Featured Artist: Brian Goodhart - 8.31.2009
Interview by: Gian Hunjan
Q: Hey Brian, thanks for showing us your work. Your pieces span many spectrums of creativity, from sculpture to collage; yet it all has consistency to it. When did you hit that point where one could see your work, and know it’s yours?
A: I think I began to develop some sort of consistency about a year or two ago. I began to produce work that reflected on consumer and Internet culture, as well as advertising by infact reusing and consuming itself, and it's various object and themes to produce more work.
Q: As I was staring at Alligator Hopscotch I took notice that you integrated an outline of No Compensation Here. I thought that was interesting to see, and another reason for individuals to take notice of common threads in your work. Do you try to fuse most of your work or just with certain pieces?
A: I tend to reinterpret ideas pretty often. It goes back to what I was talking about in the first question. In today's media, people are use to seeing images manipulated, re-contextualized, and out right fabricated. My work often, but not always, follows this trend. I am very interested in advertising and its ability to persuade people into ideas on politics, themselves, and the world around them.
So by taking an image first from a media source, then from a previously made work I have twice removed the image from its original source hopefully detaching them from their context only to reinsert them into mine in order to persuade people to see the world as I see it.
Q: When standing in front of traditional pieces of art and staring at them, it’s difficult to see them uniquely even if you change where you’re standing. A lot of your work, especially Alligator Hopscotch and your other black tape piece seem very pliable through the eyes of the onlooker. It is as if one could stand five feet directly in front of the piece and get a completely different perception than the individual standing five feet to the left of the piece. What is your reasoning for thinking so outside of the frame?
A: The initial idea was to simply create work that was both direct and yet with some time spent looking, complex. Often times there is a focal point from which I make the drawing. A point where things seem to line up and fall into place. Hopefully this engages the viewer and forces them to become active, shifting about trying to find what they might find to be the most suitable vantage point.
Q: Brian, I’ve had the pleasure of attending a couple social gatherings you DJ’ed. Have you ever thought about showcasing your work while you DJ? Do you think your choice of music, lighting, and the overall atmosphere you try to create would speak volumes about your art?
A: I have thought about it, and in the end have concluded that they should remain separate.
Q: Mmmmm was created by pulling a series of words from a bag what had been written in response to a Wikipedia search. Do you mind telling us what the initial Wikipedia search was? Did you want to create a sculpture based on randomness for a while or was it a spur of the moment idea?
A: The idea was suggested to me by a former professor Margo Margolis. I think it was her way of getting me to break out of some of the objects and themes which I had become comfortable using. I think for about a week I was into looking up the world's biggest animals, which is why there is an alligator. I was trying to figure out what the difference between alligators and crocodiles were. From that point, everyone knows what happens when on Wikipedia.
Q: Your piece 1 in 6 is massive. What is it made of and where do you find the space to display these works among your others of sizeable proportion? At first glance, I thought they resembled an old fashioned airplane, any particular shape you were going for?
A: It was printed on billboard vinyl. The reason being, to use the same material from which the work was being derived. As far as the space goes, I have just been lucky to find spaces large enough to place 9' x 18' printouts or 20' wall drawings. The overall shape is just as important to me as the shapes from which they are made. Both somehow seem to dictate the other.
Q: On an ending note, do you have any advice for prospective artists who may be following your general direction Brian?
A: Just follow your ideas and don't worry about sticking to a particular medium.
Q: Brian, what's the best way to get in touch with you? Where can we check out some more of your work?
A: I have yet to create a web site, which is something I definitely need to do. The best way to reach me would be e-mail: b.c.goodhart@gmail.com
Thanks again Brian, good luck in the future and we hope to see you again on The Pudding.
A: I think I began to develop some sort of consistency about a year or two ago. I began to produce work that reflected on consumer and Internet culture, as well as advertising by infact reusing and consuming itself, and it's various object and themes to produce more work.
Q: As I was staring at Alligator Hopscotch I took notice that you integrated an outline of No Compensation Here. I thought that was interesting to see, and another reason for individuals to take notice of common threads in your work. Do you try to fuse most of your work or just with certain pieces?
A: I tend to reinterpret ideas pretty often. It goes back to what I was talking about in the first question. In today's media, people are use to seeing images manipulated, re-contextualized, and out right fabricated. My work often, but not always, follows this trend. I am very interested in advertising and its ability to persuade people into ideas on politics, themselves, and the world around them.
So by taking an image first from a media source, then from a previously made work I have twice removed the image from its original source hopefully detaching them from their context only to reinsert them into mine in order to persuade people to see the world as I see it.
Q: When standing in front of traditional pieces of art and staring at them, it’s difficult to see them uniquely even if you change where you’re standing. A lot of your work, especially Alligator Hopscotch and your other black tape piece seem very pliable through the eyes of the onlooker. It is as if one could stand five feet directly in front of the piece and get a completely different perception than the individual standing five feet to the left of the piece. What is your reasoning for thinking so outside of the frame?
