[et_pb_section transparent_background=”off” allow_player_pause=”off” inner_shadow=”off” parallax=”off” parallax_method=”on” custom_padding=”0px|0px|51.4375px|0px” padding_mobile=”off” make_fullwidth=”off” use_custom_width=”off” width_unit=”off” custom_width_px=”1080px” custom_width_percent=”80%” make_equal=”off” use_custom_gutter=”off” fullwidth=”off” specialty=”off” admin_label=”section” disabled=”off”][et_pb_row make_fullwidth=”off” use_custom_width=”off” width_unit=”off” custom_width_px=”1080px” custom_width_percent=”80%” use_custom_gutter=”off” gutter_width=”3″ custom_padding=”25.7188px|0px|0px|0px” padding_mobile=”off” allow_player_pause=”off” parallax=”off” parallax_method=”on” make_equal=”off” column_padding_mobile=”on” parallax_1=”off” parallax_method_1=”on” parallax_2=”off” parallax_method_2=”on” parallax_3=”off” parallax_method_3=”on” parallax_4=”off” parallax_method_4=”on” admin_label=”row” disabled=”off”][et_pb_column type=”1_3″ disabled=”off” parallax=”off” parallax_method=”on” column_padding_mobile=”on”][et_pb_text background_layout=”light” text_orientation=”left” admin_label=”Text” use_border_color=”off” border_style=”solid” disabled=”off” inline_fonts=”Arimo”]<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”2_3″ disabled=”off” parallax=”off” parallax_method=”on” column_padding_mobile=”on”][et_pb_gallery gallery_ids=”3271,3272,3273,3274,3275,3277,3278,3279,3280,3281,3282,3283,3284,3285,3286,3287,3288″ fullwidth=”on” posts_number=”4″ show_title_and_caption=”on” show_pagination=”on” background_layout=”light” auto=”off” auto_speed=”7000″ admin_label=”Gallery” caption_all_caps=”off” use_border_color=”off” border_color=”#ffffff” border_width=”1px” border_style=”solid” disabled=”off” saved_tabs=”all”] [\/et_pb_gallery][et_pb_accordion admin_label=”Accordion” use_border_color=”off” border_color=”#ffffff” border_width=”1px” border_style=”solid” disabled=”off”][et_pb_accordion_item title=”Communiqu\u00e9 de press” open=”on” use_border_color=”off” border_color=”#ffffff” border_width=”1px” border_style=”solid” disabled=”off”]<\/p>\n
Du 19 janvier au 23 f\u00e9vrier 2008, la Galerie Ren\u00e9 Blouin pr\u00e9sente une exposition d\u2019\u0153uvres de Betty Goodwin, tir\u00e9es de quelques-uns des grands cycles qui marquent la d\u00e9marche de l\u2019artiste entre le d\u00e9but des ann\u00e9es \u201870 et la seconde moiti\u00e9 des ann\u00e9es \u201880.<\/span> [\/et_pb_accordion_item][et_pb_accordion_item title=”PRESS RELEASE ” open=”off” use_border_color=”off” border_color=”#ffffff” border_width=”1px” border_style=”solid” disabled=”off”]<\/p>\n From January 19th to February 23rd, Galerie Ren\u00e9 Blouin presents an exhibition of Betty Goodwin\u2019s works. The show will feature pieces drawn from the great cycles that marked the development her creative process from the early \u201870s to the mid \u201880s.<\/span><\/p>\n At the end of the \u201860s, while she was concentrating her activity mainly on print making, Goodwin took the decision to limit her palette to tonalities of black. Of her own admission, this radical turn had fundamental consequences on her work. She says that from that moment, she really started to \u201cconnect\u201d with the images that kept surging. This decision gradually brought her to drawing, which would become the main area of her creative output for the decades that followed. All the pieces selected for this exhibition bank on the tonalities of black. The selection first includes etchings from her Note<\/em> and Parcel <\/em>series dating from the early \u201870, the most significant period of her print making years. It also includes drawings from her series titled Bed<\/em>, Doors<\/em> and Passage<\/em>. These drawings were completed while Goodwin was simultaneously elaborating some her major site specific installations such as Four Columns to Support A Room (Clark Street Project)<\/em>(1977), River Piece <\/em>(1978), Mentana Street Project<\/em> (1979) and In Berlin, A Triptych: The Beginning of the Fourth Part<\/em> (1982-83). Finally, the exhibition also features Tarpaulin N\u00b05<\/em>, the majestic painting completed in 1975. By approaching her work from the point of view of the formal relationships between the exquisite surfaces of her etchings, the rich textures of her graphite and charcoal drawings and the dense porous surfaces of her powerful paintings, this exhibition puts in evidence the strength of the intuitive and poetic logic that guides the unfolding of Godwin\u2019s oeuvre during one of the most fecund periods of its development.