Judith Goddard studied at the Univeristy of Reading and Royal College of Art, London, and has taught at the Rijksakademie, Amsterdam, and the Slade School of Art, London. She began making videos in 1981, both single screen and large-scale installations that have been shown widely both in the UK and abroad. Associated with the second wave of video art in the UK, Goddard developed a rich visual style in works such as ‘The Garden of Earthly Delights’ (1991), a video triptych that offers a fragmented, dystopian view of life in the 1990s in the spirit of Hieronymus Bosch. Recent shows include ‘100 years of Artists’ Film and Video’, 2003-04 at Tate Britain; ‘Collage’ at Bloomberg Space, 2004; ‘Wonderings’, at Great Eastern Street, 2005; ‘Cross-Town Traffic’ in Delhi, India, 2005 and ‘Mobile’, in Paris, 2006.
“Goddard’s work on screen attempts to visualise concepts through images of external objects and events that by a process of manipulation of time and the moving image (editing, use of sound etc.) also become metaphors for internal states.” Michael O’Pray.
Judith Goddard continues to work on moving image as well as with stills, collage and more recently print. She lives and works in London.
– Catherine Elwes and Chris Meigh-Andrews (editors), 2006, ‘Analogue: Pioneering Video from the UK, Canada and Poland (1966-88)’, Exhibition Catalogue, EDAU Preston
Interview of Judith Goddard
View the interview transcript here
Go Into Your Fridge (or Stilted Life)
Under the Rose
You May Break
Who Knows the Secret?
Celestial Light and Monstrous Races
Television Circle / Electron (7 screen installation)
Urban Turner / First Light
Glasgow – A Bluish-Green (19.4.90 Television Interventions C4)
Luminous Portrait (One Minute TV, BBC)
Garden of Earthly Delights (3 screen installation, Video Positive, Liverpool)
Reservoir (4 screen)
Programme and explanatory information on video and performance works exhibited as part of the British/Canadian Video Exchange ’84: Installations, performances and videotapes, Toronto, May – June 1984. Includes information on Who Knows the secret?
Video Screenings, Summary Video UK – Programme of video works from Recent British Video Exhibition, Toronto March ’84. Presented for the first time at the ICA Cinematheque, The Mall, London, 1984. Includes the work ‘Who Knows the secret?’
Programme of ICA June 1984 events, screenings etc. Including ‘Tuesday Screening, Summary Video UK’ – video works drawn from Recent British Video Exhibition, Toronto March ’84. Presented for the first time at the ICA Cinematheque, The Mall, London, 1984
Electric Eyes brochure detailing prominent video artists of the eighties, their work and video screenings in Vienna, 22 – 25 November 1989, London Video Access and Film and Video Umbrella Touring Programme. Includes the work ‘Electron’
‘Video vis a vis Video – A Camden based perspective of contemporary video work’. Brochure promoting ‘The National Video Wall Project in Camden’, The Diorama, 2 6/11/89 – 03/12/90. Includes the work ‘Silver Lining’.
‘Celestial Light & Monstrous Races’ ‘Charting Time – An exhibition of artists’ drawings, notes and diagrams for film and video’, exhibited at Serpentine Gallery, London and Hatton Gallery, Newcastle-Upon-Tyne, 1986.
‘The Television Workshop’, information on the facilities at Duncan of Jordanstone College of Art and Design, Dundee, and previous artists who have produced work there, including Judith Goddard who produced ‘The Late Show’ for BBC 2’s ‘One Minute Television’ at the college
Quotes:"British Video artist Judith Goddard (1956-, UK) was first attracted to video for the quality of the colour and the aesthetic of the television image as a light source. She initally experimented with 16mm film, but was restricted to durations of less than three minutes because of production costs. Goddard found colour video suited her sensibility, especially the way it treated light and, because it was a less expensive medium, she was able to work with duration to explore notions of time and visual experience: "Colour made a fantastic difference to the work and I wanted to have more of it. Video offered the moving image in colour and a 20-minute tape. I loved working with colour - still do ... I was doing things like using an incredibly long focus-pull; the work was about 'looking'. I came out of a backgound in which the materiality of film was important, and so I started thinking about video in that way. But then I wanted to exploit the qualities of video as a medium in its own right. For example the fact that the light and colour emanates form the screen which, is quite different from projected light... the screen has always been significant to me, and whether the image was projection, or on a monitor was crucial. With video the fact that the light was coming out of the screen was really important, I had always liked Dutch painters like Rembrandt and Vermeer because they used light in that way." Judith Goddard in conversation with the author, 7 February 2005. Chris Meigh-Andrews, A History of Video Art. Berg, 2006.