Ana Mendieta @ Marian Goodman Gallery, NYC - 'Back to the Source' Exhibition

Ana Mendieta 

Back to the Source 

Marian Goodman Gallery, New York

Through 17 January 2026

Ana Mendieta 

Untitled: Silueta Series, 1977

© The Estate of Ana Mendieta 

Courtesy of Marian Goodman Gallery

Plugging into Mexico was like going back to the source, being able to get some magic just by being there. – Ana Mendieta

Marian Goodman Gallery presents Back to the Source, the gallery inaugural exhibition of the work of Ana Mendieta (1948-1985) which is on view in their Tribeca space through 17 January 2026.

Back to the Source presents seminal works from 1972-1985, a prolific period of Mendieta’s work, spanning stages of time spent in Iowa, Mexico, and Cuba, including ten digitally remastered films, photographic works, newly available photographic prints and drawings, and ephemeral sculpture.

Ana Mendieta was a pioneer and innovator whose oeuvre spanned painting, drawing, photography, film/video, sculpture, and site-specific works. Her singular interventions in the landscape embraced nature and disrupted societal conventions. Exiled from her homeland of Cuba where she was born in 1948, Ana Mendieta spent her childhood and formative years in Iowa, in the 1960s. She later studied art at the University of Iowa, first as a painter, then later in performative art, a move which would ultimately change her approach as an artist. Her body of work testifies to a passionate engagement with themes of exile and displacement, reconnecting with the earth, and the search for belonging and origin, through power, magic and the universal.

Creating a rich and diverse body of work that included ephemeral sculptures, Ana Mendieta, in her film and photographic works, captures time and process through direct actions which transport her beyond conventional materials to the realm of the intangible and impermanent, using nature as a collaborator. With her body as material, and driven by nature’s symbolic meaning, she sought to integrate power, magic and knowledge into her work, using natural materials as well as the four elements –earth, air, fire, and water. Feathers, flowers, branches, moss, fireworks and gunpowder were easily accessible and were often part of ritual practices to return her to the land and connect her to the universal. These obsessive acts of reasserting my ties with the earth is really a manifestation of my thirst for being. In essence my works are the reactivation of primeval beliefs. The photographs become the afterimage of primordial remembrances at work within the human psyche. – Ana Mendieta, Proposal for Rome Prize Fellowship, 1983

Using the earth as a sculptural medium – which she molded, impressed, and burned – Ana Mendieta conveyed notions of existence, resurgence and renewal through site-inclusive works that were exquisitely ethereal and transitory. Contemplative and existential meditations on mortality and the natural world, these works were part of living processes.

An interest in themes of transformation – birth, life, death, regeneration – is evident throughout her oeuvre, and can be seen in Ñañigo Burial, 1976, installed in the first floor gallery. Comprised of black candles which originally outlined the contours of the artist’s body, its title points to the influence of the Abakuá society of Cuba, also known as Ñañiguismo, which offers spiritual protection to its members. Drawn to this and Afro Cuban Santeria traditions, which blend the Yoruba religion of West Africa, Roman Catholicism, and Spiritism, Ana Mendieta sought magic and the divine to regenerate life within her work and through nature.

Ana Mendieta developed the Silueta Series from 1973-1980, first inspired by a visit to Mexico, in a signature period of expression in which she utilizes her own body, prior to removing herself from it. Moving away from traditional notions of sculpture as object, and towards the experience of living process and geological time as a medium, Ana Mendieta rendered silhouettes through hieroglyphs of imprints, outlines, and absences within the earth, which were left to erode and return to it.

Their timeless memory is preserved through related photographic works, such as Silueta Sangrienta, 1975, a new print. Other silueta works followed in 1976-79, such as Silueta Series (Tree of Life), 1978, and a selection which are presented here. A color print, Incantation to Olokun-Yemaya Encantación a Olokún-Yemayá (Incantation to Olokun-Yemaya), 1977, depicts a silueta in the earth, invoking two identities of the West African Yoruba goddess known as a river mother and fertility deity. A work from 1978 shows a spiral impression in the earth, creating a metaphorical association with land-based work- in this case with a human scale silueta at its center. In other works, figures are carved into the earth, such as in Black Venus, 1980, a black and white photograph which features an earthen imprint of a female form. Its title refers to a legendary symbol against slavery, an affirmation, as Ana Mendieta writes, of those who are free and refuse to be colonized. This work is in dialogue with La Venus Negra, 1981, which also features a detailed imprint resembling the human form, created on a rock surface — its deliberate placement on stone suggesting a connection between the human form, nature and the earth. Black and white photographs of two Sandwoman works from 1983 document outlines of organic female forms hand carved in the sand, reiterating temporality and impermanence. A newly framed and never before seen small-scale drawing of the hand with heart — imparts the artist’s fascination with ancient Egypt, hieroglyphs, and cave drawings, reiterating her journey “back to the source.” These works are accompanied by an additional selection of Untitled works on paper from 1978-79 and 1983-1985, depicting organic forms.

I have thrown myself into the very elements that produced me, using the earth as my canvas and my soul as my tools. - Ana Mendieta, Proposal for the New York State Council on the Arts, 17 March 1982

On view are ten films created between Iowa and Mexico which span from 1972 to 1978, and in which we see a representation of the various elements – from fire, water, and air, to gunpowder, and blood. The earliest of these, Chicken Movie, Chicken Piece, 1972, originally filmed in Super 8, documents a primitive action in which Ana Mendieta holds a decapitated chicken, a familiar form of sacrifice in Santería resulting in a splattering of blood, which thematically connects to universal and spiritual power. The theme of self-transformation is introduced in Blood + Feathers, captured in a recently discovered 1974 color photo in which Ana Mendieta initiates a transfer of energy, covering her body in feathers and blood, as if to divine herself as an unearthly avian spirit, becoming a bird or, as she had said, “the white cock.” Silueta del Laberinto (Laberinth Blood Imprint), 1974, shot the same year, begins with a silueta outline on a ceremonial site near Oaxaca, Mexico, the contours of which are flooded beyond their recessed lines, spilling beyond the corporeal outline to resemble an organic shape. In Silueta del Laberinto, one of the first films in which Ana Mendieta uses a silhouette to stand in for her own body, she also circumnavigates the site's labyrinthian architecture with a handheld camera, anticipating later works.

Energy Charge, a silent 16 mm film from 1975, evokes an avatar of Laberinth Blood Imprint, by featuring a figure with upraised arms emerging from a dark landscape which transforms into a bright red silueta shape before vanishing, the polarizing color recalling its memory. Two more films, each from the Silueta Series, are additionally sanguine in nature. Silueta Sangrienta, made in Iowa City in 1975, shows the artist naked and face up with uplifted arms in the excavated earth, which is later emptied, then re-filled with red pigmented liquid, in which she lies face down and partially submerged. Untitled: Silueta Series, 1978, filmed at Old Man’s Creek, Iowa, introduces the element of fire, showing hands created from clay emerging from a tree trunk which then becomes engulfed with rising flames. Silueta de Arena, 1978, depicts a silueta emerging from the shallow waters of a riverbank, forming an island unto itself.

On the second floor, the suite of color photographs, Body Tracks, 1974, traces an early action documented in Iowa prior to Mendieta’s move into nature. Here Ana Mendieta uses tempera to create imprints of her hands, repeated through a performative gesture of kneeling and dragging her red hands down to create markings in two parallel tracks on pink fabric.

In Grass Breathing, made in Iowa in 1975, Ana Mendieta becomes one with the earth, positioning herself beneath a mound of earthen sod in a meadow, inhaling and exhaling, the movement of her body causing the grassy verdant mound to rise and fall, then rest.

Upcoming solo exhibitions include a significant retrospective at the Tate Modern opening in July 2026 that will feature many important works, along with newly remastered films, early paintings, and late sculptural pieces, many of which will make their U.K. debut.

Ana Mendieta’s work has been exhibited in important solo exhibitions and museum retrospectives; exhibitions include those at MUSAC, León, Spain (2024); SESC Pompéia, São Paulo, Brazil (2023); Baltimore Museum Of Art, Baltimore, Maryland (2020); Institute of Modern Art, Brisbane, Australia (2019); Middleheim Museum, Antwerp, Belgium (2019); Institute for Contemporary Art, Galerie nationale du Jeu de Paume, Paris, France (2018); Martin-Gropius-Bau, Berlin, Germany (2018); Berkeley Art Museum and Pacific Film Archive, Berkeley, California (2016) The Israel Museum, Jerusalem, Israel (2014); Hayward Gallery, Southbank Centre, London, United Kingdom (2013); Castello di Rivoli, Turin, Italy (2013); Art Institute of Chicago, Chicago, Illinois (2011); Whitney Museum of American Art, New York (2004); Smithsonian Institution, Washington, D.C. (2004); Museum of Contemporary Art, Los Angeles, California (1998); Helsinki City Art Museum, Helsinki, Finland (1996); Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain (1996); New Museum, New York, New York (1987).

Ana Mendieta received many prestigious awards in her lifetime, including a National Endowment for the Arts Grant (1977 and 1980) and Fellowship (1982); Creative Arts Program Services Grant, New York Foundation for the Arts (1979); John Simon Guggenheim Foundation Fellowship (1980); New York State Council on the Arts Grant (1982); Rome Prize, American Academy in Rome (1983); Award in the Visual Arts, Southeastern Center for Contemporary Art (SECCA), Winston-Salem, North Carolina (1984). A Visual Arts Lifetime Achievement Award was posthumously bestowed by The Cintas Foundation, New York in 2009.

