#Marian Goodman Gallery

[garadinervi]

Bernar Venet, Exploited Subjects, (artist's book, offset printed, from a portfolio of nineteen printed objects), Multiples, Inc., New York, NY, 1970 [© Bernar Venet / ARS, New York / ADAGP, Paris]

Sources: Artists' Books and Multiples, Sackville, New Brunswick; Printed Matter, Inc., New York, NY; MoMA, New York, NY; Art Institute of Chicago, Chicago, IL; Marian Goodman Gallery, New York, NY and Paris

#graphic design #art #photography #notation #visual writing #notebook #book #cover #book cover #back cover #bernar venet #printed matter #moma #the museum of modern art #art institute of chicago #marian goodman gallery #multiples inc. #1970s

[antronaut]

Gabriel Orozco

Covid 30.6.20 (2020)

Covid 27.7.20 (2020)

#Gabriel Orozco #Marian Goodman Gallery

[lsdslsd]

#John Baldessari #bird #1962 #marian goodman gallery

[pikasus-artenews]

D’ici à l’infini Giovanni Anselmo, Lothar Baumgarten, Marisa Merz, Ettore Spalletti Una mostra dedicata ad alcuni artisti legati direttamente o indirettamente al movimento artistico italiano dell’Arte Povera.

#art #Marian Goodman Gallery #Pikasus #Pikasus Arte News

[restrictedpalette]

Christian Boltanski (French, 1944-2021) at Marian Goodman Gallery

#christian boltanski #installation #Marian goodman gallery #exhibitions #my photos

[octavio-world]

Forgot this was still in the queue! Delcy Morales & Ettore Spalletti Esa equina soy yo at Marian Goodman Gallery

#spring24 archive #nyc art #marian goodman gallery #delcy morales #ettore spalletti

[consummateprofessional]

Engaging The Community Part 1

Hello "Community" I am engaging with you, have you heard? No? That's because this is my first blog post and I have spent exactly zero time attempting to build a community of any kind. Now if I said "Hello community, I am building you and engaging with you simultaneously" doesn't that make more sense? Yes? You're wrong, it still doesn't make any sense, but we'll get there soon enough. Anyway thats my "hook", to use a little bit of 5th grade, persuasive essay, bullshit. But the hook can't last forever, if I'm doing this right, I'm about to begin my "Introductory Paragraph."

Anyone invested in the gallery side of the fine arts is probably familiar with some form of the phrase "engaging with the community", it is as present in calls for entry, as it is in the entries they're calling for. It seems as though any gallery worth a damn is neurotically concerned with the amount of engagement that the community is receiving, as if this speculative community is not a group of people, but instead a large dog living in a tiny apartment, ADHD symptomatic and morbidly devoid of enrichment. It is up to the brave souls, in the field of arts administration, to help these abused dogs by any means necessary. Maybe they're capable of doing that. The question to whom are they are doing this is probably something worth speculating about, and how they're planning to do it seems just as tied to the dog's well being. Those two concerns are what I will, hopefully, be describing.