A: The initial idea was to simply create work that was both direct and yet with some time spent looking, complex. Often times there is a focal point from which I make the drawing. A point where things seem to line up and fall into place. Hopefully this engages the viewer and forces them to become active, shifting about trying to find what they might find to be the most suitable vantage point.
Q: Brian, I’ve had the pleasure of attending a couple social gatherings you DJ’ed. Have you ever thought about showcasing your work while you DJ? Do you think your choice of music, lighting, and the overall atmosphere you try to create would speak volumes about your art?
A: I have thought about it, and in the end have concluded that they should remain separate.
Q: Mmmmm was created by pulling a series of words from a bag what had been written in response to a Wikipedia search. Do you mind telling us what the initial Wikipedia search was? Did you want to create a sculpture based on randomness for a while or was it a spur of the moment idea?
A: The idea was suggested to me by a former professor Margo Margolis. I think it was her way of getting me to break out of some of the objects and themes which I had become comfortable using. I think for about a week I was into looking up the world's biggest animals, which is why there is an alligator. I was trying to figure out what the difference between alligators and crocodiles were. From that point, everyone knows what happens when on Wikipedia.
Q: Your piece 1 in 6 is massive. What is it made of and where do you find the space to display these works among your others of sizeable proportion? At first glance, I thought they resembled an old fashioned airplane, any particular shape you were going for?
A: It was printed on billboard vinyl. The reason being, to use the same material from which the work was being derived. As far as the space goes, I have just been lucky to find spaces large enough to place 9' x 18' printouts or 20' wall drawings. The overall shape is just as important to me as the shapes from which they are made. Both somehow seem to dictate the other.
Q: On an ending note, do you have any advice for prospective artists who may be following your general direction Brian?
A: Just follow your ideas and don't worry about sticking to a particular medium.
Q: Brian, what's the best way to get in touch with you? Where can we check out some more of your work?
A: I have yet to create a web site, which is something I definitely need to do. The best way to reach me would be e-mail: b.c.goodhart@gmail.com
Thanks again Brian, good luck in the future and we hope to see you again on The Pudding.
Image Key:
1. Title: Alligator Hopscotch
Medium: Black tape
Dimensions: 20’ x 20’ x 10’
Description: Black tape is placed directly onto wall. Various segments span from ceiling to wall and from wall to floor. From particular vantage point, perspective becomes complete but is manipulated as viewer moves around the work.
2. Medium: Black Tape
Dimensions: 20' x 7' x 4'
Description: Black tape is placed directly onto wall. Various segments span from ceiling to wall and from wall to floor. From particular vantage point, perspective becomes complete but is manipulated as viewer moves around the work.
3. Title: Mmmmm
Medium: Particle board, latex house paint, plastic, vinyl
Dimensions: 15' x 7'
Description: Particle board cut out and resembled to create a freestanding sculpture. The imagery was created by pulling a series of words from a bag that had been written in response to a Wikepedia search.
4. Title: No Compensation Here
Medium: Polystyrene foam, wood, clamp lights, plastic, r-9 insulation, steel, cast concrete
Dimensions: 11' x 15' x 8'
Description: Polystyrene foam was carved with a hand grinder and later the foam dust was reapplied to carved surface.
5. Title: Catch 22
Medium: Paint, cardboard, Insulation, Tyvek
Dimensions: 5' x 9'
6. Title: 1 in 6
Medium: Vinyl
Dimensions: 9' x 18'
Medium: Black tape
Dimensions: 20’ x 20’ x 10’
Description: Black tape is placed directly onto wall. Various segments span from ceiling to wall and from wall to floor. From particular vantage point, perspective becomes complete but is manipulated as viewer moves around the work.
2. Medium: Black Tape
Dimensions: 20' x 7' x 4'
Description: Black tape is placed directly onto wall. Various segments span from ceiling to wall and from wall to floor. From particular vantage point, perspective becomes complete but is manipulated as viewer moves around the work.
3. Title: Mmmmm
Medium: Particle board, latex house paint, plastic, vinyl
Dimensions: 15' x 7'
Description: Particle board cut out and resembled to create a freestanding sculpture. The imagery was created by pulling a series of words from a bag that had been written in response to a Wikepedia search.
4. Title: No Compensation Here
Medium: Polystyrene foam, wood, clamp lights, plastic, r-9 insulation, steel, cast concrete
Dimensions: 11' x 15' x 8'
Description: Polystyrene foam was carved with a hand grinder and later the foam dust was reapplied to carved surface.
5. Title: Catch 22
Medium: Paint, cardboard, Insulation, Tyvek
Dimensions: 5' x 9'
6. Title: 1 in 6
Medium: Vinyl
Dimensions: 9' x 18'
