Kurt Goodrich Artworks

2011 : 11 1/2 x 11 1/2 x 2"  wood, mdf, blackened steel, stone

Michael Heizer's work has always been a primary source of inspiration for me, from his lines inscribed in a dry lake bed using a motorcycle, to his displaced/replaced masses.  I'll never forget the impact 'Double Negative' had on me when I first encountered images of it as an undergraduate student of Architecture in the late 70's. It is even more compelling when experienced in person traversing the ‘Mormon Mesa.’   However, ‘Stone Framed’ is a model of a much smaller work of Heizer's in the permanent collection at Dia Beacon. The stone for this piece was found in Marin County, along the California coast and from the moment it appeared, its contour and color, its destiny into my collection was clear...

2010 : 11 1/2 x 11 1/2 x 1 3/4"  wood, mdf, oxidized steel

‘Compression Line’ a model of another important early work of Heizer's. This one was embedded in the floor of a dry lake bed in California, 1968…a penultimate year.

2010 : 11 1/2 x 11 1/2 x 2 1/2"  wood, mdf   

The early work of Mary Miss is also a primary inspiration for me, especially her iconic ‘Perimeters/Pavilions/Decoys’ installed at the Nassau County Museum of Art, Rosyln, NY 1977-78. This artwork is central to the argument of Rosalind Krauss in her seminal essay "Sculpture in the Expanded Field" from 1979. My model of ‘Perimeter/Pavilions/Decoys’ is only a fragment of this complex and multi-faceted artwork, that has long since been dismantled.

2019-2021 : 11.25 x 11.25 x 47" bronze and solid eastern pine pedestal

Bronzed Terrace is just that, a terrace embedded into the landscape with an integral bent plate bench along two sides for elemental contemplation.

2016 : 11 1/2 x 11 1/2 x 43 1/4"  timber, oxidized steel, wood, river rock

‘Stone Stand 01’ is the first in a series of art pieces comprised of small river rock gathered from small rivers in the southern Berkshires of western Massachusetts. The stones are embedded vertically from the top of an Eastern White Pine stand, arranged in loose rows of uniform orientation surrounded by a recessed frame of wood and oxidized steel set flush with the edge of the timber stand. The scale remains ambiguous; it is at once full size, but then again if you picture the recessed perimeter frame as a walkway the stones take on the scale of boulders 8' feet high converting the piece into a model for ‘Land Art.’   

2016 : 11 1/2 x 11 1/2 x 45 1/2"  timber, oxidized steel, wood, river rock

‘Stone Stand 02’ is the second in a series of art pieces comprised of small river rock gathered from small rivers in the southern Berkshires of western Massachusetts. The stones are embedded vertically from the top of an Eastern White Pine stand, arranged in loose rows of uniform orientation surrounded by a recessed frame of wood and oxidized steel set flush with the edge of the timber stand.   The scale remains ambiguous; it is at once full size, but then again if you picture the recessed perimeter frame as a walkway the stones take on the scale of boulders 12' feet high converting the piece into a model for ‘Land Art.’   

2016 : 11 1/2 x 11 1/2 x 49 1/2"  timber, oxidized steel, wood, river rock

‘Stone Stand 03’ is the third in a series of art pieces comprised of small river rock gathered from small rivers in the southern Berkshires of western Massachusetts. The stones are embedded vertically from the top of an Eastern White Pine stand, arranged in loose rows of uniform orientation surrounded by a recessed frame of wood and oxidized steel set flush with the edge of the timber stand.   The scale remains ambiguous; it is at once full size, but then again if you picture the recessed perimeter frame as a walkway the stones take on the scale of boulders 18-20' feet high converting the piece into a model for ‘Land Art.’     

2010 : 11 1/2 x 11 1/2 x 3 3/4"  wood, mdf, stone

‘Stoned Line’ is a collection of monumental stones set vertically in series and embedded into the ground plane. The height and lean of the individual stones is subtly modulated by variations in stone size, proportion, and individual contour. As an ensemble the stones take on a figural but timeless quality.  

