Zig-Zags Installation, New Jersey City University, steel, 2010
Zig-Zags Installation, Colgate University, steel, 2006
Zig-Zags Installation, Art Resources Transfer, steel, 2003
tuguna, 22 inches x 34 inches x 38 inches, steel, 2000 ||| Constructed of scrap steel, the tuguna/ntloma/Y-stick form is an architectural pillar, in the form of a forked stick used as the support for traditional Malian adobe houses. They are often quite undulating in form but provide, none-the-less, the internal structure and support for traditional buildings.
Ntlowma/WhY, 16 inches x 21 inches x 21 inches, steel, 1999 ||| With tuguna, Goldner reconstructs the shaded area where elders gather to discuss important events and concepts both current and past. The form becomes a metaphor for structure, strength and support.
5 Vases, 48 inches x 24 inches x 36 inches, steel, 1993 ||| 5 Vases is part of the Sticks & Stones series. Contrary to the children’s ditty, words have powerful consequences. The vases were inspired by Greeks who presented their history on vases. 5 Vases inspired Most of Us Are Immigrants which can be seen in the Public Sculpture section.
-Isms, 39 inches x 24 inches x 24 inches, steel, 1993 ||| The 5 sided vessels produced an open shape exposed the inside as well as outside of the form. Goldner cut away most of the vessel leaving only the minimum necessary to define the shape. The figures dance around the top and the lower half of the form as a metaphor for unity.
Imagining Isn’t The Same, 60 inches x 48 inches x 53 inches, steel, 1993 ||| “Imagining isn’t the same as knowing, nor tolerance the same as welcoming, neither shows curiosity and openness to learning what may be disadvantageous to one’s closely guarded position of privilege.” Elizabeth V Spelman, Inessential Woman, Beacon Press.
Nyame Adom, 36 inches x 24 inches x 24 inches, steel, 1991
Imbarra Dreaming, 24 inches x 18 inches x 18 inches, painted steel, 1991
Non-Racial Geometrics, 24 inches x 18 inches x 18 inches, painted steel, 1990
Janet Goldner, of New York, spends much time in Mali. She makes free-standing steel sculptures and wall-bound installations that reference her artistic lineage going back to the welded sculpture of Julio Gonzalez. But the work also displays her social consciousness and her deep continuing interest in African art.—Carl Hazlewood, curator, July 2011
