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.

In 2019 Goodman’s works were included as part of the group exhibition, I am… Contemporary Women Artists of Africa at the Smithsonian National Museum of African Art in Washington, DC, USA as well as Material Insanity at the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech, Morocco.

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 Africa; Rapaciously 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.

Recent group exhibitions include: Delicate Industry at Richard Taittinger in New York City, USA in 2019; 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 travelling 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.

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; and the Matthais & Gervanne Leridon Collection, in Paris, France. Goodman’s work was recently acquired by Fondazione Fiera Milano in Milan, Italy and the Missoni Collection in Milan, Italy.

Goodman’s work is currently  included in Matereality, a group exhibition at Iziko South African National Gallery in Cape Town, South Africa and was recently included in SMAC Gallery’s group presentation at the 2020 Investec Cape Town Art Fair in Cape town, South Africa.

Goodman’s work is  included in SHAPING THINGS An exploration of clay and ceramics in contemporary South African art practice, a group exhibition currently on show at SMAC Gallery in Stellenbosch, South Africa. (25 .05 .20 – 17 .07 .20)

Goodman’s work is currently included in the group exhibition Matereality, at Iziko South African National Gallery in Cape Town, South Africa. (14.02 .20 – 02.08.20)

Holly Black | Elephant | Discover Nail Art… But Not As You Know It | 18 November 2019 – PDF

Kunsten | Kunstsalon VISION: The Female Gaze | 17 November 2019 – PDF

Roger Catlin | Smithsonian Magazine | Women’s Voices Ring with a Resounding Roar in this New Show | July 2019 – PDF

Taylor Dafoe | Artnet News | What to See at 1-54 Contemporary African Art Fair, From Sculptures Made of Acrylic Nails to a Lush Painting of Adam and Eve | May 2019 – PDF

Ginevra Bria | Domus | Material Insanity in Morocco | February 2019 – PDF

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’Toole | 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