A catalogue will be published on occasion of the exhibition and released in early 2026. Pre-orders will be available online and in the gallery.

MARIAN GOODMAN GALLERY

385 Broadway, New York, NY 10013 

www.mariangoodman.com

Ana Mendieta: Back to the Source 

Marian Goodman Gallery, New York, 7 November 2025 - 17 January 2026

Exposition Paul Sietsema @ Galerie Marian Goodman, Paris

Paul Sietsema 

Galerie Marian Goodman, Paris 

18 octobre - 20 décembre 2025

Paul Sietsema 

Arrangement, 2025 

Peinture émail sur lin 

121.9 x 121.9 x 2.9 cm (48 x 48 x 1 1/8 in.)

© Paul Sietsema, courtesy Marian Goodman Gallery

La Galerie Marian Goodman à Paris présente actuellement la deuxième exposition personnelle de l'atiste américain Paul Sietsema en France. Cette exposition rassemble des oeuvres nouvelles et plus anciennes, dont deux films 16 mm. Le travail de Paul Sietsema explore la nature complexe de la représentation, en examinant comment le sens se construit à l'intersection de l'image et de la matière. Si l'art est une forme de langage culturel, l’artiste adopte une approche dialectique qui interrompt, détourne ou reconfigure le flux naturel de la communication.

Sept oeuvres créées cette année sont exposées au rez-de-chaussée de la galerie. A première vue, chacune d'entre elles représente un objet familier – un téléphone, une pièce de monnaie, un pinceau, etc. – et pourtant, de par différents dégrés de mises à distance propres au procédé de Paul Sietsema, ces images apparaissent comme des spectres ou des réceptacles de ces représentations. Ces reliquaires se déploient de manière critique pour redéfinir leur fonction, à mesure qu’ils évoluent dans le temps au sein d’un système dont la constante mutation dépend des valeurs culturelles héritées du passé. Object painting (2025), figure une machine obsolète, conçue dans sa physiologie pour permettre au corps humain de transformer une action laborieuse en langage. Le téléphone à cadran, déconnecté, de Arrangement (2025) évoque, quant à lui, la dimension métaphysique de la peinture tout en suggérant un potentiel de transmission et d’échanges réels, rendu ici irréalisable. 

A travers ces oeuvres, Paul Sietsema représente ou présente des matières premières : métal, toiles naturelles et peinture dans leurs formes les plus brutes. Dans cette optique, réfléchissant à la valeur symbolique de la peinture, Gray painting (2025) est une composition abstraite et monochrome qui joue des codes du matérialisme concret et laisse apparaître certaines parties de la toile vierge. Cette oeuvre renvoie tant à un travail antérieur de l’artiste qu'à la peinture abstraite du milieu du XXe siècle, période durant laquelle la peinture est passée d’un statut spirituel et politique à celui d'une monnaie culturelle dotée d'une valeur symbolique. De même, Action painting (black line) (2025) et Action painting (white on black) (2025) évoquent la portée emblématique du geste pictural autonome dans la peinture abstraite occidentale et de la valeur qui lui est attribuée. Action painting (black line), représentant l'image peinte d'une pièce de monnaie répandant une trainée de peinture sur la toile, met en parallèle le commerce et la valeur d'échange de l’oeuvre avec une action concrète.

Les oeuvres Action painting (black line) et Figure ground study (white on white) (2025) ont été peintes au verso d’imitations de tableaux de Jackson Pollock achetées sur des sites d'enchères en ligne, estampillées de faux tampons d'authenticité. Dans Figure ground study (white on white) (2025) et Arrangement (2025), des fragments de CD et de vinyles brisés ont été recouverts de peinture. Les objets initiaux sont littéralement et métaphysiquement ‘réduits au silence’ par les différentes interventions opérées par l’artiste, marquant leur transformation d'objet en image.

Au sous-sol de la galerie est présentée une sélection d'oeuvres datant de 2009 à 2020. Les ‘date paitings’ 1992 (2015) et 1994 (2015) ont été réalisées, entre autres outils de retouche photo argentique, avec un pinceau enduit de liquide de masquage au latex et un aérographe en partie cassé pour représenter des dalles de pierre minimalistes. La figuration des dates sur les pierres traduit l'échelle d'une histoire personnelle plutôt que collective. De même, Collection 5 (2016) donne à voir des jetons de vestiaire de musée collectés par l’artiste, réalisés à la peinture émail sur du papier incrusté de poussières provenant de son atelier. Lors de nombreuses visites dans des musées, l'artiste a régulièrement échangé des effets personnels contre ces jetons souvent marqués du nom des institutions. Si la première fois, il a oublié un vêtement, il a ensuite délibérément abandonné divers articles de sa propre garde-robe, essaimant ainsi, en quelque sorte, ses ‘oeuvres’ dans les musées du monde entier.

Une autre oeuvre est en partie issue des effets du travail en atelier. Le film muet, en noir et blanc, Anticultural Positions (2009), montre des images de traces résiduelles provenant de l'espace de travail de Paul Sietsema. Celles-ci sont accompagnées de sous-titres extrait d'une conférence donnée en 1951 par Jean Dubuffet, dans laquelle celui-ci énonce l'absence de forme et l'ambiguïté comme éléments essentiels du processus artistique. Le film a été projeté pour la première fois à la New School de New York en remplacement inattendu d'une conférence de Paul Sietsema alors que celui-ci était dans un avion en route vers la côte ouest des Etats-Unis.

Les deux films 16 mm dans l’exposition mettent en lumière le médium de prédilection initialement choisi par l'artiste pour interroger les constructions de la matérialité et leur relation plus large avec les médias. Dans Telegraph (2012), des fragments de bois trouvés sont utilisés pour former et incarner le langage. Reliés par une série de fondus enchaînés, ces morceaux sont configurés et reconfigurés au sein d'une structure répétitive et minimale qui finit par composer la phrase «L/E/T/T/E/R/T/O/A/Y/O/U/N/G/P/A/I/N/T/E/R». Le film explore l'idée de l’oeuvre d'art comme transmission en atténuant l'ordre de lisibilité linguistique et en soulignant l'abstraction inhérente à chaque forme de lettre.

Antérieures aux oeuvres présentées au rez-de-chaussée, Action painting (1977) (2017) et Action painting (City National) (2016) sont composées d'un unique geste réalisé en raclant ou frottant un objet sur la couche picturale, respectivement une pièce de monnaie et une carte de crédit. L'objet physique reste incrusté dans la peinture, l’amenant à perdre sa valeur monétaire au profit d’une valeur symbolique lors de sa transformation en oeuvre d’art. Pour Blue Picasso (2020), Paul Sietsema a sérigraphié sur toile une affiche originale du Guggenheim, avant d’y superposer la couleur de sa bordure originelle, créant ainsi un masque monochrome recouvrant l’intégralité de image. Cette technique affadit subtilement l’image, diminuant, voire suspendant, la fonction première de l’affiche.

Paul Sietsema (né en 1968 en Californie) vit et travaille à Los Angeles. Il est diplômé de l'université de Californie à Los Angeles en 1999 et de l'université de Californie à Berkeley en 1992. De nombreuses institutions ont consacré des expositions individuelles à son oeuvre, notamment le Nouveau Musée National de Monaco (2015), le Museum of Contemporary Art de Denver (2014), le Museum of Contemporary Art de Chicago (2013), le Wexner Center for the Arts de Columbus, dans l'Ohio (2013), le Mercer Union de Toronto (2013), la Kunsthalle Basel (2012), The Drawing Room de Londres (2012), le Schinkel Pavilion de Berlin (2010), le Cubitt de Londres (2010), le Midway Contemporary Art de Minneapolis (2010) ; le Museo Nacional Centro de Arte Reina Sofía de Madrid (2009) ; le Museum of Modern Art de New York (2009) ; le San Francisco Museum of Modern Art (2008) ; la de Appel Foundation d’Amsterdam (2008) et le Whitney Museum of American Art de New York (2003).

GALERIE MARIAN GOODMAN, PARIS

79 rue du Temple, 75003 Paris

www.mariangoodman.com

Robert Smithson. Casting a Glance: Dancing With Smithson @ Marian Goodman Gallery, Los Angeles - Exhibition Curated by Lisa Le Feuvre

Robert Smithson 

Casting a Glance: Dancing With Smithson

Curated by Lisa Le Feuvre

Marian Goodman Gallery, Los Angeles

8 November 2025 – 24 January 2026

In 1968 Robert Smithson declared: “A great artist can make art by simply casting a glance.” This exhibition takes him at his word. Casting a Glance: Dancing with Smithson invites eighteen artists to join him on the floor as partners who resist, improvise, and extend the rhythm of his thinking.

Robert Smithson with Leonor Antunes, Nairy Baghramian, Daniel Boyd, Tony Cragg, Tacita Dean, Pierre Huyghe, An-My Lê, Steve McQueen, Julie Mehretu, Ana Mendieta, Delcy Morelos, Bruce Nauman, Gabriel Orozco, Giuseppe Penone, Tavares Strachan, Álvaro Urbano, Adrián Villar Rojas, and James Welling.

Casting a Glance tracks Smithson’s trajectory from his early 1960s drawings that confront the crumbling ideals of European Modernism with a queer sensibility to his searing critiques of industrial capitalism and attention to geological timescales, positioning him as both provocateur and visionary. Robert Smithson called for artists to infiltrate corporations, championed the agency of all earth-beings, choosing the exhausted edges of suburbia over charismatic metropolitan centers. His innovative conception of the site/Nonsite dialectic, his redefinition of what sculpture could be, and his conviction that art is a philosophical encounter with the Earth’s surface converge in this vibrant dance among the artists on view.

