(Art) Amalgamated presents Frances Goodman’s first solo show in New York, Touched. By looking at everyday obsessions and behavior she explores the way people respond to our contemporary, highly materialistic society and the often idiosyncratic coping mechanisms they develop. Her work reflects a morbid ambiguity of excess and loss, a dislocation between appearance and truth.
For her first solo exhibition in the United States, Goodman combines works made in New York during her recent residency at the ISCP (International Studio and Curatorial Program) with older pieces that embody her expansive art career. This exhibition reflects Goodman’s interest in wordplay and humor through text. Touched has multiple meanings: to be physically modified, to be emotionally affected and being participants in the various artworks.
The Vajazzling Series mimics the American fashion trend with the same name (advertized to be done for special occasions). It was both conceptualized and produced in New York using the Village Voice to meet the models – the photographic works of adorned, nude female torsos are a response to the commodification of the female body and its use in the media. The project aims to take an assertive position on the female form: the women stand proudly before the camera, showing off what is usually hidden in full exposure. The “I DO” emblazoned across their pubic region is meant to be an ambiguous statement – to be interpreted as a wish? a declaration? a question?
Goodman has chosen to take an American stance with her continuing Revenge Series by using American brand car hoods. The series plays with the stereotype of the emotional, unpredictable, irrational and impulsive woman, whilst also reducing men to the cliché of “you are what you drive” – the hoods become an avatar, the extension of the male ego.
The sound installation Dear Ana is an investigation of eating disorders, and the subcultures they have produced. The tips and letters recited in the work come from websites that are ‘Pro-Ana’, (pro anorexia) girls host online. There exists within the work a reference to desire and addiction, but in this instance the emphasis is on deprivation, rather than indulgence, which intimates that there is a certain amount of luxury implicit in choosing not to eat.
Goodman has been working on the Toilet Embroidery Series for a number of years. These philosophies, boasts, confessions and rants that have been photographed in public toilets around the world are reworked into seemingly precious objects, which are at odds with the sometimes lewd and throwaway content. The labor and intensity of hand-embroidering anonymous, dirty nothings into delicate silk samplers reveal a voyeuristic fascination with other people’s sordid fantasies and inner monologues.
Frances Goodman
Born in 1975 and based in Johannesburg, South Africa, Frances Goodman is today considered one of the country’s leading young artists. She studied Fine Art at Wits University, Johannesburg. On completion of an MA at Goldsmiths College, London, UK, she lived in Antwerp, Belgium, where she was artist in residence at HISK (Higher Institute for Fine Arts). Goodman has given solo exhibitions at the Goodman Gallery in South Africa and Aeroplastics in Belgium and has participated in major international exhibitions such as Lust and Vice: From Durer to Nauman at the Kunstmuseum Bern, Sphères, at Le Moulin, France and Beauty and Pleasure, The Stenersen Museum, Oslo, Norway. Her work has been shown at the Armory, ArtBasel and ArtBasel Miami. She has been invited onto a number of residencies, including ISCP, New York, The Foundation GegenwART Berne, Switzerland, Recollets International Accommodation and Exchange Centre, Paris and, Artist’s Work Program, Irish Museum of Modern Art Dublin, Ireland. Future plans include participation in a group show to visit major venues including The Smithsonian, USA, The Hayward Gallery, London and Museo Reina Sofia, Madrid, Spain.
Touched – Frances Goodman
(Art) Amalgamated
28 June 2012 – 4 August 2012
317 Tenth Ave, Ground Floor
New York – USA