If we're going to go about setting up our 501-C3 rescue shelter masquerading as an art gallery, we should probably figure out who the dogs are to begin with. "OH GOD" I hear you shriek from your seat on the subway "He's going to cite the fucking dictionary, he's just going to give us the dictionary definition of 'community' I knew he was a hack! A conversational tone is a RED FLAG" That's right, dumbshit, get ready for a hastily googled "community definition." According to the Oxford dictionary, community is a word with 3 definitions, which are subdivided into 10 contextual definitions, very useful, let me choose one that suits my purposes as a critic. I'll just go with the first one since its applicable to most situations, the 3rd (read: 10th) is exclusively about ecology, and the 2nd (read: 7th) is somewhat applicable but excludes aspects of the definition regarding physical space-- it makes sense to use that definition here (on tumblr), or on ...twitter? (Can I still call it twitter?) But an art gallery isn't (usually) a website, and is typically seen as serving its purpose in relationship to physical space as-well-as likeminded people. Anyway, the first definition of community is "A group of people living in the same place or having particular characteristics in common"(Oxford). You'll notice that this essentially applies to everything, in what world are we not engaging either with people in physical space or with people who have things in common? It kind of seems like the word community is, by this definition, too vague to be particularly useful in any regard-- especially in relationship to a business mission statement. So that was kind of a waste of time, unless, perhaps, I'm attempting to set up a point about intentionally vague language(?) Maybe you'll find out! Maybe! Anyway, since the dictionary definition was predictably useless, maybe the galleries I'm ostensibly talking about will offer something more substantial in their mission statements, artforum is a good place to go if you want big-name galleries to be advertised to you. Let's check out Marian Goodman Gallery's mission statement. For those not in the know, Marian Goodman Gallery is actually three galleries, one in LA, one in New York City (at the time of writing, the gallery is planned to move to Tribeca by 2024), and one à Paris. They're owned by Marian Goodman, who is a "Blue Chip" art dealer, which is actually a financial term and not an art term, but here basically means that she sells very expensive works of art and the work she sells can be trusted to be resold at a higher value than it was purchased at. In other word, the galleries she runs are incredibly well respected. Her mission statement (which actually doesn't make much sense given the financial aspect of her career but whatever) reads as follows:

"Marian Goodman Gallery champions the work of artists who stand among the most influential of our time, representing over five generations of diverse thought and practice. What makes the gallery singular is its enduring and deep-rooted collaborations and understanding with the artists—a bond that is concurrent with curators, thought leaders, and art institutions worldwide. The Gallery’s exhibition program, characterized by its caliber and rigor, provides international platforms for its artists to showcase their work, foster vital dialogues with new audiences, and advance their practices within nonprofit and institutional realms." (https://www.mariangoodman.com/about-our-gallery/).

I just finished washing my mouth out with soap, so now I'm ready to talk about this. Notably absent are the words "community" and "engagement" but that doesn't mean they aren't there! It just means we gotta dig around for, like two seconds, which we'll do but only after I make an extended point about how the first sentence is completely tautological. "Marian Goodman Champions the work of artists [...] the most influential of our time [...] over five generations." Okay, duh, of course they "champion" the work-- they're selling it, this is like saying that Apple champions the iPhone, or a used car dealer champions a 1997 GM Saturn. To state that these artists are "the most influential of our time" is true but in a weird kind of way-- the gallery represents 47 artists and among them are some very impressive figures, Chantel Akerman, William Kentridge, Christian Boltanski, Gerhard Richter (who actually ended his representation with them in 2022, in favor of the far more famous David Zwirner, which is an obvious and predictable career move, especially for an artist vocally interested in "winding down production"(artnet)). These are not artists to turn your nose up at, they're BIG names, they were also brought into being represented by the gallery well after they had already made a name for themselves. Akerman, for instance, had come into fame during the 70s and 80s as an experimental filmmaker-- the peak of her acclaim occurring in 1975, two years before Marian Goodman Gallery came into existence. I don't want to "throw" too much "shade" at Goodman, there is a certain kind of bravery to being born rich, then advertising already famous European artists to Americans who have never heard of them. But the artists were, without a doubt, already famous. Gerhard Richter, who is probably the most important artist ever to be represented by the gallery, had already been featured in the 1972, 1980, 1984 Venice Biennales as well as Documenta V (1972) and Documenta VII (1982) before he began his representation with Marian Goodman in 1985, these are incredibly prestigious art fairs and exhibitions, a baby could have predicted Richter's rise to international fame, especially considering it had already begun. None of this is to undermine MGG as an institution, it is absolutely noteworthy that this gallery was responsible for bringing prominent European artists to the States, but much of what it gives itself credit for within its about page, is actually the work of others, and is the reason that they began representing these artists in the first place. Finally the first sentence ends with "over five generations" which is just a way of saying "we've been around for a long time" and anyone knows what MGG is, already knows that, while it is impressive for an art gallery to be around for a long time, it certainly isn't retroactively impressive that a blue chip gallery is old-- thats kind of par-for-the-course. So now MGG and I are even, its website found a verbose and irritating way of telling its audience nothing while aggrandizing itself, and I've found a verbose and irritating way of telling you that thats what they're telling you while aggrandizing myself.

