The Trace- Brunch and Poetry Reading by Jonathan Goodman

THE TRACE – Absence/ Presence
With Works by Caroline Eleanor Absher, Jeffrey Bishop, Ford Crull, Peggy Cyphers, Craig Dongoski, Valentina Dubasky, Sheila Elias, Jane Fire, Augustus Goertz, Richard Heinrich, Carter Hodgkin, Sol LeWitt, and Mark Tobey.


JOIN US for a BRUNCH from 12 – 4 PM FOLLOWED by a POETRY READING by Jonathan Goodman at 4PM!


Jonathan Goodman is a poet and art writer based in New York City where he teaches at Pratt Institute. The recipient of two grants from the New York Foundation for the Arts, he published his first collection of poems, Metropolitan Rooms, in 1994. As an art writer, Goodman has contributed to Art Critical, Art in America, Sculpture, Yishu Journal of Contemporary Chinese Art, amongst others.


Inspired by Jacques Derrida, Introduction by Peggy Cyphers, Project by Lichtundfire.
Catalog Essay by Jonathan Goodman.


Exhibition Dates: February 10th, 2017 – April 9th, 2017


Lichtundfire is happy to announce THE TRACE, a group show comprised of Artists Working in Various Media Linked to Mark-Making. Inspired by the deconstructivist ideas of French writer, theoretician and cultural critic Jacques Derrida, this exhibition is based upon the principles of the absence of presence or, in reverse, the presence of absence. There is a realm beyond what can be seen with the bare eye, or to what the mind can fathom.


This exhibition features Sol Lewitt’s Recreated Wall Drawing #461, An 84-inch (210 cm) Square Filled in Loosely, Permitting White From the Wall to Show Through (Crayon) from 1986, originally executed and exhibited at Ground Zero Gallery in the East Village in its show “Text/Texture,” at that time curated by Peggy Cyphers


An introduction by Peggy Cyphers:
French philosopher and literary critic Jacques Derrida uses the term trace in literary criticism, to describe the remnant of all non-present meanings, sounds, or written markings on the page– especially in the sense that features are identifiable only by the absence of other feature. The act of mark making in painting and drawing leaves behind its trace, the sign for everything elusive, the evidence of everything it is not, as a visible impression of the indeterminacy of space and thought impression. Both painting and poetry leave in their path clues that something has been present, a spark, a tag, in a just-barely detectable amount, a suggestion of quality.


Can technology claim such a position? Can evolution into the ultimate heights of technological advancement, leave behind its trace? Painting and poetry embody that indeterminate meaning as space and thought. In their ambiguity, painting and poetry create new thought connections, reflecting unseen future histories and memory.

Wallace Stevens first delivered “Relations Between Poetry and Painting” as a lecture at the Metropolitan Museum of Art in 1951. In this essay, Stevens explored the parallel attributes of poetry and painting. Wallace’s thesis is based on the notion that, in an age of disbelief, the arts in general are a “…compensation for what has been lost.” “…men feel that the imagination is the next greatest power to faith, the reigning prince.” Because poetry and painting operate at the juncture between imagination and reality, these arts assume a prophetic stature and become a “…vital assertion of self in a world where nothing but the self remains, if that remains.” (WS)


Lichtundfire: 175 Rivington Street, NY NY 10002
Contact: Priska Juschka,, New Tel: 917-675-7835
Gallery Hours: Wed- Sat. 12-6 PM, Sun 1-6 PM

Start Date

April 2, 2017

End Date

April 2, 2017


12:00 PM - 04:00 PM


175 Rivington Street

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