Rarely seen works by Robert Smithson — chosen in dialogue with the participating artists — capture his restless energy. His drawings of landmark earthworks, pseudo-minimalist sculptures, references to the occult and the erotic, sit alongside renderings of imagined islands and material experiments. Smithson asked urgent questions about place, decay, and the fictions of permanence. Mirror Displacement Indoors (1969), colloquially known as “Dead Tree,” anchors the exhibition. It is comprised of an uprooted tree, with leaves and root ball intact, and double-sided mirrors inserted into the tangle of roots and branches. Over time the tree dries, the leaves fall, the earth falls from the roots, while the fixed structure of the mirrors remain stable. Decay and entropy are key concepts for Smithson, and are threads running through the exhibition.

The eighteen artists gathered here both challenge and align with Smithson’s art and ideas. Tony Cragg’s In No Time (2018) joins works by Leonor Antunes and Álvaro Urbano in a knot of arboreal forms, extending Smithson’s fascination with trees and their mirrored lives. Delcy Morelos’s grounded forms quietly speak to An-My Lê’s charged landscape, which, in turn, suggests a kinship to Smithson’s imagined islands. James Welling’s Barbizon (2025) channels Smithson’s dismissive obsession with constructed landscapes, while Giuseppe Penone’s Geometria nelle mani – ovale (2005) stands in dialogue with Smithson’s reclining, decaying tree. Ana Mendieta’s earthworks resonate with Smithson’s Hypothetical Continents, with both artists employing the photographic image to make their temporal sculptures immutable.

Smithson’s speculative crystal universes are echoed in Pierre Huyghe’s evocation of half-million-year-old selenite, while Tavares Strachan’s redefinition of polar exploration rub against Smithson’s mapping of New Jersey as a different kind of elsewhere. A rarely seen mirror table sculpture from Smithson’s studio supports three hand scaled sculptures by Gabriel Orozco, reflecting the continuity of these mirrored surfaces into the present.

Nairy Baghramian’s Jupon Suspendu (2017) folds her sculptural lexicon into the conversation, gently interrupting Smithson’s hand-built Minimalism. Daniel Boyd’s collages double back on Hercules, pushing against Smithson’s conflation of camp bodies with classical statuary, while two scores by Bruce Nauman ask for a hired dancer to clear a room and telephone the artist. Adrián Villar Rojas’s Return the World X (2012) shares time with Smithson’s Partially Buried Woodshed (1970). Julie Mehretu’s Six Bardos: Luminous Appearance (2018) which meditates on time, memory, and transcendence, is placed in dialogue with the atmospheric veils of color in Smithson’s 1963 painting Tear.

Steve McQueen’s Broken Column (2014) speaks directly to Smithson’s acute attention to materiality and material history, while Tacita Dean’s Salt (A Collection) (2013–14) from the Great Salt Lake slips beside Smithson’s own drawings of Spiral Jetty (1970); both charting the eponymous film. Three moving image works complement the exhibition. East/Coast West Coast, made with Nancy Holt in 1969, is an improvised a dialogue in which Holt and Smithson perform the stereotypical positions of American East Coast and West Coast artists of the late 1960s. Robert Smithson described the thirty-five-minute film Spiral Jetty (1970) as “a set of disconnections, a bramble of stabilized fragments taken from things obscure and fluid, ingredients trapped in a succession of frames, a stream of viscosities both still and moving” – a phrase that reverberates across and through Casting A Glance. Swamp, from 1971, also made with Nancy Holt, is shot in the swamplands of New Jersey, Smithson’s home state, a location he frequently returned to in his work.

Curator Lisa Le Feuvre

Lisa Le Feuvre is a curator, writer, and editor. In 2018 she became inaugural Executive Director of Holt/Smithson Foundation, the artist foundation dedicated to the legacies of artists Nancy Holt (1938-2014) and Robert Smithson (1938-1973).

Lisa Le Feuvre has curated more than seventy-five exhibitions as an institutional and independent curator, edited over thirty books and journals, spoken at 150 museums and universities across the world, and has published more than 125 essays and interviews with artists. Her recent curated exhibitions include For What It’s Worth: Value Systems in Art since 1960 at The Warehouse, Dallas, (2024, curated with Thomas Feulmer); Robert Smithson / Teresita Fernández at SITE SANTA FE, New Mexico (2024, curated with Fernández); at the Wexner Center for the Arts, Ohio Nancy Holt: Power Systems and Maria Hupfield: The Endless Return of Fabulous Panther (Biimskojiwan) (2025); and, on display through next year at the Farnsworth Art Museum, Joan Jonas: An Island Departure (with Jaime DeSimone). Le Feuvre’s recent publications include the introduction to the compendium Great Women Sculptors (Phaidon Press) and texts on the artists Henry Moore, Kapwani Kiwanga, Delcy Morelos, Charlotte Moth, Lucia Pizzani, Robert Rauschenberg and Medardo Rosso.

About Holt/Smithson Foundation

Nancy Holt (1938-2014) and Robert Smithson (1938-1973) transformed the world of art and ideas. Holt/Smithson Foundation develops their distinctive creative legacies and is the hub of all things Holt and Smithson. Holt and Smithson recalibrated the limits of art, changing what art can be and where art can be found. Their art, writings, and ideas built the ground from which contemporary art has grown. Collaborating with artists, writers, thinkers, and institutions the Foundation realizes exhibitions, publishes books, initiates artist commissions, programs educational events, encourage research, and develops collections globally from its headquarters in New Mexico.

MARIAN GOODMAN GALLERY

1120 Seward Street, Los Angeles, California 90038

www.mariangoodman.com

Leonor Antunes @ Marian Goodman Gallery, Los Angeles - "discrepancies with E.S. (extended)" + "discrepancies with E.S. (in company)" @ Neutra VDL Studio and Residences, Los Angeles

Leonor Antunes

discrepancies with E.S. (extended)

Marian Goodman Gallery, Los Angeles

6 September – 18 October 2025

Leonor Antunes 

I stand like a mirror before you (2015) 

Plexiglass, brass plates, brass screws

© Leonor Antunes, courtesy Marian Goodman Gallery

Marian Goodman Gallery presents discrepancies with E.S. (extended), an exhibition of new works by LEONOR ANTUNES. This exhibition marks Antunes’s second solo show with the gallery. Notably, discrepancies with E.S. (extended) was developed in conjunction with discrepancies with E.S. (in company), a complementary and off-site exhibition curated by Douglas Fogle at the Neutra VDL Studio and Residences in Los Angeles.

Leonor Antunes takes an immersive approach to her subjects, transposing historical forms and precise measures based on deep archival research on artists and modernist histories—often of female protagonists, in order to create sculptures and site-specific interventions. Her work draws on a wide range of sources, lexicons and materials – whether drawing in space with lines and form, exploring the choreographies of volume and movement, the potential of craft or the grid, or the gravity and torsion of objects in space. In celebration of admired and often marginalized stories of people and of time, Antunes embraces participation—fusing her own work with lost histories as a way to reimagine the present and honor the past.

Here, Antunes’s work explores the legacy of an influential twentieth-century female pioneer whose innovations contributed significantly to modernist art, design, and architecture, but were overlooked because these fields have historically been male-dominated. Leonor Antunes studied Elizabeth (née Scheu) Close (1912-2011), a modern architect who was born in Vienna and raised in a home designed by Adolf Loos, where her family hosted prominent artists, architects and designers, including members of the Wiener Werkstätte (Vienna Workshop) and family friend Richard Neutra. Close went on to receive her graduate degree in architecture at MIT and spent the majority of her career designing hundreds of homes and public buildings in Minneapolis while serving as head architect to the University of Minnesota. Antunes was drawn to Close’s relationship to Viennese modernism as well as her pragmatic, unadorned approach to design, and found an affinity to her frequent use of locally sourced, natural materials.

Presented throughout the Main Gallery, the works in this exhibition embrace applied arts and traditional craft practices from around the world that highlight natural materials such as rope, leather, and glass. The back wall of the gallery showcases an 80-foot-long span of two separate bodies of work made from brass and beads. These works are based on historical textile and loom-based patterns that the artist sourced from the archives of the Wiener Werkstätte, Museum of Applied Arts in Vienna (MAK), and the Vienna School for Arts and Crafts. Antunes uses these as templates to determine the structure of her works, which at once correspond directly to their original source and yet, when hung vertically with the pull of gravity turning the sculpture into a different shape each time it is installed, become autonomous, fluctuating forms unto themselves.

Creating a dialogue with the architecture of the space, a commanding installation of ropes, coupled with hanging works in leather, adjoin the space between the floor and rafters. The use of rope, initially inspired by a staircase of architect Ernö Goldfinger, becomes an expanded “screen” in this intervention that determines how the viewer navigates and views the space. A surrounding series of floor lamps configured to the various heights of the staff at the gallery, subsequently merging into abstract figures, are extrapolated from a table lamp design originally produced by the Wiener Werkstätte. Through a proposition that reimagines rational, modern design into sculpture, Antunes’s practice embeds the history of a recovered past with radical social and political determinations into objects of both study and poetry in the new century.

The complementary exhibition, discrepancies with E.S. (in company), will open at the Neutra VDL Studio and Residences on Friday, 5 September from 5-7pm and will remain on view through 13 December 2025. A special performance by Franco-American composer and clarinetist Carol Robinson, titled Music for Changing Light, featuring her own music as well as OCCAM III by Éliane Radigue, will be presented on opening night at 6pm. Please note that the Neutra VDL is open to the public on Saturdays from 11 am -3 pm and is located at 2300 Silver Lake Blvd in Los Angeles. 