<\/span><\/p>\n [\/et_pb_accordion_item][\/et_pb_accordion][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section transparent_background=”off” allow_player_pause=”off” inner_shadow=”off” parallax=”off” parallax_method=”on” custom_padding=”50.75px|0px|0px|0px” padding_mobile=”off” make_fullwidth=”off” use_custom_width=”off” width_unit=”off” custom_width_px=”1080px” custom_width_percent=”80%” make_equal=”off” use_custom_gutter=”off” fullwidth=”off” specialty=”off” admin_label=”section” disabled=”off”][et_pb_row make_fullwidth=”off” use_custom_width=”off” width_unit=”off” custom_width_px=”1080px” custom_width_percent=”80%” use_custom_gutter=”off” gutter_width=”3″ custom_padding=”25.375px|0px|0px|0px” padding_mobile=”off” allow_player_pause=”off” parallax=”off” parallax_method=”on” make_equal=”off” column_padding_mobile=”on” parallax_1=”off” parallax_method_1=”on” parallax_2=”off” parallax_method_2=”on” parallax_3=”off” parallax_method_3=”on” parallax_4=”off” parallax_method_4=”on” admin_label=”row” disabled=”off”][et_pb_column type=”4_4″ disabled=”off” parallax=”off” parallax_method=”on” column_padding_mobile=”on”][et_pb_text background_layout=”light” text_orientation=”left” admin_label=”Text” use_border_color=”off” border_style=”solid” disabled=”off”]<\/p>\n EXPOSITIONS PAR ANN\u00c9E<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section transparent_background=”off” allow_player_pause=”off” inner_shadow=”off” parallax=”off” parallax_method=”on” custom_padding=”0px|0px|0px|0px” padding_mobile=”off” make_fullwidth=”off” use_custom_width=”off” width_unit=”off” custom_width_px=”1080px” custom_width_percent=”80%” make_equal=”off” use_custom_gutter=”off” fullwidth=”on” specialty=”off” admin_label=”section” disabled=”off”][et_pb_fullwidth_menu menu_id=”30″ background_color=”#ffffff” background_layout=”light” text_orientation=”left” admin_label=”Fullwidth Menu” menu_font_size=”14px” menu_letter_spacing=”0px” menu_line_height=”1em” disabled=”off”] [\/et_pb_fullwidth_menu][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" \u00a0Betty Goodwin 19 janvier 2008 – 23 f\u00e9vrier 2008 exposition Betty Goowin 2008 janvier Du 19 janvier au 23 f\u00e9vrier 2008, la Galerie Ren\u00e9 Blouin pr\u00e9sente une exposition d\u2019\u0153uvres de Betty Goodwin, tir\u00e9es de quelques-uns des grands cycles qui marquent la d\u00e9marche de l\u2019artiste entre le d\u00e9but des ann\u00e9es \u201870 et la seconde moiti\u00e9 des […]<\/p>\n","protected":false},"author":1,"featured_media":3277,"comment_status":"open","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"project_category":[84,61],"project_tag":[],"yoast_head":"\n
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\n<\/span>\u00c0 la fin des ann\u00e9es \u201860, au moment o\u00f9 elle concentrait surtout son activit\u00e9 sur la pratique de la gravure, Goodwin avait d\u00e9cid\u00e9 de limiter sa palette chromatique \u00e0 des tonalit\u00e9s de noir. Ce parti pris radical eut des cons\u00e9quences fondamentales sur sa d\u00e9marche. De son propre aveu, c\u2019est \u00e0 partir de ce moment l\u00e0 qu\u2019elle commen\u00e7a \u00e0 comprendre enfin les connections d\u2019o\u00f9 surgissaient les images qui habitaient alors son travail. Cette d\u00e9cision l\u2019am\u00e8nera aussi \u00e0 s\u2019engager dans une intense activit\u00e9 de dessin qui deviendra son m\u00e9dium de pr\u00e9dilection. Cette exposition rassemble des pi\u00e8ces qui tablent toutes sur le noir. Cette s\u00e9lection d\u2019\u0153uvres comprend d\u2019abord des gravures tir\u00e9es des s\u00e9ries intitul\u00e9es Notes <\/em>et Parcel<\/em>, datant du tout d\u00e9but des ann\u00e9es \u201870, soit de la p\u00e9riode la plus significative de son \u0153uvre grav\u00e9e. Puis, elle comprend une ensemble de dessins des s\u00e9ries Bed<\/em>, Doors<\/em> et Passages<\/em>, des pi\u00e8ces compl\u00e9t\u00e9es au moment o\u00f9 Goodwin travaille simultan\u00e9ment \u00e0 de grands projets d\u2019installation in situ <\/em>dont Four Columns to Support A Room (Clark Street Project)<\/em> (1977), River Piece<\/em>(1978), le Projet de la rue Mentana<\/em> (1979) et In Berlin, A Triptych: The Beginning of the Fourth Part<\/em> (1982-83). Enfin, le parcours de l\u2019exposition est ponctu\u00e9 par l\u2019importante Tarpaulin N\u00b05<\/em>, une majestueuse b\u00e2che noire peinte en 1975. En abordant son travail par le biais des rapports formels entre la d\u00e9licate surface de ses estampes \u00e0 l\u2019eau-forte, les riches et denses textures de ses dessins \u00e0 la mine de plomb et au fusain et l\u2019espace poreux de sa peinture, l\u2019exposition met en \u00e9vidence la force de la logique intuitive et po\u00e9tique qui guide le d\u00e9ploiement de l\u2019\u0153uvre de Goodwin au cours de l\u2019une des p\u00e9riodes les plus f\u00e9condes de son d\u00e9veloppement.<\/span><\/p>\n<\/div>\nBetty Goodwin, exposition<\/span><\/h4>\n
January 2008<\/span><\/h5>\n