end of part one, in part two I'll finish what I was talking about in regards to MGG's definition of "community" and what it means for them to imply a kind of engagement. Maybe by the end of Part 3 i'll have made my point about exactly how much this is just meaningless puff, and perhaps another point about how it positions these galleries as somehow radical. I didn't know Tumblr had a character limit, otherwise I would've put this on substack. Too late to go back now.

#fine art #art community #institutional critique #literary theory #social issues #art speak #essay #Marian Goodman Gallery #Community Engagement #Art History #Language #Meaningless #gerhard richter #david zwirner #linguistics

[thingstol00kat]

Ríneke Djikstra at Marian Goodman gallery

Nov 2023

#rineke dijkstra #female photographer #beach #portraits #2023expo #Marian Goodman #gallery #nyc #New York

[gregdotorg]

There's a Dan Graham tribute show at Marian Goodman in NYC which is organized by his friend, fellow artist Peter Fischli. Among all the goodness is this architectural model for a daycare center pavilion from 1998. [photo @visitordesign]

#dan graham #rip #there's a whole gallery full of tabletop pavilion models #and videos and film and a manga of graham's life and a playlist #shoutout peter fischli #also marian goodman ofc

[garadinervi]

Giovanni Anselmo (1934–2023)

♥

Image: Giovanni Anselmo, La mia ombra verso l'infinito dalla cima dello Stromboli durante l'alba del 16 agosto, (color slide), 1965 [Marian Goodman Gallery, New York, NY. © Giovanni Anselmo. Photo: © Enrico Longo Doria]

(on the way of Peter Foolen)

#art #photography #giovanni anselmo #rip #enrico longo doria #marian goodman gallery #1930s #1960s #2020s

[las-microfisuras]

Chantal Akerman, In the Mirror, 1971

16 mm black and white film transferred to digital format, 14 mins 21 secs. Marian Goodman Gallery.

#chantal akerman

[woundgallery]

Francesca Woodman, Untitled, New York (NF.466), 1979-1980. Vintage color print. Image: 6 1/2x6 1/2in. (16,5x16,5cm). Paper: 10x8in. (25,4x20,3cm). Courtesy Marian Goodman Gallery/New York.

#francesca woodman #photography #self-portrait #art #contemporary art

[abwwia]

Nan Goldin, “The nap, Paris”, (2010). Chromogenic print. 24 × 64 1/2 in.; 61 × 163.8 cm

All works copyright © Nan Goldin. Courtesy of the artist and Marian Goodman Gallery

#Nan Goldin #art by women #art #palianshow

[pikasus-artenews]

Tacita Dean Dante

Annoverata tra i componenti del famoso Gruppo inglese Young British Artist, Tacita Dean dialoga con il compositore musicale Thomas Adés

#art #Marian Goodman Gallery #Pikasus #Pikasus Arte News

[mentaltimetraveller]

Gabriel Orozco Roto Shaku 20, 2015 Paper tape, plastic tape and graphite on wood 71 5/8 x 1 5/8 x 1 5/8 in. (181.9 x 4 x 4 cm)

Marian Goodman Gallery

#Gabriel Orozco

[thedepressedpelican]

Untitled, Italy, 1977-1978 (Credit: Courtesy of Marian Goodman Gallery © Woodman Family Foundation / Artists Rights Society (ARS), New York) - Francesca Woodman

#francesca woodman