Thyrza Nichols Goodeve
THYRZA NICHOLS GOODEVE is a writer living in New York. She received her Ph.D. from the University of California in Santa Cruz under Donna Haraway and James Clifford. She is faculty and thesis director of the MFA in Art Practice at the School of Visual Arts, and Program Coordinator for the MICA summer intensive inDUMBO.
“What Forms of Making Might Spin the Stories We Need to Lift Ourselves from the Distractions of the Immediate?”
ANN HAMILTON with Thyrza Nichols Goodeve
FEB 2017 | Art
Ann Hamilton and I have been missing one another for decades. First in 1990, when Ida Panicelli (then editor of Artforum) asked me to write about Hamilton’s show at Capp Street in San Francisco, but because I lived in Santa Cruz, I had not seen the exhibition, and soon the magazine changed editors. She and I did meet in the late ’90s, when I was Senior Instructor at the Whitney Independent Study Program. I invited her to give a seminar only to learn later that my invitations to her and Matthew Barney were viewed in hindsight by the director as embarrassments (both were too “mystical”), which placed a pall over my contacting her again. But then I discovered another missed moment in my files while prepping for this conversation: correspondence with her and the editors at Art in America for a conversation that for some reason never happened and which I had totally forgotten.
APR 2016 | Art
I first met Andrea Fraser when she was nineteen and I was twenty-six. We were both in the Whitney Independent Study Program (ISP) and loyal spawns of Yvonne Rainer, who taught there.
FEB 2015 | Critics Page
These quotes are taken from letters written to a teenager who had met and bonded briefly with these storied figures; an encounter of life-changing dimensions for her, but not a rare or even uncommon experience for them.
SEPT 2015 | Art
New Yorkers are fortunate to have living among us the wildly inventive and far-ranging Australian-born public intellectual and theorist McKenzie Wark. This spring he added two new books to his robust list of titles produced since 1994: the dauntingly original Molecular Red: Theory for the Anthropocene (Verso, 2015), and the deeply personal I’m Very Into You (Semiotexte, 2015), made up of email correspondence between him and Kathy Acker during a brief but intense affair in the mid-’90s.
DEC 15-JAN 16 | ArtSeen
In an age when artists are pressured to present themselves as easily identifiable brand personas, thank the art world for offering up Camille Henrot, who perpetually undoes any easy expectation one might have of her work.
MAR 2013 | ArtSeen
The question is not whether language has gotten the jump on visuality (for it has), but rather what kind of language sits so heavily upon our experience of the visual.
RADICALIZE YOUR OWN IMAGES AND SENSATIONS
CAROLEE SCHNEEMANN and HEIDE HATRY with Thyrza Nichols Goodeve
JUNE 2013 | Art
Carolee Schneemann and Heide Hatry explore current art practice filtered through a unique intergenerational friendship steeped with feminism, meat, performance, the vicissitudes of aging.
OCT 2013 | Editor's Message
I am interested in experiences with art that have made you fragile, made you question fundamental beliefs about your self, the world, or art in general; moments when the art before you made you question the very discourse you have learned in order to evaluate art in the first place.
Two Days in the Lives of Art as Social Action:
by Thyrza Nichols Goodeve
SHAKESPEARE, DARWIN, AND HANGING OUT WITH TIM ROLLINS AND K.O.S.
DEC 13-JAN 14 | Art
Tim Rollins is an artist to hear and experience in action. Performance is his being. Drawn from his own New England Baptist background and the influence of Martin Luther King, Jr. since he was a boy, he is a preacher, a teacher, and an inspiration machine.
OCT 2012 | ArtSeen
As identical twins, the Quays do not traffic in the kind of boundaries that we singulars do. Theirs is the world of the Twinsnot of one individuals subjectivity or the others (although clearly each completes singular activities in production).
MAY 2017 | Art
Heide Hatry is an artist who grew up on a pig farm in the south of Germany and studied art history at the University of Heidelberg. She has shown her work in galleries and museums in the United States, Germany, and Spain; curated numerous exhibitions; produced over 200 artist’s books; and spent seventeen years running a rare-books store in Heidelberg.
MAY 2016 | Art
Mark Dion is the elder statesman of critical nature studiesof art that thinks, specifically about nature as a projection and extension of man’s self-interest.
WHEN ATTITUDE BECOMES A FOUNDATION
by Thyrza Nichols Goodeve
Making the Impossible Possible in North Rhine-Westphalia andfor a Few Days in JulyNew York City
JUL-AUG 2015 | Art
Nowhere is the myopic New York-centrism that Saul Steinberg so famously captured in his March 29, 1976 cover of the New Yorker as ubiquitous as it is in the art world. Although international travel is a given for most art professionals, in 2015 the art-infested boroughs of New York City, branching out from Soho to Chelsea, to Williamsburg, Long Island City, and Bushwick, with museums expanding in ways both depressing (MoMA) and exhilarating (the Whitney), it is hard not to continue to call New York the center of the art world.
DEC 15-JAN 16 | Art
Joseph Nechvatal is a post-conceptual painter, media and audio artist, art theoretician, and the Paris correspondent for Hyperallergic. He came into prominence in the early ’80s downtown New York art world for small, dense, semi-abstract, apocalyptic graphite drawings that were sometimes blown up photo-mechanically.
OCT 2014 | Art
The room you dare not enter is golden and gleaming [The Death of James Lee Byars], both sunset and sunrise. I like the fact that the current incarnation is dated right there on the wall label as 1994 2004.
APR 2013 | ArtSeen
Memory cant help but lead one through the 1993 show at The New Museum, even if one was too young to be part of it.
JUL-AUG 2013 | Art
Sometimes a finger, a tool, perhaps graphite, is gagged or rubbed, pushed or pulled across a surface. A trace occurs. This trace is a record of energy spent and mime recorded. Hardware or residue: whats left?
OCT 2013 | Art
The art of Ernesto Pujol is like breath. The kind of breath we have so little of these days. It is what makes his work so vital. His medium is the body, his strategy stillness, his method listening. He has been performing since the 1990s and works from a biography like few contemporary artists.
SEPT 2012 | ArtSeen
There is meat in this face, an explosion of vivid abstraction. Meat is the nobody; the abstracting of the once lived. In war, soldiers who are sent to the front of the battle to distract are called meat shields.
JUL-AUG 2007 | ArtSeen
With MoMA sporting a forty-year retrospective of Richard Serra, the Whitney Museum’s Summer of Love, and Global Feminisms at the Brooklyn Museum, why, with time-stamped ticket in hand, would an artist want to see a bunch of live frogs and storied fossils housed in a marble mausoleum?