Marian Goodman Gallery

Marian Goodman Gallery is delighted to announce ‘Histoires des oreillers,’ an In Focus Presentation dedicated to Annette Messager. The selection of works features historic and iconic works, some of which are rarely shown to the public. While the exhibition at the musée de la Chasse et de la Nature in Paris celebrates animality in her work, this new presentation unveils narratives centered on romantic imagery and intimate secrets. It showcases the mischievous spirit and unconventional materials that have characterized the artist’s work since her early years. The works highlight, amongst other things, her penchant for repurposing everyday objects, as

An exhibition featuring the works of Ettore Spalletti and Dan Graham. **Ettore Spalletti (1940–2019)** - Born in Cappelle sul Tavo, Pescara, Italy - Lived and worked in Cappelle sul Tavo throughout his life - Major exhibitions include: - GAM, Turin; MAXXI, Rome; MADRE, Naples (2014) - yu-un, Tokyo (2024); Magazzino Italian Art, Cold Spring, NY (2023) - National Gallery of Modern and Contemporary Art, Rome (2021) - Notable permanent installations include: - Salle des départs, Hôpital Raymond Poincaré, Garches near Paris (1996) - Collection, Landscape, Obayashi Corporation, Tokyo (1998) - Necessity of Movement and Contemplation, Yokohama Island Tower, Yokohama (2003) - Fountain, Palace of Justice, Pescara (2004) - Chapel, Villa Serena Nursing Home, Città Sant’Angelo, Pescara (2016) in collaboration with architect Patrizia Leonelli Spalletti **Dan Graham (1942–2022)** - Born in Illinois, grew up in New Jersey, and made New York his home and workplace - Major exhibitions include: - Museion, Bolzano, Italy; The Red Brick Museum, Beijing, China; The Metropolitan Museum, New York; De Pont Foundation, Tilburg, The Netherlands (2014) - MaMo Marseille (2015); Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, Minnesota (all in 2009) - Participated in Documenta V, VI, VII, IX, X and Skulptur Projekte (1987, 1997) - Recipient of awards including the American Academy of Arts and Letters, New York (2010), French Vermeil Medal, Paris (2001), and Coutts Contemporary Art Foundation Award (1992) - Permanent installations include sculptures’ parks or urban contexts in many countries across Europe, Asia, and North America **Marian Goodman Gallery** - Established in New York City in 1977 - Represents over five generations of diverse thought and practice - Provides international platforms for its artists to showcase their work and foster vital dialogues with new audiences

This exhibition celebrates the career and influence of Marian Goodman, a pioneering gallerist who has championed contemporary art for over five decades. Featuring works by artists she has represented throughout her career, the show explores the impact of Goodman's vision on the art world.

