DOROTHY GOODE (1969–2020)

2024 Dorothy Goode: A Retrospective, Augen Gallery, Portland, OR
2022 Dorothy Goode: Jubilant – The Final Paintings, Augen Gallery, Portland, OR
2019 Transfixed, Augen Gallery, Portland, OR
2019 40th Annual Peace Exhibition, Nagasaki Prefectural Art Museum, Nagasaki, Japan
2018 Phraseology, Butters Gallery, Portland, OR
2017 With Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA
2017 Hypochondria Drawings, Helzer Gallery, Portland Community College, Portland, OR
2016 But… I Wanna Be a Robot, Butters Gallery, Portland, OR
2015 They’re My Friends—I Made Them, Three30Forty, Oakland, CA
2015 The Scarcity Paintings, Butters Gallery, Portland, OR
2014 Disjecta Contemporary Art Center Annual Art Auction, Portland, OR
2014 Sharpie Looks for God, Toomey-Tourell Fine Art, San Francisco, CA
2014 Cascade AIDS Project Live Auction, curated by Prudence Roberts, Portland, OR
2014 Perversities and Confessions, Cock Gallery, Portland, OR
2013 Introductions, Anne Irwin Fine Art, Atlanta, GA
2012 Other People’s Secrets, Butters Gallery, Portland, OR
2012 Cascade AIDS Project Live Auction, curated by Bonnie Laing-Malcolmson, Portland, OR
2011 Identity Paintings, Worksound, Portland, OR
2011 Pretty Mess with Words, Butters Gallery, Portland, OR
2010 Paintings I Wrote on in 2009, Butters Gallery, Portland, OR
2010 Recent Work, Davidson Galleries, Seattle, WA
2009 Paint as Subject, Emily Amy Gallery, Atlanta, GA
2008 You Know How I Feel, Center for Contemporary Arts, Santa Fe, NM
2008 Introductions, Seattle Art Museum Gallery, Seattle, WA
2008 In Homage to the Graffiti I Didn’t See in Manhattan, Butters Gallery, Portland, OR
2007 Artists Go Lightly, Temporary Autonomous Museum(s), San Francisco, CA
2007 Summer Salon, bsg Modern, Atlanta, GA
2006 New Work, Butters Gallery, Portland, OR
2004 Gesturing and New Work, Butters Gallery, Portland, OR
2004 Paducah, Mark Palmer Gallery, Paducah, KY
2002 Ecstasy: Mind, Body, Spirit, Orange County Center for Contemporary Arts, Santa Ana, CA
2002 Visions International, Art Center Waco, Waco, TX
2002 National Woman’s Exhibition, Impact Artists’ Gallery, Buffalo, NY
2002 Aesthetics 2002, Birger Sandzen Memorial Gallery. Lindsborg, KS
2002 Persistence: Figure, Butters Gallery, Portland, OR
2001 Artist Edit (group show) and solo exhibition, Butters Gallery, Portland, OR
2001 Drawing II, Period Gallery, Omaha, NE
2000 New Drawings, Omni Gallery, Portland, OR
1999 Davis Street Inaugural, Butters Gallery, Portland, OR
1998 Omni Gallery, Portland, OR
1997 Palace Gallery, Portland, OR

1990 Bachelor of Fine Arts, Northern Arizona University, Flagstaff, AZ
Studied painting, printmaking, drawing and illustration in the University’s Visual
Communications Program.
Illustration studies directed by Professor David Christiana.
Drawing and printmaking studies resulted in the book, Touch, a collected series of 15 offset lithographs made from pen and ink drawings published by Northern
Arizona University, 1990
2003 Dorland Mountain Arts Colony
Self-directed Residencies:
Newport, OR (2001), Oracle, AZ (2002), Paducah, KY (2004), Taos, NM (2011)
2015 Montalvo Arts Center, Saratoga, CA

Ambrose Law Associates
Vision Capital Management

Art Business, April 3, 2014: “In Dorothy Goode’s Sharpie Looks for God (Toomey-Tourell, San Francisco), joyous, conjoined splashes of color are occasionally embellished with snippets of text. A sense of spontaneity informs the informal compositions. A few harken reminders of Sam Francis, yet Goode’s color-blended-with-text art displays a sense of play…”

Visual Art Source, May 15, 2010: “In Paintings I wrote on in 2009 at Butters, Dorothy Goode introduces a new element to her visual vocabulary: graphite scrawls that spell out messages both cryptic and self-revelatory. The texts are for the most part obscured behind layers of impasto, lending the works an electric tension between expression and concealment… More hyperkinetic and dense than in previous outings, the painter now cedes Zen-like elegance to maximalist furor. Happily buoyant, Goode’s panels escape the gravity of their historical antecedents, thanks in large part to the graphite doodles undergirding her arcing gestures. This mark-making lends a confessional, Gen-Y quality that feels thoroughly contemporary in the age of blogs and Facebook. The artist channels the Zeitgeist’s uneasy duet between insularity and extroversion.”

Burnaway, April 27, 2009: “As you enter the Emily Amy Gallery (Atlanta, GA), you immediately encounter Dorothy Goode’s work, consisting of splashy, bold colors with lots of white space, black lines, and scratching into the egg-tempera paint such as in Big Squares 12. There are many layers of paint on each panel, but overall the surface remains flat. There are still some figurative elements, as if a person has been suspended in time before the viewer’s eyes. These are some of the most visually interesting of the exhibition.”, February 17, 2006: “If Abstract Expressionism had been born yesterday, Dorothy Goode may have been the doyenne of it all. In her Echo series at Butters, her whitewashed variations of color and deliberately improvised mark-making reminisce with modern-day graffiti. The works are little capsules or windows into urbanity—feathery lines and double layers of hidden meanings or secret languages. Though there is no actual text, her corrugated approach to stylizing or redefining shapes through obliterating parts of them is as romantic as it is cryptic. What works most about this series is that they can be viewed micro/macro and still offer an impression; they are like contained, blown-up details of a de Kooning (formalist, not feminist perspective). Her other Circular Saw works are extensions of the smaller pieces, incorporating mixed-media sculptural elements and attempting to reveal the naked and partially deconstructed panel surfaces, as layers of whites coat the surface in neutrals. This approach dictates a haze of meaning, a cover-up, bloody secrets in the snow.”

The Oregonian, Arts & Entertainment, February 10, 2006: “Dorothy Goode’s skill as a painter is well-evidenced at Butter Gallery this month in a show of recent works, including her visceral, elongated Circular Saw series and the larger Drawing on Unstable Ground. In the latter, compositions are created from austere crusts of plaster, at times so heavily worked that the wood panel beneath shows through in chipped and shredded swatches or the darkly secretive maw of a puncture. Then there is the more delicate Echo series, which vary from stark, elegant gestures of black and gold in #11 to the more densely layered membranes of almost edible lemon and grass-green hues in #19. They’re marvelously energetic and suggestively diffuse, as though the vigorous musicality of a Kandinsky had been submerged in water until its hard edges dissolved.”