Bitteroots 01 - 2016 : 5 x 5 x 53 "  oxidized steel, stone

Bitteroots 02 - 2016 : 5 x 5 x 54 1/2"  oxidized steel, stone

‘Bitteroots 01-02’ are each a pair of stones gathered from the Bitteroot Mountain range of western Montana along the Idaho border, which marks the continental divide. The stones are doweled into the tall slender stands composed of solid steel stock, which reduces the center of gravity to stabilize the stands from tipping. The legs remain unbound at their base, which gives the stands an anthropomorphic quality of movement that plays-off well with the relative stability of the stones. 

2011 : 11.25 x 11.25 x 3"  wood, mdf, blackened steel, stone

The excavation of a single monumental stone is enhanced on three sides by a heavy steel plate frame that defines the railing for a depressed walkway relative to the primary ground plane and an elevated walkway relative to the excavation. Steps lead down into the proposed excavation at each end of the walkway. From within the excavation the monumental stone is balanced at one end by the steel plate frame, which converts the actual ground plane into a sharp horizon line at eye level.

2015 : 11 3/8 x 11 3/8 x 5 1/2"  wood, blackened steel, stone

‘Douro Valley Excavation’ consists of a pair of monumental stones collected along the Douro River in northern Portugal. The proposed excavation is enhanced on all sides by a heavy steel plate frame that defines the railing of both a depressed walkway relative to the primary ground plane and an elevated walkway relative to the excavated stones. Enclosed stairs lead down into the excavation at one corner of this walkway. From within the excavation the monumental stones interrupt the steel plate frame and walkway along two sides, which otherwise serve as a sharp elevated horizon line surrounding the stones.

2011 : 11 1/2 x 11 1/2 x 2 5/8"  wood, mdf, oxidized steel, stone

The excavation of a pair of monumental stones is enhanced on three sides by a heavy steel plate frame that defines a railing for a depressed walkway relative to the primary ground plane and an elevated walkway relative to the proposed excavation. Steps lead down into the excavation at each end of the walkway. Access is available from the unexcavated side of the stones as well. Once inside the excavation the monumental stones play-off each other and the surrounding steel plate frame, which converts the primary ground plane into a sharp horizon line at eye level.

2010 : 11 1/2 x 11 1/2 x 1 3/4"  wood, mdf  

‘Square Line Cut’ is a 16' x 16' x 8' deep volume of earth excavated from a flat plane. The proposed excavation is then infilled with a cantilevered square plate cover that supports a new ground plane up to within 16 inches of the primary cut leaving a hollow line as the frame of reference for the original excavation, with the plane floating and tenuous.

2010 : 11 1/2 x 11 1/2 x 3 3/4"  wood, mdf, oxidized steel  

‘Pilings Emerged’ is a 24 foot square stand of 8" diameter steel piles spaced 24" on center to create a solid volume as well as a dense but permeable colonnade that can be approached and entered from all sides. The scale of all four pieces in this series and the non-directional arrangement of piles evokes the remnants of an unidentifiable former structure, who's function is no longer discernible. Seen in conjunction with the other three pieces ‘Pilings Emerged’ is the most imposing.

2010 : 11 1/2 x 11 1/2 x 2 1/2"  wood, mdf, oxidized steel

‘Pilings Embedded’ is the most evocative of the four pieces in this series. Its close visual association to the vestiges of piers seen in many abandoned urban docklands is called into question by the overly dense spacing and non-directional nature of the piles. Other associations may come to mind.

2010 : 11 1/2 x 11 1/2 x 2"  wood, mdf, oxidized steel

‘Pilings Submerged’ is the most enigmatic of the four pieces in this series. It's not at all clear why such an arrangement and density of piles would be left visible within an open square void in the ground plane. Is it an excavation? Were these piles supposed to be seen? Regardless, the lack of access and the physical depth of this piece remain haunting.