LEONOR ANTUNES was born in Lisbon, Portugal in 1972, and currently lives and works in Berlin. Recent solo exhibitions include Calouste Gulbenkian Foundation, Portugal (2025); Fruitmarket, Scotland (2023); Serralves Foundation, Portugal (2022); MUDAM, Luxembourg (2020); MASP, São Paulo Museum of Art, Brazil (2019); Museo Tamayo, Mexico City (2018); Hangar Bicocca, Milan (2018); Whitechapel Gallery, London (2017); San Francisco Museum of Modern Art, California (2016); CAPC Bordeaux, France (2015); New Museum, New York, NY (2015); Kunsthalle Basel, Switzerland (2013); and the Museo Reina Sofia, Madrid, Spain, (2011). Antunes represented the Portuguese Pavilion at the Venice Biennale in 2019 and has participated in the 58th and 57th Venice Biennale (2019 and 2017); the 12th Sharjah Biennial, UAE (2015); and the 8th Berlin Biennale (2014).

MARIAN GOODMAN LOS ANGELES

1120 Seward St, Los Angeles, CA 90038

www.mariangoodman.com

NEUTRA VDL STUDIO & RESIDENCES

2300 Silver Lake Boulevard, Los Angeles, CA 90039

neutra-vdl.org

"Surface Streets" Group Exhibition Curated by Russell Ferguson @ Marian Goodman Gallery, Los Angeles

Surface Streets

Curated by Russell Ferguson

Marian Goodman Gallery, Los Angeles

6 September – 18 October 2025

Wilhelm Sasnal 

Berkeley Street, 2024 

Oil on canvas

© Wilhelm Sasnal, courtesy of Marian Goodman Gallery

Marian Goodman Gallery presents Surface Streets, curated by Russell Ferguson, a group exhibition of recent paintings made in Los Angeles. The title of the exhibition, a term that contextually denotes Los Angeles streets (but not freeways), is intended to evoke both the specificity of the local environment and the tactility that is integral to painting. The intergenerational group of artists chosen by Ferguson for this exhibition traces a variety of aesthetics, strategies, and traditions, yet at the same time pays close attention to the physicality of the painted surface which unites them. While many works in Surface Streets depict familiar scenes of everyday urban life, others reach beyond, to a movie set, to an ancient fossil, or even into spaces of fiction and fantasy. 

Surface Streets includes works by Hye-Shin Chun, Kirsten Everberg, Owen Fu, Anna Glantz, Robert Gunderman, James Iveson, Becky Kolsrud, Tidawhitney Lek, Manuel López, Nihura Montiel, Paige Jiyoung Moon, Paul Sietsema, Wilhelm Sasnal, Henry Taylor, and Tristan Unrau.

Hye-Shin Chun (b. 1983, Libreville, Gabon) graduated with a BFA from the School of the Art Institute of Chicago (2015). Her work has been exhibited at numerous group shows, including Elsewhere, Ivory Gate Gallery, Shanghai, China (2025); Now You Don’t, Five Churches, Los Angeles (2025); 12 Hour Day - 12 Hour, Helen J Gallery, Los Angeles (2023); and Smoke The Moon Gallery, Santa Fe, NM (2023, 2024). 

Kirsten Everberg (b. 1965, Los Angeles) received an MFA from UCLA in 2004. That same year, Everberg held her first solo exhibition at 1301PE and was included in Russell Ferguson's group exhibition, The Undiscovered Country at the Hammer Museum in Los Angeles. She has exhibited widely, including at the Scottsdale Museum of Art (2011); Pomona College Museum of Art, Claremont, CA (2013); and FRAC Champagne-Ardenne, Reims; Le Consortium, Dijon, France (2009); amongst others.

Owen Fu (b. 1988, Guilin, China) received a bachelor’s degrees in philosophy and art from the School of the Art Institute of Chicago, and in 2018, completed his MFA at the ArtCenter College of Design in Pasadena. Recent solo exhibitions include Balice Hertling, Paris (2021, 2023); and Mine Project, Hong Kong (2020). His work has also been featured in group exhibitions at the Hammer Museum, Los Angeles (2023); Beijing Biennale, China (2022); Sifang Art Museum, Nanjing, China (2022); and Redling Fine Art, Los Angeles (2021).

Anna Glantz (b. 1989, Concord, MA) has exhibited her work in solo shows internationally. Recent solo exhibitions include Knowing what you know, Chris Sharp Gallery, Los Angeles (2025); Lichens, The Approach, London (2023); Cement Answers, Chris Sharp Gallery, Los Angeles (2022); and Baby Grand, The Approach, London (2020). Group exhibitions include Untitled (for Jenni), Gordon Robichaux, New York, NY (2025); Trespass sweetly urged, Tanya Leighton, Berlin (2024); A Minor Constellation, Chris Sharp Gallery, Los Angeles (2022); Therein / Thereof /Thereto, Standard (OSLO), Oslo, Norway (2021); and A Love Letter to a Nightmare, Petzel Gallery, New York, NY (2020).

Robert Gunderman (b. 1963, Los Angeles) attended the Otis Parsons School of Art Los Angeles (1989). Recent solo exhibitions include Place Like You, Wilding Cran Gallery, Los Angeles (2023); The Quiet Beliefs, Diane Rosenstein Gallery, Los Angeles (2021); and Never Let Us Go, Desert Center, Los Angeles (2019). Group exhibitions include Ripe, Harper’s, Los Angeles (2023); LA ON FIREcurated by Michael Slenske, Wilding Cran Gallery, Los Angeles (2020); and Between Worlds, Edward Cella, Los Angeles (2021).

James Iveson (b. 1983, England) holds an MFA from University of California, Los Angeles (2016) and a BA from Goldsmiths University of London (2006). Selected solo exhibitions have taken place at South Willard, Los Angeles (2022); Norwich Outpost, Norwich, UK (2012); and Dicksmith Gallery, London (2010). Selected group exhibitions include Taking Care, Hannah Hoffman, Los Angeles (2025); 4 X 4, Karma, New York, NY (2024); South Willard, Gordon Robichaux, New York, NY (2023); 356 Mission Road, Los Angeles (2014); The Tetley, Leeds, UK (2014); and Kettles Yard, Cambridge, UK (2013).

Becky Kolsrud (b. 1984, Los Angeles) received an MFA from University of California, Los Angeles (2012) and a BA from New York University (2006). Important solo exhibitions include Elegies, JTT, New York, NY (2021); As Above, So Below, Make Room, Los Angeles (2020); and Yackety Yack Girls, Karma, New York, NY (2011). Her work has been included in group exhibitions at Aïshti Foundation, Beirut, Lebanon (2022); Gavlak Gallery, Los Angeles (2020); Stephen Friedman Gallery, London (2020); Magenta Plains, New York, NY (2018); Nino Mier Gallery, Los Angeles (2020); and Fredericks & Freiser, New York, NY (2019). Kolsrud’s work is in the permanent collection of the Hammer Museum, Los Angeles.

Tidawhitney Lek (b. 1992, Long Beach) completed her BFA at California State University, Long Beach in 2017. Solo exhibitions include Long Beach Museum of Art, Long Beach, CA (2023); Sow & Tailor, Los Angeles (2022); and Taymour Grahne Projects, London (2021). Her work has been included in group exhibitions at Museum of Contemporary Art San Diego, San Diego, CA (2024); Cantor Arts Center Stanford University, Stanford, CA (2024); ICA Miami, Miami, FL (2022); Anat Ebgi, New York, NY (2024); and Ben and Brown Fine Arts, London (2022). Institutional collections include the Whitney Museum of American Art, New York, NY; Los Angeles County Museum of Art, Los Angeles; K11 Art Foundation, Hong Kong; and Pérez Art Museum, Miami.

Manuel López (b.1983, East Los Angeles) attended East Los Angeles College and transferred to The School of the Art Institute of Chicago (SAIC) where he earned his BFA in painting and drawing in 2010. He has exhibited in institutions, galleries, and museums internationally and nationwide including Atkinson Gallery at Santa Barbara City College, Santa Barbara, CA (2022); Baik Gallery, Seoul, South Korea (2023); Vincent Price Art Museum, Monterey Park, CA (2018); Charlie James Gallery, Los Angeles (2023, 2022); and Self-Help Graphics, Boyle Heights, CA (2017); among others.

Nihura Montiel (b. 1988, Tijuana, Mexico) received her BFA from Roski School of Fine Arts, University of Southern California in Los Angeles (2023). Selected solo exhibitions include A Dog Named Masterpiece, Sebastian Gladstone Gallery, Los Angeles (2024); and The Object of My Object, In Lieu, Los Angeles (2022). She has exhibited at Mrs. Gallery, Maspeth, NY (2022); Carlye Packer, Los Angeles (2023); Ochi Projects, Dallas, TX (2023); Château du Marais, Le Marais, France (2021); and Amor Services, Los Angeles (2020). 

Paige Jiyoung Moon (b. 1984, Seoul, South Korea) received a BFA from ArtCenter College of Design in 2012 and graduated from the Seoul National University of Technology in 2007. Her work has been exhibited in solo presentations at Steve Turner, Los Angeles (2024, 2020, 2019), and Steven Zevitas Gallery, Boston (2017). Select group exhibitions include Kiaf Seoul, Steve Turner, Los Angeles (2024); Made in L.A. 2023:Acts of Living, Hammer Museum, Los Angeles (2023); and Ogdoad, La Luz de Jesus Gallery, Los Angeles (2018).