Marian Goodman Gallery Los Angeles is pleased to present Trial of the Finger, an exhibition of new and recent works by Tacita Dean. Alongside two recent 35mm film installations, Paradise (2021) and Geography Biography (2023), Dean will show a new 16mm film, Sidney Felsen decorates an Envelope (2026), new chalk and slate drawings as well as Polaroid works and works on glass. The title of the exhibition comes from a criticism made by John Dryden in his essay 'Of Heroic Poetry' (1693) where he accused poets of relying too much on visual conceits ('trial of the finger') rather than on the musicality of their poetry to the ear. There are many visual references in this exhibition to both the finger, and indeed to ears, but the title also refers to how Dean manufactures her drawings, most particularly the new slate drawings in this exhibition. Dean's work has always valued the analog, not only in terms of medium, but also in how we still mediate with the world: units of twelve derive from an ancient finger counting system and we measure in feet and inches (in many languages the word 'inch' derives from the same word for thumb) and poets rhyme in pentameters. In the Seward Gallery, Tacita Dean presents a series of recent slate works and a newly completed blackboard tondo, In Montem (he fell) (2026). Since 2015, Dean has been drawing on found school slates and recently received some that had been painted green. The paint had oxidized creating a febrile powdery surface, which necessitated a change of approach. When Dean traveled to Eagle Pass in Texas in April 2024 to watch a total eclipse of the sun, she was determined to not document it but just allow herself to experience it. But nonetheless, sitting back in her deckchair, she twisted and turned her camera without looking through the viewfinder. When the negatives were processed, she saw that she had in fact made photographic drawings with the focused light of the eclipsing sun. These looping solar streaks became the starting point for her green slates in 2024 and a new series of prints with Gemini G.E.L. They continue to inform her new slates. In ‘Base Matter and Uncommon Solvent,’ a comprehensive book of the artist’s drawings published by MACK in 2024, Dean explains how the form of her drawings most often derives from the surfaces or supports she uses. The nature of the presentation of the pieces in this exhibition sets out to exemplify this approach to drawing. The eponymous work Trial of the Finger 1-4 as well as Oeufs Miroirs (triptych) and S PLAT! (triptych) are made on 19th century steam locomotive windows that Dean inherited from her father. Wanting to explore how to paint on them, Dean worked with an artisanal glass studio in Germany and began experimenting with painting in enamel and using mirror lacquer in a labored process not unlike her use of masking in 35mm film: both entail a detailed adding of image through process, and both are made working back-to-front. They stand in contrast to her drawings on slate where she can be spontaneous and unbound. Dean has recently begun working with Polaroids. The camera's high rate of exposure failure created a new surface that enticed her to start trying to paint on them rather than trash them. Equally, the camera's double-exposure potential encouraged her to experiment with her collection of broken Roman fingers, feet and other artefacts in her Berlin studio over the holidays between Christmas and New Year, a period known in Germany as 'zwischen den Jahren' (between the years). The blindness of the Polaroid process is entirely in keeping with how Dean works as one is never able to control or predict how a Polaroid image will alchemize. In the Hudson Gallery, Dean shows her new 16mm film Sidney Felsen decorates an Envelope. Sidney Felsen, who died in 2024 aged 99, was an institution in Los Angeles. He co-founded the print workshop and publisher Gemini G.E.L in Los Angeles in 1966 with Stanley Grinstein. Gemini made prints with some of the greatest postwar American artists and Sidney oversaw, photographed and befriended them all. An accountant by profession, Sidney took private pleasure in decorating the envelopes containing the artists' royalty checks, using his huge collection of postage and rubber stamps that filled his room at the center and heart of Gemini's workshops and offices. Having been introduced to Gemini by Julie Mehretu and knowing Sidney's affection for Julie, Dean suggested Sidney decorate the envelope for her. The 14-minute film is poignantly just that: Sidney, who was always very elegantly dressed, decorating an envelope in his office, a place frequented by many, that is bedecked from floor to ceiling with the many photographs he took of the artists he worked with making prints. In the Main Gallery, Dean presents two 35mm film installations, Paradise, (2021), and Geography Biography, (2023). In 2021, Dean was invited to design the sets and costumes for a new ballet for London's Royal Opera House called The Dante Project. Based on Dante's Divine Comedy, the ballet was choreographed by Wayne McGregor with a newly commissioned score in collaboration with the LA Phil, by Thomas Adès. Structured in three acts: 'Inferno,' 'Purgatorio,' and 'Paradiso,' the ballet journeys with Dante and Virgil from the darkness of hell through purgatory to its exuberant third act 'Paradiso', for which Dean made a 35mm anamorphic film. Using her aperture gate masking technique, Dean adopted the color palette of William Blake's own Divine Comedy watercolors to make an abstract film based on the unfolding planetary and celestial nature of Dante's text. The first act of The Dante Project, 'Inferno,' was premiered in the Dorothy Chandler Pavilion, Los Angeles in 2019 but the full finished ballet has yet to return to the U.S. Paradise (2021) is therefore being seen here for the first time. The film was made in collaboration with Thomas Adès who agreed to allow the MIDI version of his score to become the soundtrack. As orchestras were unable to meet during the Covid lockdown, Adès sent Dean a digital simulation of his score to guide her as she cut the film and he later agreed to allow it to become the soundtrack for the artwork. Alongside Paradise, Dean is showing her 35mm film installation, Geography Biography. The work exemplifies the artist’s poetic and experimental approach to the processes and material properties of photochemical film. Her use of the medium, itself at permanent risk of becoming obsolete, reinforces the transitory and fleeting qualities conveyed by the imagery. Dean has embedded sequences from her super 8 and standard 8 films, as well as her 16mm outtakes, within postcards from her collection, using an experimental aperture gate-masking technique which allows her to combine still images and different gauge films together in one frame of a 35mm negative using stencils and multiple exposures. Describing Geography Biography as an ‘accidental self-portrait,’ the result is a luminous, lyrical and intensely personal filmic collage that reflects the artist’s relationship to the world through her cutting room floor. Dean is a powerful advocate for the importance of keeping photochemical film available as a medium for future generations.

