James T. Goodwin
Selected
Exhibitions
November 2012 – December 2013
March 31 – May 12, 2007
November 7 – December 15, 2002
October 28 – December 11, 1999
November 9 – 21, 1986
Selected
Collections
Ongoing
Art Activities
Work includes a series of illuminations executed in gold, silver and platinum leaf inspired by researches in Tantra and Alchemy titled Symbols of Transformation and recently a series of three dimensional constructions titled Improvisations: Icons & Artifacts. Primarily self-taught, benefited greatly from early studies at Isomata and a long collaborative exploration of the creative process and techniques of painting with artist Jeanne Miles (American Purist). Work is included in the collections of June Wayne, Eudorah Moore, Pratapaditya Pal and Cesar Pelli among others.
Trained as a pianist under the direction of Florence Stephenson (disciple of the English pedagogue Tobias Matthay); Dony Bronston (protégé of the French pianist Alfred Cortot); Emmanuel Bay (accompanist to Jascha Heifetz); and Leonid Hambro (former staff pianist for the New York Philharmonic and dean of piano studies at California Institute of the Arts). Performances include recitals at Sutro Auditorium, Miles Playhouse, The Ebell Club, and The MacDowell Club of The Allied Arts. A recent performance combined the poetry of William Blake, Lewis Carroll and Emily Dickinson with the music of Mozart, Schumann, Chopin, Debussy and Moussorgsky.
Trained as an actor under the direction of Eugenie Leontovich and Miriam Goldina (of the Moscow Art Theatre); Sherman Marks; and Stella Adler (of the Group Theatre). Studied movement with Tchoukie Mattei (disciple of Jean Louis Barrault); ballet with Raoul Pause and Mia Slavenska; and modern dance at the Lester Horton school and with Saida Gerrard (protégé of Charles Weidman and Doris Humphrey). Performed in both leading and supporting roles in over thirty professional productions, including two seasons at San Diego's Old Globe Theater Shakespeare Festival and the co-starring role in the KCET production of the two character drama, Nothing Is More Real Than Nothing. Recently active as Actor/Director/Producer member of The Playwrights Group.
Set design for the Leontovich Theatre developed into design of residential and commercial interiors for film director Dorothy Arzner (La Quinta Residence); Actor's Equity executive director Edward Weston (Venice Beach House); George and Myrna Weiss, owners of Tropical Sun Glasses (Offices and Residence); Lawyers Fitzgerald, Horn and Morgenstern (Offices); as well as design of Flagship Showrooms for The Swedlow Group (Pacific Design Center) and Poltrona Frau's Gallery in Manhattan's SoHo District, including extensive award-winning participation as conceptual catalyst and art director for advertisements, product catalogues, promotional campaigns and exhibitions for The Swedlow Group, Pacific Design Center, and Frau USA. Work has been published in Interior Design, Abitare, La Mia Casa, Interiors, and Angeles magazines.
Originated a series of 75 lectures titled Studies In Consciousness, which connected the works of Theatre of the Absurd by Beckett, Genet, Albee, Pinter, Ionesco, and Adamov, to the existential philosophy of Sartre, Camus, and Kierkegaard; the psychological works of Jung, Freud, and James; the metaphysics of Plotinus, Plato, and the English alchemist Dorn; the mysticism of The Secret of the Golden Flower, and the Chinese understanding of chance as set forth in the I Ching; with the works of Aeschylus, Sophocles, and Shakespeare, for Brandeis University and Technion.
Author, producer, director and co-editor of Joy to the World, a 30 minute 16mm film on hand crafted objects made to celebrate Christmas; co-author with Eugenie Leontovich of a stage adaptation of Leo Tolstoy's Anna Karenina, produced in Chicago, London and New York; author of A Guide To Professional Design Services (distribution 30,000 copies) as well as numerous articles in the design, architectural, and metaphysical press, including a commentary on I Ching interpretation.
Personal involvement in the creation of art awakened a need for direct experience of the diversity of forms, beliefs and world views expressed in cultural artifacts and works of art. Thus began a wide-ranging collection of Pre-Columbian and African sculpture; Egyptian and Roman antiquities; paintings and ceremonial artifacts of India; folk art from Mexico; African, Caucasian, Guatemalan, Bolivian and Indian textiles; as well as significant works of contemporary American painting, sculpture, lithography, woodblock and silkscreen.