Paul Sietsema (b. 1968, Los Angeles) graduated from the University of California, Los Angeles (1999) and the University of California, Berkeley (1992). Solo exhibitions of his work have been held at the Museum of Contemporary Art Denver, Denver, CO (2014); the Museum of Contemporary Art Chicago (2013); Kunsthalle Basel, Switzerland (2012); the Museo Nacional Centro de Arte Reina Sofía, Madrid (2009); the Museum of Modern Art, New York, NY (2009); the San Francisco Museum of Modern Art, CA (2009); and the Whitney Museum of American Art (2003). Sietsema’s work has been exhibited extensively in biennials including Carnegie International (2008), Berlin Biennial for Contemporary Art, Germany (2008), and Istanbul Biennial, Turkey (2019).

Wilhelm Sasnal (b. 1972, Tarnów, Poland) studied architecture at the Kraków University of Technology (1992–1994) and painting at the Academy of Fine Arts in Kraków (1994– 1999). His works have been featured in major exhibitions worldwide, including solo presentations at the Stedelijk Museum, Amsterdam, the Netherlands (2024); and Longlati Foundation, Shanghai, China (2023). Institutional collections include The Art Institute of Chicago, Chicago, IL; Carnegie Museum of Art, Pittsburgh, PA; Centre Pompidou, Paris; Solomon R. Guggenheim Museum New York, NY, and the Museum of Modern Art, New York, NY, among others.

Henry Taylor (b. 1958, Ventura) graduated with a BFA from the California Institute of the Arts, Valencia (1995). A major survey exhibition dedicated to the artist, Henry Taylor: B Side, his largest to date, was exhibited at The Museum of Contemporary Art, Los Angeles and was then on view at the Whitney Museum of American Art, New York, NY (2024). Other select solo exhibitions include Henry Taylor. no title, Hauser & Wirth, New York, NY (2024); Jill Mulleady & Henry Taylor: You Me, Berlin (2024); and Here and There, Tokyo, Japan (2018). In 2018, Taylor was the recipient of The Robert De Niro, Sr. Prize in 2018 for his outstanding achievements in painting. Taylor’s work was presented at the Whitney Biennial at the Whitney Museum of American Art in 2017 and the 58th Venice Biennale in 2019.

Tristan Unrau (b. 1989, Brampton, Canada) holds an MFA from the University of California, Los Angeles and a BFA from Emily Carr University of Art + Design. His work has been the subject of solo exhibitions at Sebastian Gladstone, Los Angeles (2023); 56 Henry, New York, NY (2022); Unit 17, Vancouver, Canada (2021, 2018); and Towards, Toronto, Canada (2020), among others. Recent group exhibitions include 50 Paintings, Milwaukee Art Museum, WI (2023); Drawings, Clint Roenisch Gallery, Toronto, Canada (2018); and Cynthia Daignault: There is nothing I could say that I haven’t thought before, FLAG Art Foundation, New York, NY (2017), among others. 

Born in Glasgow, Scotland, Russell Ferguson has lived and worked in Los Angeles for many years. He joined the Museum of Contemporary Art, Los Angeles in 1991, and later became the Deputy Director for Exhibitions and Programs, and Chief Curator of the Hammer Museum from 2001-2007. Ferguson also served as a professor of the Department of Art at the University of California Los Angeles from 2007-2013. An established scholar and critic of contemporary art, his numerous writings have been published internationally.

MARIAN GOODMAN GALLERY LOS ANGELES

1120 Seward Street, Los Angeles, CA 90038

www.mariangoodman.com

Eija-Liisa Ahtila @ Marian Goodman Gallery, Paris - "On Breathing" Exhibition

Eija-Liisa Ahtila: On Breathing 

Marian Goodman Gallery, Paris 

September 5 – October 4, 2025 

Voir la version en Français

Eija-Liisa Ahtila

On Breathing, 2024 

Single channel installation. Image 4K UHD 

Audio 2.0. 9 min. 45 sec. en boucle. Crystal Eye 2024 

© Eija-Liisa Ahtila, courtesy Marian Goodman Gallery

Marian Goodman Gallery Paris presents a new exhibition by Eija-Liisa Ahtila, which features the French premiere of two new large-scale video installations, On Breathing and APRIL ≈ 61°01' 24°27', 2024. A master of cinematic installations, Ahtila challenges the idea of moving image perspective and constructs an experience of several co-existing temporalities and spaces for the viewers. A continuation of her research over the last decade, the works in the exhibition each explore in their own way forms of ecological narrative and their modes of presentation. Since abandoning a more anthropocentric viewpoint, Ahtila has been seeking to make visible the non-human world, with a focus on trees in particular. While On Breathing depicts the subtle intertwinement of tree branches with the morning mist, APRIL captures the silent passage of one season to the next through spatial movements among the trees and the attentive observation of a forest ecosystem.

On the ground floor of the gallery, the nine-minute projection On Breathing, 2024,is a visual poem in which the focus is the slow and hypnotic movement of the evaporative mist surrounding an oak tree. This morning phenomenon is typical of autumn and winter conditions when the sea remains warmer than the surrounding air and ground. The displacement of the fog and its sound in the branches poetically suggest a vegetal respiration: "The air around the oak tree seems tangible, and the space inside it becomes actual, as if the breathing of the tree were, for a moment, perceivable."

Eija-Liisa Ahtila, who frequently deploys multi-channels and split-screen installations to simultaneously unfold several aspects of one narrative, superimposes layers of video to conjure different temporalities. The wandering of the fog and its interplay with the leaves, the rhythm and the camera angles, all result in a unique, animated tableau.

Considering her recent works as a continuum, Eija-Liisa Ahtila notes that each creative process naturally leads to the next. Since 2011, she has gradually replaced human protagonists with trees and living organisms, resulting in a series of works that address the ecological narrative within the moving image. This new direction questions the contemporary relationship between nature and humanity, as well as the artificial boundary between us and other living beings. "I have attempted to develop visual approaches and methods of storytelling that might show us a way out of anthropocentrism and enable the presence of nonhuman species in our imaginary."

On the gallery lower level, APRIL ≈ 61°01' 24°27', 2024, first exhibited at the Kröller-Müller Museum in the Netherlands, immerses the visitors in the forest of Aulanko Nature Park, Finland, near Ahtila's hometown. Known as a natural environment unsullied by human activity, the forest was filmed for two consecutive seasons in 2022 and 2023, between the end of March and May. If the title of the work evokes the month associated with the regeneration of nature, the 12-meter-long, 8-channel installation shows the subtle transition from late winter to summer. The suite of eight sequences follows a chronological order, showing the forest from the first moments of snowmelt on the left to the premature arrival of summer on the far right.

The scale and horizontal nature of the installation are reminiscent of her iconic work Horizontal, 2011, which came from her desire to represent a giant spruce tree in its entirety. Eija-Liisa Ahtila not only chose to capture the tree by filming it in several horizontal sections, thus avoiding the distortions inherent in the use of a wide-angle lens, but she also decided to present the tree as an horizontal installation on a series of 6 projection screens.

With APRIL, the forest as an ecosystem - where trees and a multitude of organisms and plants constantly interact with each other -  is, for the first time, the center of the artist's attention. The source of the work stems from life in a forest where each singular being is an integrated element of the whole, and the whole is simulaneously within that singular being. To create a cinematic language suited to her subject that immerses us in the forest, the camera movements in the eight sections are fluid and asynchronous, alternating between slow motion and momentary stops. "The theme of APRIL is the spatiality of being, the constant change and shape-taking of the forest, that is its fundamental quality," says Eija-Liisa Ahtila.

Eija-Liisa Ahtila was born in Hämeenlinna, Finland in 1959. She has been honored with numerous prizes over the past two decades that include, most recently, becoming Commander, First Class, of the Order of the White Rose of Finland (2020). She works and lives in Helsinki.

Eija-Liisa Ahtila's work has been widely exhibited since the early 1990s. Horizontal is prominently featured in The Power of Trees, on view until 14 September 2025 at Shirley Sherwood Gallery of Botanical Art, Kew Gardens, Richmond, near London. Most recently she has had solo exhibitions at Serlachius Manor, Finland (2024); Kröller-Müller Museum (2024), The Netherlands; the Ulrich Museum of Art, Wichita, US (2022); the National Gallery of Art, Vilnus, Lithuania (2021); the M Museum, Leuven, Belgium and the Serlachius Museum Gösta, Mänttä, Finland (both 2018). She has also had solo exhibitions at the Australian Centre for the Moving Image, Melbourne, Australia (2017); Guggenheim Bilbao, Spain (2016); Albright-Knox Gallery, Buffalo, New York and Oi Futuro, Rio de Janeiro, Brazil (both 2015); Kiasma, Helsinki, Finland (2013); Moderna Museet, Stockholm, Sweden (2012); Carré D'Art, Nîmes, France (2012); Museo del Palacio de Bellas Artes, Mexico City, Mexico (2012); Art Institute of Chicago, Illinois (2011); Parasol Unit, London, UK (2010); Jeu de Paume, Paris, France (2008), amongst many others. Ahtila was a jury member at the Venice Film Festival in 2011 and the President of the Jury at the FIDMarseille in 2013 (Festival international de cinéma de Marseille).

