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This exhibition brings together the work of two NJ-based artists—Marsha Goldberg and Andrew Zimmerman. While Goldberg’s paintings on paper and Zimmerman’s painted wood sculptures differ in medium, materials and techniques, they convey a similarly adventurous approach to color, shape, and space. Both artists construct their work through a kind of shape-shifting process—stacking, layering, interlocking, and positioning individual components into a cohesive whole.
Goldberg builds each composition through an aggregation of small circles painted on yupo, a non-porous synthetic paper made from polypropylene. She uses thin layers of acrylic paint to make uniformly repetitive circles, densely grouping them into larger shapes that overlap and abut one another. Taking advantage of the paper’s translucency, Goldberg sometimes paints on both sides, adding another layer of subtly nuanced color; recently, she has incorporated rectangular shapes and graphite into some of the works.
Zimmerman constructs his wall-mounted sculptures by cutting and piecing together wood elements that have been coated with a surface layer of automotive paint. In dialogue with these works is a series of recent tabletop sculptures that are more improvisational in nature. Here, Zimmerman experiments with different kinds of paint and ballpoint ink, leaving some surfaces raw to expose the grain or laminated patterns in the wood.
Both Goldberg and Zimmerman exploit the push and pull of opposing ideas inherent in their work: the evidence of tools and the hand of the artist; the use of traditional as well as non-traditional materials; the contrasts between translucency and opacity and negative and positive space; and especially, the relationship of paint to the underlying support. My hope in pairing these artists is that visitors will experience a similar dynamic tension between the two artists’ works. While the affinities apparent in the work of Zimmerman and Goldberg initiate an interesting visual dialogue, their differences make it a livelier conversation.
Mary Birmingham, Curator
“This work began as a response to a place, the south of France, and its architecture, in particular the massive Fort St. Jean in Marseille. The imagery is rooted in observation of form, light, and color, and has evolved to become intuitive and self-referential. My process involves the use of tools and techniques formerly employed by graphic artists, such as a circle template and grid. I enjoy the connection with skills that were once practical and are now obsolete, assigning them new meaning. The slow meditative work of completing one circle at a time means hours or days are required to realize a shift in color, the completion of a shape, and the final work becomes a record of that passage of time. A sense of tension and balance results from this carefully considered set of choices.”
About Marsha Goldberg
Marsha Goldberg received a BFA in painting from Boston University and an MFA from the Mason Gross School of the Arts at Rutgers University. She is the recipient of three fellowship awards from the Ucross Residency Program, Ucross, WY, a Millay Colony for the Arts Residency, Austerlitz, NY, a Virginia Center for the Creative Arts residency, Sweet Briar, VA, and a NJ State Council on the Arts Fellowship award. She has exhibited at venues including the DeCordova Museum, Lincoln, MA, the Zimmerli Art Museum at Rutgers University, new Brunswick, NJ, William Paterson University Art Galleries, Wayne, NJ, the Center for Contemporary Art, Bernardsville, NJ, Hostetter Arts Center Gallery, Basking Ridge, NJ, Adah Rose Gallery, Kensingtion, MD, and A.I.R. Gallery, New York, NY. Her work is in the collections of the Fogg Art Museum, Harvard University, Cambridge, MA, the Bpston Public Library, MA, Fidelity Investments, Boston, MA, Capital One, Washington, DC, Memorial Sloan Kettering Hospital, Hackensack, NJ, and numerous private collections. The artist lives and works in Highland Park, NJ and Boston, MA.
“In my work I am interested exploring the intersection between painting and sculpture, art and design, the hand-made and the mass-produced. I am excited by the tension that arises from situating my work in between these categories. I would like my sculptures to create moments of unexpected discovery within a language of reconstructable forms. For much of my career, I have been exploring materials that stand outside traditional art making and address ideas of interchangeability and mass production; most recently I’ve been utilizing automotive paint and wood. When fabricating my work I use hand held tools that create subtle variations in line that amplify the unique hand of the artist. In this way, I am repurposing commercial systems for singular modes of expression.”
About Andrew Zimmerman
Andrew Zimmerman studied painting at the Rhode Island School of Design and Industrial Design at the California College of the Arts. He is the recipient of a Skowhegan Fellowship Award, a MacDowell Colony Artist Residency, and a Pollock-Krasner Foundation Grant. Exhibition venues include the Virginia Museum of Contemporary Art, Virginia Beach, VA, The Drawing Center, New York, NY, Schneider Museum of Art, Southern Oregon University, Ashland, OR, The Korn Gallery, Drew University, Madison, NJ, The RISD Biennial, (curated by Robert Storr), Exit Art, New York, NY, and Galleria Guido Carbone, Torino, Italy. His work is in collections that include the Fidelity Investment Corporation, Boston, MA, Weill Cornell Medical Center, New York, NY, Alliance Bernstein LLP, New York, NY, and numerous private collections. The artist lives and works in Maplewood, NJ.
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Programs are made possible in part by funds from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts; Hyde and Watson Foundation; The Large Foundation; and The Holt Foundation, along with other corporations, foundations, and individuals.