b. 1975, Johannesburg, South Africa.

Lives and works in Johannesburg, South Africa.

Frances Goodman was born in Johannesburg, South Africa, in 1975. Goodman obtained a Masters Degree in Fine Arts from Goldsmiths College at the University of London in 2000, and holds a Laureateship from the Hoger Instituut voor Schone Kunsten (HISK) in Antwerp, 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. Frances Goodman presented her debut solo exhibition, Intimate/Inanimate Moments in 2003 at The Process Room, Irish Museum of Modern Art in Dublin.

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 AfricaRapaciously 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.

Goodman’s work has formed part of a number of group exhibitions in both South Africa and abroad. Most recently: The Red Hour, curated by Simon Njami at Dak’Art: African Contemporary Art Biennale in Dakar, Senegal; The Future is Female at 21C Museum Hotel Cincinnati in Cincinnati, USA; I SEE YOU at the SCAD Museum of Art, Savannah, USA, all in 2018; Le jour qui vient, curated by Marie-Ann Yemsi, at the Galerie des Lafayette in Paris, France; All Things Being Equal, at the Zeitz Museum of Contemporary Art Africa, (MOCAA) in Cape Town, South Africa, both in 2017; Herselves, at Blue Project Foundation, in Barcelona, Spain, both in 2016; The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists, a traveling exhibition curated by Simon Njami, at the Smithsonian National Museum of African Art, Washington, USA in 2015, SCAD Art Gallery, Savannah, Georgia USA and Museum für Modern Kunst (MMK), Frankfurt, Germany, all in 2014; The ‘F’ Word: Feminism in Art, at The Untitled Space, in New York, USA; Money Makes the World Go Round, Galleri SPECTA, Copenhagen, Denmark in 2015. She also featured in States of Mind, at Maison Particulière, Brussels, Belgium in 2014; and Not Human, Nor Stone at the Iziko South African National Gallery, Cape Town in 2011.

In 2017-2018, SMAC included Goodman’s work in various art fair presentations, including The Armory Show in New York City, USA; artmonte-carlo in Monte Carlo, Monaco; the Investec Cape Town Art Fair, and a solo presentation at Dallas Art Fair in 2018. Goodman’s work was also included in SMAC gallery’s presentation at the 2019 Investec Cape Town Art Fair; and she participated in the Grow Box community project, facilitated by Zeitz MOCAA, in February 2019. Goodman also looks forward to exhibiting her work at MiArt in Milan, Italy later this year.

Goodman’s work is currentlly included in Material Insanity, which opened at the end of February at the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech, Morocco. Her work was also recently included in the group exhibition, Pop Stars! Popular Culture and Contemporary Art at 21c in Oklahoma City, USA.

Frances Goodman’s work forms part of numerous significant public and private collections, including the PérezArt Museum, Miami, USA; the National Museum of African Art at the Smithsonian Institution, in Washington DC, USA; Zeitz Museum of Contemporary Art Africa (MOCAA), in Cape Town, South Africa; Foundation Sindika Dokolo, in Luanda, Angola; and the Matthais & Gervanne Leridon Collection, in Paris, France.

Frances Goodman is currently participating in a community project promoting sustainability and eco-friendly practices, facilitated by Zeitz MOCAA in collaboration with Grow Box.

Goodman’s work is also currently up on exhibition as part of Material Insanity, which opened at the end of February at the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech, Morocco. Her work is currently included in the group exhibition, Pop Stars! Popular Culture and Contemporary Art at 21c in Oklahoma City, USA, until February 2019.

Goodman’s practice is featured in 50 Contemporary Women Artists, written by John Gosslee and Heather Zises.

Garreth Van Niekerk | Huffpost | Huge Sequin Portraits Paint South African Women In Different Light | January 2018 – PDF

Emily Elizabeth Goodman | Hyperallergic |  The Future Is (Still) Female: Feminist Art for the 21st Century | May 2017

Mary Corrigall | House and Leisure | Surface Tensions | March 2017 – PDF

Roxy Kawitzky | ArtThrob | Kiss Kiss (or, The Void Vores Back): Frances Goodman’s ‘Degreened’ | November 2016– PDF

Sean O’Tool | Times Live | Wedding crash: the fabric of dreams | April 2016 – PDF

Seph Rodney | Hyperallergic | South African artist nails it with sculptures made from thousands of press-ons | March 2016 – PDF

Alina Cohen | VICE | South African artist explores feminism through intimate sculptures | January 2016 – PDF

Garreth van Niekerk | Mail & Guardian | Frances Goodman’s manicured bed of nails | May 2014 – PDF