MARIAN GOODMAN GALLERY

79 rue du Temple, 75003 Paris

www.mariangoodman.com

Bruce Nauman @ Marian Goodman Gallery, Los Angeles - "Pasadena Years" Exhibition

Bruce Nauman

Pasadena Years

Marian Goodman Gallery, Los Angeles 

19 February - 26 April 2025

From left to right: Bruce Nauman, Justine Nauman,

Marcia Tucker, and Nauman’s son, Erik, 1970

Photo courtesy Bruce Nauman / Marian Goodman Gallery

Marian Goodman Gallery presents its first solo exhibition with BRUCE NAUMAN. Pasadena Years is a historical reflection on the prolific decade that established one of the most important contemporary artists of our time. The exhibition emphasizes the radical foundation of Nauman’s practice while he lived in Los Angeles between 1969-79. Across the entire gallery and garden, works on view include sculptures, installations, sound works, videos, works on paper, and editions. Pasadena Years notably marks Nauman’s first exhibition in Los Angeles in over 30 years and includes Text for a Room, 1973-2025, a work that the artist recreated for the first time since its debut at his earliest retrospective, which originated at the Los Angeles County Museum of Art (LACMA) in 1972.

In 1969, Bruce Nauman arrived in Los Angeles at the age of 27 with his wife and son. Following his MFA from the University of California, Davis, and an NEA grant in Southhampton, New York, he subsequently relocated to Los Angeles for his small but notable community based there: his parents, his dealer, Nicholas Wilder, and his friends—Walter Hopps, Edward Kienholz, and Richard Jackson. He and his family lived for eight years in Hopps’s Pasadena house along with Jackson before moving to nearby Altadena. In 1972, Bruce Nauman was the subject of a retrospective coorganized by LACMA and the Whitney Museum of American Art, which thereafter traveled extensively through Europe. As Jane Livingston, the LACMA curator who co-organized the retrospective with Marcia Tucker, described in 1972: “[Bruce] is not only ahead of his audience but ahead of himself.”

The 1960s in Southern California was an important period for conceptual art. The Ferus Gallery (1957-66), founded by Hopps and Kienholz, was largely focused on avant-garde work from the West Coast. In 1962, Hopps became the curator of the Pasadena Museum of Art, famously opening the first U.S. exhibition of Marcel Duchamp shortly thereafter. LACMA opened to the public three years later, in 1965. Within this decade, Light and Space, Finish Fetish, California pop art and assemblage movements had all simultaneously emerged. In 1966, while based in Northern California, Nauman had his first commercial solo exhibition at Nicholas Wilder Gallery (located up the block from Ferus), which contextualized him with the emergence of West Coast conceptualism. This development would help pave the way for a coming decade that would bring Nauman into relationships with other prominent LA-based artists such as Larry Bell, Vija Celmins, Maria Nordman, and Ed Ruscha.

This exhibition opens with works from 1968-69, highlighting a time when Bruce Nauman gained exposure in several significant group shows across Europe, including documenta (1968), When Attitudes Become Form (1969), and Anti-Illusion (1969). Performance Corridor, 1969, on loan from the Panza Collection of the Solomon R. Guggenheim Museum, marks a crucial transformation in Nauman’s practice that focused on phenomenological explorations in space. Initially used by the artist as a set for a video piece, it was later exhibited in Anti-Illusion as an autonomous sculpture with a narrow walkway and dead end that leads viewers to imagine the physical constraints of engaging the object. This gesture would open up his practice to an era of thinking through a wide variety of room-sized and corridor-like structures that relate to the body, space, movement, and light. On one side of the Performance Corridor, rare performance instructions from 1968 are on view.

In dialogue with Performance Corridor, just across the gallery, is a selection of videos that grew out of Nauman’s activities in his studio. Revolving Upside Down, 1969, and Violin Tuned D.E.A.D., 1969, were both made in Pasadena and represent the breadth of his simple and persistent, action-as-material performances for video. Bruce Nauman, in his own words, considers these works an answer to “the fundamental question of what an artist does when left alone in the studio. My conclusion was that [if ] I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.”

On view in the garden, Dark (1968) is a 4’ x 4’ x 4” solid steel slab with the work “dark” written on the bottom. In 1968, Bruce Nauman proposed Dark to the Southwestern College of Chula Vista, CA Purchase Award Exhibition, and subsequently won. Once the acquisition was announced, students and faculty responded in outrage to the use of school funds for such an austere work, which led John Baldessari, an art faculty member at the time, to defend the work in a public lecture. A minimal tombstone meant to be displayed outdoors, the piece was included in Nauman’s 1972-74 retrospective tour throughout the United States and Europe, and recalls other other straightforward works by the artist that mentally confront viewers with the imaginative, abyssmal space of the elsewhere. Nearby, for Microphone/Tree Piece (1971), originally conceived for legendary Los Angeles art patrons Stanley and Elyse Grinstein, Nauman discreetly places a microphone into a pre-drilled hole upon a tree and amplifies the sound of the tree growing into the neighboring, interior lobby space of the gallery.

A gallery dedicated to Nauman’s text-based works presents early examples of his conceptual practice with linguistic play, propositions, and puns. During this period, Bruce Nauman began concurrently creating editions with Marian Goodman through her former art publishing company, Multiples, Inc. The two worked together on several works, including one on view: the artist book LAAir (1970), featuring spreads of color photographs the artist took of the city’s smog. In addition, a selection of his rare presstypes are on view, along with additional prints made with Gemini G.E.L. and Cirrus.

The Main Gallery is transformed into a rigid architectural setting that consists of two large works: Funnel Piece (Françoise Lambert Installation), 1971, and Text for a Room, 1973-2025.

Bruce Nauman originally designed Funnel Piece to physically wedge and occupy the entirety of a pre-existing room of a gallery in Milan. The floating walls are a variation on his corridor works that look at human physiology and how it shapes our perception of space. Text for a Room, recreated for the first time since its 1973 debut, includes a sheet of performance instructions at its narrow entryway; the viewer enters, prepared to execute an action, but is unaware of what will be encountered. The sensation echoes what Nauman would later reflect on in 1980: “the feeling that I had about a lot of that work was going up the stairs in the dark and either having an extra stair that you didn’t expect or not having one that you thought was going to be there—that kind of misstep that surprises you every time it happens.”

This exhibition was organized by Philipp Kaiser with Samantha Gregg of Marian Goodman Gallery, and in close collaboration with Bruce Nauman and his studio.

Bruce Nauman has been the focus of over 250 solo exhibitions, most recently at Tai Kwun Contemporary, Hong Kong (2024); SITE Santa Fe, NM (2023); and Palazzo Grassi – Punta della Dogana, Venice (2021-22). Recent retrospectives include those at Pirelli HangarBicocca, Milan (2022-23) and M Woods, Beijing (2022). An eponymous survey at Tate (2020) traveled to the Stedelijk Museum, Amsterdam (2021), while Bruce Nauman: Disappearing Acts, a comprehensive retrospective, made its debut at Schaulager, Basel (2018) and then traveled to The Museum of Modern Art, New York and MoMA P.S.1 (201819). Notable awards include the Praemium Imperiale (2004) and the Frederick Kiesler Prize (2014) and the Golden Lion at the Venice Biennale (2009 and (1999).

MARIAN GOODMAN GALLERY, LOS ANGELES

1120 Seward Street, Los Angeles, CA

www.mariangoodman.com

Robert Smithson @ Galerie Marian Goodman, Paris - Primordial Beginnings

Robert Smithson: Primordial Beginnings

Galerie Marian Goodman, Paris

1 December 2020 - 9 January 2021

Galerie Marian Goodman, Paris and Holt/Smithson Foundation present the first exhibition of ROBERT SMITHSON at the Gallery. Born in Passaic, New Jersey, Robert Smithson (1938-73) recalibrated the possibilities of art. For over fifty years his work and ideas have influenced artists and thinkers, building the ground from which contemporary art has grown.

Primordial Beginnings investigates Robert Smithson’s exploration of, as he said in 1972, “origins and Primordial Beginnings , […] the archetypal nature of things.” This careful selection of works on paper demonstrates how Smithson worked as, to use his words, a geological agent. He presciently explored the impact of human beings of the surface of our planet. The earliest works are fantastical science fiction landscape paintings embedded in geological thinking. These rarely seen paintings from 1961 point to his later earthworks and proposals for collaborations with industry. Between 1961 and 1963 Smithson developed a series of collages showing evolving amphibians and dinosaurs. Paris in the Spring (1963) depicts a winged boy atop a Triceratops beside the Eiffel Tower, while Algae Algae (ca, 1961-63) combines paint and collage turtles in a dark green sea of words.

For Robert Smithson, landscape and its inhabitants were always undergoing change. In 1969 he started working with temporal sculptures made from gravitational flows and pours, thinking through these alluvial ideas in drawings. The first realized flow was Asphalt Rundown, in October 1969 in Rome, and the last, Partially Buried Woodshed, took place on the campus of Kent State University in Ohio. A selection of drawings related to these important event sculptures are on display in Primordial Beginnings. Robert Smithson was invested in a definition of sculpture that was timebound and precarious, that would not claim monumental status, and would instead collaborate with entropy.

An autodidact, Robert Smithson's interests in travel, cartography, geology, architectural ruins, prehistory, philosophy, science-fiction, popular culture, and language spiral through his work. In his short and prolific life, Smithson produced paintings, drawings, sculptures, architectural schemes, films, photographs, writings, earthworks, and all the stops between. From his landmark earthworks to his 'quasi-minimalist' sculptures, Nonsites, writings, proposals, collages, detailed drawings, and radical rethinking of landscape, Smithson's ideas are profoundly urgent for our times. By exploring the conceptual and physical boundaries of landscape Smithson raised questions about our place in the world, their relevance heightened as the dangers of global warming move ever closer.

