"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”.