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ful images of still lifes, landscapes and
abstractions, which Goldman drew and
Stewart screen printed in different colors
on layers for each set of multiple-piece
editions. Her work has been shown
around the country; it’s also in the per-
manent collections of the Bibliotheque
Nationale (Paris), Boston Museum of
Fine Arts, Detroit Institute of Arts, the
Library of Congress and more. This year,
Goldman turns her attention to primar-
ily painting large watercolors.
“In Flint, there will be a focus on my
‘Audubon Suite,’ which holds 13 prints so
far,” Goldman says. “They are still lifes
incorporating bird prints as part of the
whole design.
“I have, for many years, been mak-
ing art of what I think of as ‘the world
observed’ — landscapes and still lifes
from direct observation and then some
free association. They are occasions for
considering the marvel of existence.
“A still life for me, where objects are
set up in relation to each other and
bathed in light and shadow, feels meta-
physical or philosophical and is a real
occasion for meditation. I feel like the
pieces from my ‘Parsing the Universe’
series — painted from Hubble telescope
viewings — remind me of the Old
Testament as it describes the glory of
creation and existence.”
Goldman says she has been an art-
ist and a singer her entire life. “These
days, I’m mostly a full-time artist in the
studio,” she adds. Her mother, who was
active in the Texas Jewish community,
“wrote in a baby book, under the head-
ing ‘Observing Your Child at Work’ when
I was 3 or 4, ‘Jane sings happily to self
while drawing,’” recalls Goldman, 65,
who has turned her attention to art as an
expression of spiritual feelings.
Between 1993 and 2003, the artist
sang with the Jane Gang, a seven-piece
Western swing band performing around
Boston. In other bands on and off,
she eventually decided to hang up her
microphone professionally although still
making music with friends.
“I’m a morning person,” says
Goldman. “I think I would have had a
rock career if that hadn’t been the case. I
had some great opportunities as a singer,
but I wake up early and use the studio.
“I have had a propensity for the
graphic arts since the time I was a
student in Paris for my junior year in
college and saw my first print show. I
started taking printmaking classes in
my senior year, and that was it. I knew
it was my true love. I tend to work in
series and come back to them cyclically.
Over the last 20 years, I’ve been going to
Ireland and painting tidal pools.”
Goldman sometimes detours from
the real world into a sphere where
there is no natural existence. She did a
series taken from the Tibetan Wheel of
Life, using color and form to represent
realms of existence that creatures are
thought to go through until they get
some understanding of their situations
and figure out how to improve their
states of being.
Goldman, married to therapist and
painter Chris Gill and having a blended
family of four grown children, lives
in an artist co-op building where her
studio is considered an extension of her
home. She owns and shares a printmak-
ing studio, Mixit Print Studio, with two
partners and rents out the facilities.
In Flint, her work will be joined with
projects completed by business partner
Catherine Kernan, who introduced
Goldman to Stewart. Kernan paints on
wood used as a nexus for painting and
printmaking.
“Some print works technically could
have been done 500 years ago, and some
only could have been
done in the last five
years because of tech-
nological advances,”
says Goldman, who
teaches her skills at
workshops.
“There are digital
images that only
could have been creat-
ed off a computer and
then printed in some
way. I have some of
those in the show;
they are pigment
prints, reproductions
of paintings that have
been printed with
more painting on
each impression of the
edition. That’s a way
of printing that didn’t
exist when I started
ABOVE: Mervin Jules (1912-1994) lived in New York and
working with Norm
was very active in silkscreen printmaking. A rather tough Stewart.”
subject was satirized in Second Opinion.
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