Primordial Beginnings is accompanied by a simultaneous exhibition, Hypothetical Islands, at Marian Goodman Gallery, London. Both exhibitions feature rarely seen works from the personal collection of the artist Nancy Holt (1938-2014). Holt married Smithson in 1963 and managed his Estate between 1973 and 2014. Primordial Beginnings and Hypothetical Islands are organized in partnership with Holt/Smithson Foundation, an artist endowed foundation dedicated to continuing the creative legacies of Nancy Holt and Robert Smithson.

Born in Passaic, New Jersey, ROBERT SMITHSON (January 2, 1938 – July 20, 1973), spent his formative years in New Jersey. In 1963 he married the artist Nancy Holt (1938–2014), who managed the Estate of Robert Smithson from 1973-2014, and who literally willed Holt/Smithson Foundation into being. Robert Smithson is best known for his earthworks Spiral Jetty (1970), Broken Circle/Spiral Hill (1971), and Amarillo Ramp (1973). Prior these earthworks Smithson created performative entropic land works, such as the ephemeral sculptures Asphalt Rundown (1969, Rome), Glue Pour (1969, Vancouver), Concrete Pour (1969, Chicago), and Partially Buried Woodshed (1970, Kent State) speak poignantly to issues of time and the human condition. Robert Smithson’s first solo exhibition, with emphasis on what he described as ‘expressionistic work’, took place in 1957 at Allan Brilliant’s gallery in New York. The artist’s peripatetic life took him to Rome in 1961, when George Lester offered him his first solo international exhibition at Galleria George Lester, where he explored quasi-religious subject matter. His early paintings, drawings and sculptures made between 1961 and 1963 were imbued with references to concrete poetry, popular culture, and science fiction. Influenced by minimalism, in 1964 Smithson declared his quasi-minimal sculptures made from industrial materials of metal and mirrored Plexiglas as his ‘mature’ works, distancing himself from his early expressionistic paintings and drawings. Robert Smithson’s writings on art, western culture, graphic texts, and interviews, are published in The Writings of Robert Smithson, edited by Nancy Holt (1979, New York University Press, with an expanded version edited by Jack Flam published in 1998). His works are in numerous museum collections, including the Art Institute of Chicago, Dia Art Foundation, Museum of Modern Art New York, National Museum of Modern Art Tokyo, Solomon R. Guggenheim Museum, and Whitney Museum of American Art.

GALERIE MARIAN GOODMAN

79 rue du Temple, 75003 Paris

www.mariangoodman.com

____________________________

Giuseppe Penone @ Galerie Marian Goodman, Paris et Londres

Giuseppe Penone
Galerie Marian Goodman, Paris et Londres
Jusqu'au 22 octobre 2016

« La perception tactile nous rapproche du présent. » Giuseppe Penone

La Galerie Marian Goodman présente actuellement deux expositions simultanées de Giuseppe Penone à Paris et à Londres. Ces nouvelles expositions rassemblent une sélection d’oeuvres ayant pour thème le sens du toucher, et dont les formes émanent de gestes spécifiques accomplis par la main de l’artiste. Comme l’observe Laurent Busine: « Rien n’est plus intensément le geste de Giuseppe Penone que la poignée ; c’est-à-dire, la quantité de choses que la main peut contenir, soit que la main presse ou écrase, que la main tienne et garde ou encore que la main glisse et caresse. » Les oeuvres présentées dans les deux expositions (dont le titre fait référence, au passé, au futur et au présent) révèlent que gestes et perceptions tactiles sont, aux yeux de Giuseppe Penone, liés à l’individualité et au temps: “Une forme sans le geste d’un homme est un présent collectif ; avec le geste d’un homme, c’est un présent individuel.”

Giuseppe Penone : Ebbi, Avrò, Non Ho (J’eus, J’aurai, Je n’ai), Galerie Marian Goodman, Paris

La galerie de Paris présente un ensemble d’oeuvres dans lesquelles l’artiste, grâce à l’empreinte de sa main dans la matière, rend palpable la relation entre le geste et le matériau, entre le corps et l’univers. La feuille d’or de Spoglia d’oro (2001) façonnée par lui, arbore les lignes et sillons de sa paume. Dans Germinazione (2005), une série de six sculptures murales, le volume de ses doigts se superpose aux moulages d’arbres et de branches en résine acrylique. Au rez-dechaussée, le groupe d’oeuvres intitulées Avvolgere la terra (Envelopper la terre) (2014) conjugue la terre cuite avec différents matériaux, tels que l’engobe de silice colorée, la résine, le cuir et l’aluminium. D’un simple geste, « l’action d’envelopper la terre avec les mains, la contenir », l’artiste met en évidence la connexion intime, complexe entre les hommes et la nature. « Il s’agit de la forme qu’imprime, dans la matière, le mouvement fluide de l’univers. Une simple poignée d’argile contient la synthèse d’une forme universelle. »

Giuseppe Penone poursuit son exploration des limites du voir et du toucher avec Terre (2015) et Pugno di grafite - palpebra (2012). Les deux oeuvres représentent une paupière fermée, qui selon l’artiste donne « la définition exacte des frontières et de l’espace de la pensée » et « reflète le fait que notre corps est présent dans l’espace ». Cette présence est matérialisée par la poignée, respectivement en terre cuite et en graphite.

Jouant sur la relation entre le contenant et le contenu, les sculptures Il vuoto del vaso (2005), exposées au niveau inférieur, associent de larges vases en terre cuite et des images radiographiques. Tandis que les vases témoignent de la pression exercée sur l’argile, les radios qui les accompagnent révèlent les mains de l’artiste, rendant ici visible un processus fugace et imperceptible. Geometria nelle mani – 4 aprile (2004), une série de photographies noir et blanc en négatif, montre les mains de Giuseppe Penone tenant de petites formes géométriques en bois ; écho au geste accompli en 1979 pour réaliser Cocci. Le vide entre ses mains et l’objet, lumineux sur chaque image, devient l’espace potentiel d’une sculpture à venir.

Giuseppe Penone : Fui, Sarò, Non Sono (I was, I will be, I am not), Marian Goodman Gallery, London

La galerie de Londres présente également des oeuvres emblématiques de l’intérêt de Giuseppe Penone pour la relation métaphysique entre son corps et l’écosystème vivant. L’un des meilleurs exemples en est fourni par l’oeuvre exposée dans la galerie inférieure, Trattenere 6, 8, 12 anni di crescita (Continuerà a crescere tranne che in quel punto), (2004-2016). En 1968, Penone fixa un moulage en bronze de sa main sur le tronc d’un jeune arbre. Six ans plus tard, il réalisa un moulage de cet arbre in situ, puis deux autres, respectivement huit et douze ans après le premier, capturant la symbiose croissante de sa main avec l’arbre qui l’enveloppe. Trattenere 6, 8, 12 anni di crescita (Continuerà a crescere tranne che in quel punto) comprend ces trois moulages réalisés au cours de ces douze dernières années. La main de l’artiste entravant la croissance naturelle, l’arbre s’adapte à l’emprise du métal, enveloppant la main qu’il absorbe peu à peu. Ici, le corps humain et l’arbre se métamorphosent ensemble pour devenir une seule et même entité. Son identité sculpturale continue d’évoluer de manière organique, liant son passé, son présent et son futur.

Respirare l’ombra (2008), une installation de cages métalliques contenant des feuilles de laurier, couvrira l’un des murs principaux de la galerie inférieure, tout en embaumant l’espace. Tandis que le sens du toucher est déterminant dans la pratique de Giuseppe Penone, celui de l’odorat favorise la transformation de notre rapport au monde. Une forêt de branches entrelacées surmontées d’empreintes en terre cuite (Terra su terra, 2014/2015), et un autre ensemble de sculptures d’arbres en bronze et marbre seront présentées sur les deux niveaux de la galerie. Comme Respirare l’ombra, ces oeuvres recréent un environnement semblable aux forêts de Garessio, en Italie, dans l’intimité desquelles vécut Penone durant ses années de formation. Ce qui, dans ces oeuvres, est fait de main d’homme - les cages dans Respirare l’ombra et le marbre encaissant les racines dans Indistinti confini – semble contredire, à première vue, l’évolution naturelle telle qu’on peut l’observer dans une forêt, mais c’est finalement la force organique qui l’emporte, tendue vers une unité harmonieuse, à laquelle une transfiguration paisible permet d’accéder.

Dans la galerie inférieure, Giuseppe Penone boucle le thème du “toucher” avec Corteccia (1986), une série de portraits en terre cuite représentant sa fille Caterina. Certaines zones des portraits sont recouvertes d’une glaçure qui met l’accent sur le toucher de l’artiste et qui, loin d’être un simple outil, fait partie intégrante de la sculpture. Pour reprendre les mots de Gianfranco Maraniello, dans son essai intitulé Giuseppe Penone: the Possibility of Sculpture: “La main elle-même est le moule initial de toute forme, transférant son empreinte au matériau qui sera façonné et initiant, de ce fait, une dialectique négative, constitutive de l’oeuvre. »

De nouvelles et emblématiques sculptures de Giuseppe Penone sont actuellement visibles dans les jardins du Rijksmuseum, à Amsterdam (jusqu’au 2 octobre 2016) tandis que le Musée d’Art Contemporain de Trente et Rovereto (MART) vient de présenter une grande rétrospective. Récemment, des oeuvres de Giuseppe Penone ont aussi été exposées au Nasher Sculpture Center, à Dallas (2015) ; au Musée Cantonal des Beaux-Arts, à Lausanne (2015) ; au Beirut Art Center (2014) ; au Musée de Grenoble (2014) ; au Kunstmuseum Winterthur (2013) ; à la Whitechapel Gallery, à Londres (2013). Giuseppe Penone a présenté des sculptures monumentales dans de nombreux jardins prestigieux, tels que les jardins du château de Versailles (2013); le Madison Square Park, à New York (2013); le Giardino di Boboli, Forte di Belvedere, à Florence (2014); la Venaria Reale, près de Turin (2015). Giuseppe Penone est né en 1947 dans la petite ville piémontaise de Garessio, en Italie. Il a fait ses études à l’Accademia di Belle Arte à Turin, où il vit et travaille. En 2014, il a été, en tant que sculpteur, lauréat du prestigieux Praemium Imperiale, décerné à des artistes internationaux. En 2007, il a représenté l’Italie à la 52ème biennale de Venise.