A comprehensive exhibition showcasing the work of Barkley L. Hendricks, featuring his iconic portraits, landscapes, and works on paper. The show explores the artist's unique approach to portraiture, his exploration of light and color in his landscape paintings, and his extensive photographic practice.

The exhibition examines how digital capitalism converts human culture into a reservoir of data and renders us all part of a network of vast, recursive machines. Corporations such as Google absorb and recompute user data within feedback systems that forecast behavior; automate decisions; and preempt, monetize, and weaponize probabilistic futures. These processes in turn transform the human mind and the collective unconscious.

Marian Goodman Gallery is delighted to announce our first exhibition in New York of Jongsuk Yoon which will be on view from 6 February – 21 March 2026. On view will be new paintings and works on paper which explore imagination and cultural memory through the invented topographies of past and present, in what the artist calls “landscapes of the soul.” Yoon was born in South Korea where she spent her childhood in Onyang, prior to migrating to Germany in the mid 1990s, later studying painting at the Kunstakademie Dusseldorf from 1997-2001. Infused with an instinctual sensitivity to the harmony between humans and nature through traditions of East Asian landscape painting as absorbed from her childhood milieu, combined with those of European American modernism from her time in Europe, her profound absorption of these practices carries forward into her immersive landscapes. Yoon found freedom through painting in a singular practice of physical and meditative works where “intuition leads, unplanned and spontaneous, carried by color and gesture,” with impressions and actions taking precedence over mimetic observation. Often dispensing with orienting horizons or central points of view, she prioritizes simultaneity through large and open fields of color that allow for the temporal and gestural, rooting her work in poetic visions in harmony with nature. As Yoon says –“I don’t depict what I see, I am inside it. I act, responding to what the painting tells me” – and the work subsequently envelops the viewer within. A series of large format paintings anchors the current exhibition in panoramic works such as May Landscape, Azalea, Spring Spring, and Mountains, which each surround the viewer with scale, infused by memories of azaleas in bloom and primeval zones of sky, cloud, streams and mountains. The works burst with dreamlike pink, red, and yellow hues that capture the reflections and sensations of a mountainous region of youth — aptly conjured rather than physically experienced — transporting us to the essence of springtime in Yoon’s spirit and heart. A metaphorical road in Spring Spring summons an illusory path towards an unknown journey within. A series of medium scale works invite a slightly different journey towards the creation of half-abstract paintings, with regions delineated by their condensed formats, which render their chromatic relationships less tangible. In Sansu, June, Yellow Sea, Eine Wolke, The Mountain in Front, and in The Good Land we see a transition from ruminations on nature and reminiscence to tiered swaths of color that veer towards abstract compositions. “When painting smaller I think more about composition,” says Yoon. A series of gouaches on paper feature the recurring brushmarks of her larger works, providing a space for a distinctly different emotional register, one that facilitates Yoon’s openness to the moment, away from cultural memory, searching for the empty space within. These works, Pink Landscape, Waves, Heat, and August Heat begin with swift and light gestures that remain in tune with Yoon’s call to a constant and immediate state of being.