Frances Goodman obtained her Master of Fine Arts Degree from Goldsmiths College at the University of London in 2000 and holds a Laureateship from the Hoger Instituut Voor Schone Kunsten in Belgium. She was a recipient of the Cecily Brown Fellowship for Outstanding Woman Artists in 2014 and took part in The Fountainhead Residency Programme in Miami, USA, in 2015. Her work is featured in collections of PérezArt Museum, Miami, USA; the Zeitz Museum of Contemporary Art Africa (MOCAA), South Africa; the National Museum of African Art at the Smithsonian Institute, USA; the Sindika Dokolo African Collection of Contemporary Art; and the Chase Manhattan Collection, USA; and the Matthais & Gervanne Leridon Collection, Paris, France. Goodman was a recipient of the Cecily Brown Fellowship for Outstanding Woman Artists in 2014 and took part in The Fountainhead Residency Programme in the USA, in 2015.
Selected solo exhibitions include: offstage at SMAC Gallery in Johannesburg, South Africa, in 2018; Spit/Swallow, at Galleri SPECTA, in Copenhagen, Denmark, both in 2018; Beneath Her at Richard Taittinger in New York City, USA in 2017; Degreened at SMAC Gallery in Cape Town, South Africa; Rapaciously Yours, Richard Taittinger Gallery in New York, USA, both in 2016; Let Your Hair Down, curated by Jennie Lamensdorf as part of the (TEI) Art-in-Buildings Programme in New York, USA; Lick It, Walgreens Art Windows, Art Center South Florida, in Miami, USA, all in 2015, and The Sweetest Ride at TM Projects, in Geneva, Switzerland in 2014.
Notable group exhibitions include: Le jour qui vient (The Day That Comes), at Galeries Lafayette in Paris, France in 2017 and The Seven Deadly Sins from Durer to Nauman, Zentrum Paul Klee and Kunstmuseum Bern, Switzerland in 2010. The Divine Comedy: Heaven, Purgatory and Hell Revisited By Contemporary African Artists, a traveling exhibition curated by Simon Njami, initially at Museum für Mordern Kunst, Germany in 2014 concluded at the Smithsonian Institute in Washington D.C.
“The obsession with appearance, surface, and notions of success and beauty push women to compromising extremes…”