2010 : 11 1/2 x 11 1/2 x 1 3/4"  wood, mdf, raw steel

‘Pilings Embedded in Steel’ is the most precious of the four pieces in this series. The close visual association to the vestige of piers gives way to a lost and more decorative jewelry-like reading despite the proposed scale, especially with the grid of lines etched into the steel plate fostering oxidation.

2010 : 11 1/2 x 11 1/2 x 1 3/4"  wood, mdf, fiber  

The aperture in ‘Grass Submerged’ calls the ground plane into question by placing the source of the grass at some undisclosed level below grade. ‘Grass Submerged’ is the most closely associated piece in the folio to ‘Perimeters/Pavilions/Decoys’ by Mary Miss. As with ‘Pilings Submerged’ it's not at all clear why such an arrangement of grasses would be made visible within an open square void in the ground plane.

2010 : 11 1/2 x 11 1/2 x 2 3/4"  wood, mdf, fiber

‘Grass Emerged’ is visually stunning and in the end no less compelling than ‘Grass Submerged’ perhaps because upon closer viewing the source of the grass remains at an undisclosed level below grade and, as a result, the ground plane is called into question.

2010 : 11 1/2 x 11 1/2 x 1 3/4"  wood, mdf, oxidized steel  

‘Walls Submerged’ consists of (6) vertical steel plates set into a square excavation within the ground plane. The submerged walls are off-set slightly away from the edge for clarity and to disclose that the walls do not support the excavation, but rather frame its void. The piece remains inaccessible although there are two openings within the submerged vertical plates on opposing sides, each providing a vantage point into the excavation below. The profile of the ground plane is edged sharply to intensify the relationship.

2010 : 11 1/2 x 11 1/2 x 3 3/8"  wood, mdf, oxidized steel  

‘Walls Emerged’ consists of (6) vertical steel plates off-set slightly away from the edge of a square excavation for clarity and to disclose that the steel plates do not support the excavation, but rather frame and elevate it. The volume of these steel plate walls defines a 24 foot square cube above the excavation with (2) steel planks providing access through the walls from opposing sides, each stopping short of the middle to remain disconnected. These two disconnected steel planks provide vantage points at grade into the excavation below on both side.

2010 : 11 1/2 x 11 1/2 x 3 1/4"  wood, mdf, oxidized steel 

‘Planes Emerged’ consists of (6) 8" inch thick steel plates set within a square excavation and extend above grade.  These (6) planes are set parallel to each other and are traversed by a continuous steel steel plank through their centers. The square excavation within the ground plane below is visible, but inaccessible. Natural light is modulated throughout the day by the six planes, each casting a shadow into the excavation below.

2010 : 11 1/2 x 11 1/2 x 2 3/4"  wood, mdf  

Based on Jasper John's "Painting with Two Balls" from 1960, this piece exudes a playfulness that is not readably apparent in the balance of the Land Art folio. The playfulness of the balls is called into question however by their large 16 foot diameter and apparent mass of solid wood. The kinetic nature of this piece is enhanced by its directionality and inertia, as though the two balls were stopped in mid-movement by the resistance of the cut in the ground plane that trails behind them. 

2015 : 12 1/4 x 12 3/8 x 2"  wood, paint

‘Ground Cover 01’ is the first in a series of models comprised of scraps of wood from the studio laid above a square excavation cut into the ground plane. The composition(s) are abstract and recall the forts the Artist cut and assembled as a child in the open landscape behind his family's house. The various pieces of wood placed to provide access into the below grade forts as well as to modulate the entrance of day light.

2015 : 12 1/4 x 12 3/8 x 2 1/4"  wood, paint, stone, blackened steel

‘Ground Cover 02’ is the second in a series of models comprised of scraps of wood from the studio laid above a square excavation cut into the ground plane. The composition(s) are abstract and recall the forts the Artist cut and assembled as a child in the open landscape behind his family's house. The various pieces of wood placed to provide access into the below grade forts as well as to modulate the entrance of day light.