Art
Brenda Goodman Paints the Pain of Being Human
Her figures are in a state of unrelenting grief about what it means to be human and to feel powerless about so much that happens to ourselves and others.
Art
Her figures are in a state of unrelenting grief about what it means to be human and to feel powerless about so much that happens to ourselves and others.
Art
The fluidity of the artist’s line parallels her thought process and openness to taking unexpected paths, often prompted by a memory or life event.
Art
The paradoxical combination of freedom and entrapment animates Goodman’s composition in her latest body of work.
Art
While I have seen Goodman's self-portraits numerous times, the unlikely combination of raw pathos and tenderness always stops me in my tracks.
Art
In her art, Goodman seems to both revisit trauma and heal it. The results are moving and painful.
Art
From limbless bodies to gorging, ravenous figures to gouged surfaces, there has always been something broken and deeply damaged about Goodman’s art.
Interview
“The thing that’s fascinating me now more than anything, is when a painting is right. What makes a painting right?”
Art
Between 1994 and 2011, Goodman painted a series of self-portraits that constitute one of the most powerful and disturbing achievements of portraiture in modern art.
Art
Goodman’s recent work is distressing, captivating, and weirdly funny.
Art
A snapshot of a singularly unhinged moment in American politics has inadvertently envisioned an uncertain and potentially terrifying future.
Art
One of the things that I admire about Brenda Goodman is her willingness to push a painting into a territory all its own. She isn’t interested in stylistic consistency or any of the other common denominators that can be used to brand one’s work.
Art
2015 was the Year of the Whitney.