am not really interested in ‘self expression’, because
I don’t feel that my personal expression is terribly important. I
feel it is potentially more important to allow phenomenological states and
perceptions to assist me so that I might move towards a more aware state
of being. I am interested in surprising phenomena- evidence of something
magical, and the ‘state of becoming’ where everything is possible
and nothing is in stasis.
This stance originates from my belief that the smallest and largest events
of life in the universe are connected and hold clues to understanding the
meaning of life. And at the same time, I feel that human beings have a complex
and paradoxical relationship to both nature and the architecture that we
live and move through, sometimes troubling and often nurturing. I find myself
compelled by memories of extreme spaces, potent sites and restful places
and my works’ focus is largely abstracting references from these transformative
experiences. This process starts conceptually. Sometimes an idea might refer
to a temporal experience of nature, which inspires me to capture, through
reinvention, a subtle, fleeting presence. How can I transform my personal
experience, and reverie? And how can I construct the meaning of this experience
so that there is a confluence of sensation and recollection, memories merging
with the act of seeing, so that ‘flux’ becomes a true part of
the work. If it becomes a true part of the work then the work takes on a
double life, and exudes energy past its material self, a kind of reverberation”.