Galerie Marian Goodman Paris, 79 rue du Temple, 75003 Paris
Marian Goodman Gallery London, 5-8 Lower John Street, London W1F 9DY
www.mariangoodman.com

Julie Mehretu @ Marian Goodman Gallery, New York

Julie Mehretu
Hoodnyx, Voodoo and Stelae
Marian Goodman Gallery, New York
September 22 - October 29, 2016

Marian Goodman Gallery present its second major solo exhibition by JULIE MEHRETU, which will mark the inaugural exhibition of our Fall 2016 season. The exhibition, Hoodnyx, Voodoo and Stelae, will open on Thursday, September 22, and continue through Saturday, October 29th, 2016.

A series of new paintings will be on view, accompanied in the Third Floor Project space by a new series of drawings, and a large-scale editioned etching, Epigraph, Damascus, 2016.

A monograph focusing on Julie Mehretu’s recent work, from 2012 to the present, will be published by Marian Goodman Gallery in the Fall 2016. It will feature a new essay by Glenn Ligon.

In the new paintings on view, created over the past year, there is evidence of an evolved vocabulary of abstraction. Bold and spirited mark-making merges with an ardent gestural cadence to introduce works at once epic and intimate. Steeped with references from classical mythology and Egyptology, to graffiti, abstraction, poetry and politics, Mehretu’s new paintings capture a gestural force unseen in her work before. Oscillating in viewpoint through their multiple layers of both valiant and minute marks, these paintings insinuate something of a survey of the annals and multiplicities of history, across both politics and art.

Drawing on her work of recent years, Mehretu continues the development of the grisaille, expanding it in these works on view. A new palette of greys converge and contrast amid zones of vibrant chromatic density, which project and recede from any of a latent matrix, a template, or a memory of place and event, such as the blurred and distorted photographic slides imprinted in the mind’s eye. Passages of light seem to indicate moments of elevated urgency. From these vestiges, a free and unconstrained empirical markmaking ensues. Built up in strata of drawing, ink, and paint, the previous geometries and psychogeographies of time and space give way to open intervals of refuge and release.

The marks are a record of processes, like traces or trailing spirits; an incarnation of indices from relics of walls, friezes, caves. They consist of gestures, lines, hand-marks, stains, streaks, and as well erasure amid nascent characters and motifs, some drawn as if into the sky, others approaching uncanny resonance to human elements; truncated remnants, elongated shapes and phantom bodily parts. The stealth forms verge on figuration, but remain loose, disembodied, and non intentional, like haunting apparitions, or accidents pulsating within regions of motion and gravity. Currents swallow and spit out, deep waters merge into horizons. In the end, histories and their fabulists morph and cycle through epochs, reinterpreted, and reconfiguring into new forms.

In the Third Floor Project Space, a new group of drawings (2015-2016) will be shown. Alongside these, a monumental six-part photogravure and etching titled Epigraph, Damascus, 2016, is presented, infusing elements from architectural renderings of buildings in Damascus, Syria –columns, porticos, and arches-- drawn upside-down. The magnitude of Epigraph casts a hanging shadow summoning autumn clouds, but from its multitude of stratum, also comes the sense of a possible emergent other.

JULIE MEHRETU was born in 1970 in Addis Ababa, Ethiopia and raised in Michigan, USA. She studied at Kalamazoo College in Michigan (BA, 1992) and at the Université Cheikh Anta Diop in Dakar, Senegal (1990–91). She received an MFA in painting and printmaking from the Rhode Island School of Design in 1997. Julie Mehretu has participated in numerous international exhibitions and biennials including most recently the Sharjah Biennial 12: the past, the present, the possible, UAE (2015) and Documenta (13), Kassel, Germany (2012). She has received international recognition for her work, including, in 2005, the American Art Award from the Whitney Museum of American Art, New York, and the prestigious MacArthur Fellows Award.

Forthcoming projects include a survey of Julie Mehretu’s work, which will be organized by Fundacion Serralves, Portugal, opening in May 2017 and travelling to Centro Botin, Santander, Spain, in October 2017. Mehretu has also been commissioned by SFMOMA to create a large-scale work for the Haas Atrium, which will be unveiled in 2017.

Recent shows included a solo exhibition at the Modern Art Museum Gebre Kristos Desta Center, Addis Ababa, Ethiopia, organized in conjunction with the Desta Center and the United States Embassy, and curated by Dagmawi Woubshet (PhD), which concluded in August 2016.

In 2009 and 2010 Mehretu exhibited a cycle of large paintings in Julie Mehretu: Grey Area at the Deutsche Guggenheim Berlin, which then travelled to the Solomon R. Guggenheim Museum in New York. She has had solo exhibitions at the Detroit Institute of Arts, Detroit (2007), Museo de Arte Contemporáneo de Castilla y León, Spain (2006), and the Walker Art Center, Minneapolis (2003).

Marian Goodman Gallery
www.mariangoodman.com

Dan Graham, Giuseppe Penone, Danh Vo, Jeff Wall at Marian Goodman Gallery, New York

Dan Graham, Giuseppe Penone, Danh Vo, Jeff Wall
Marian Goodman Gallery, New York
March 6 - April 10, 2014 

Marian Goodman Gallery presents an exhibition of new work by gallery artists Dan Graham, Giuseppe Penone, Danh Vo, and Jeff Wall, opening March 6th and on view through April 10th. 

In the North Gallery two new colour works by Jeff Wall completed during the past year are presented: Monologue, a night scene in which three men engage in discussion under a streetlight, and Summer Afternoons, a diptych showing a young man and woman, both naked, in a sun-filled apartment. A small picture made in 2012, Flowering Plant, will also be shown.  

In an adjacent section of the North Gallery, Giuseppe Penone’s Pelle di grafite - transparenza (2005), a graphite work on white fabric is on view, alongside Germinazione (2005), a series of six hanging wall sculptures in acrylic resin that refer in essence to the bodily process of imprint and gesture at the heart of  Penone’s practice -- the physical space of touching and its impact on the metaphysical space of seeing. Germinazione originate from the negative imprint of a section of tree trunk or branch or stone compressed into the earth by the artist’s own hands and then are superimposed and developed imprint by imprint, into the resulting positive, the ‘germinated’ sculpture itself.

In the North Gallery Viewing Room, Danh Vo’s Gustav’s Wing (2013), a lifesized sculpture of a human figure in six cast bronze fragments, is based on a model of the artist’s nephew Gustav, at age 11  Gustav’s Wing originated as a photograph of the boy’s double-jointed shoulder blade, which he referred to as his ‘wing’ and later Vo began to make works produced from a full body mold.  Although the figure's posture seems to signify a peaceful moment, its display in pieces at the same time evokes an unsettling atmosphere.  Vo first created works from Gustav’s form in paper mache for the exhibition Gustav’s Wing at Porto Culturegest, Portugal. The bronze work is shown here for the first time following its inclusion at Art Basel Parcours this summer. 

In the South Gallery, Slice (2013), a new triangular pavilion by Dan Graham, is presented. The work continues the artist’s investigation in recent years into the perceptual properties of curved two-way mirror glass. With one concave and one convex side and another convex side made of perforated stainless steel, the pavilion affords intricate reflections changing from elongation to contraction. The work reveals flux and bodily movement through an open structure, reflecting the immediate surroundings.  

Current and upcoming projects by the artists include a solo exhibition of Dan Graham’s Models and Beyond, at De Pont Foundation, Tillburg, Netherlands on view through May. This summer Dan Graham will exhibit a new pavilion at the The Metropolitan Museum of Art’s Met Rooftop as part of their commissioned works exhibition program.  An exhibition co-curated by  Danh Vo, Macho Man, Tell It To My Heart: Collected by Julie Ault, opened in November and will complete its run at Artists Space on  February 23rd.  Danh Vo is producing a performance in conjunction with XiuXiu to open the Berlin Biennale on May 28th. His forthcoming solo projects include: in the summer at Nottingham Contemporary, U.K., opening July 19th; and in the Fall at The Kitchen, New York, opening September 25th.  Giuseppe Penone’s recent Ideas of Stone completed a six-month exhibition at Madison Square Park, NY in early February.  A solo exhibition will be forthcoming in the Fall 2015 at The Nasher Sculpture Center, Dallas.  Jeff Wall’s current solo exhibitions in Europe include: Jeff Wall In Munich,  Pinakothek der Moderne, Munich, on view through March 9, 2014; and Jeff Wall: Tableaux, Pictures, Photographs 1996-2013, opening March 1st at the Stedelijk Amsterdam and on view through August 3, 2014. The Stedelijk show will travel to Kunsthaus Bregenz, Austria from October through January 2015, and Louisiana Museum, Denmark, from February to June 2015.

MARIAN GOODMAN GALLERY
www.mariangoodman.com