Shane Brown: In the Territories and Reservation Dogs

Digital Capture: Southern California and the Pixel-Based Image World is an ambitious exhibition spanning six decades (1962–2020s) that investigates the history and creative uses of digital imaging technology, from the genesis of digital imaging in Southern California research laboratories during the Cold War and space race of the 1960s to the ubiquity of digital media in our contemporary world. The exhibition and accompanying publication narrate the ideological shifts that occurred as digital technologies were adopted for artistic ends. Conceptually organized into themes exploring issues of agency, representation, culpability, and connection, Digital Capture features more than 40 artists working across several technological, computing, and imaging media. Participating artists: Rebecca Allen, Refik Anadol, Natalie Bookchin, micha cárdenas, Liliana Conlisk Gallegos, Nonny de la Peña, John Divola, Dynasty Handbag, EPOCH, Elisa Giardina Papa, Goldin+Senneby, Valerie Green, Lucia Grossberger Morales, Maggie Hazen, Lynn Hershman Leeson, Huntrezz Janos, Eugene Lally, Brandon Lattu, Ahree Lee, David Maisel, Frank Malina, Judy Malloy and Cathy Marshall, Lynne Marsh, Lauren Lee McCarthy, Mobile Image (Kit Galloway and Sherrie Rabinowitz), Lee Mullican, A. Michael Noll, Mendi + Keith Obadike, Charles O’Rear, Trevor Paglen, Nam June Paik, Sheila Pinkel, Sonya Rapoport, Marton Robinson, Dean Sameshima, Julia Scher, Ilene Segalove, Sonia Landy Sheridan, Barbara T. Smith, Christine Tamblyn, Penelope Umbrico, Stan VanDerBeek, Steina and Woody Vasulka, Gerardo Velazquez, Andrew Norman Wilson, Amir Zaki. Image: Micha Cárdenas and the Critical Realities Studio, Sin Sol / No Sun, 2020, screenshot of augmented reality app

Flower blooms at night invite us to delve into enchanting gardens after dark. Gardens require attention and care, slowly growing and evolving. The gardener must listen and negotiate the vast will and system of its universe. Each plant carries histories, symbolisms, mysteries, and mutations, emerging in these collages as emblems of adaptation. Robert Mann Gallery is pleased to present Night Gardens, a solo exhibition of works by Mary Mattingly on view from December 12, 2024 through February 7, 2025. Gardens produce food, medicine, fragrances of the earth—flowers, mulch, compost—textures, colors, and life. Birds, insects, and hidden movements stir in the dark, reminders that a garden is a world of its own. In this vibrant exhibition, Mattingly creates hyper-detailed images merging physical and digital realms into magical worlds. The twelve images in this exhibition are set in riparian zones where biological life responds to shifting water levels; the stories of these precious ecosystems go back to ancient times. In some myths, lotuses and water lilies rise from waters. Similarly, the thistle, both cursed and cherished, embodies resilience, even dispelling melancholy with its roots. Walking around Socrates Sculpture Park at twilight, the artist became inspired by the moonlit gardens. Mattingly took cuttings, scanned plants, painted and drew flowers, experimented with using fish tanks and mirrors, made flowers out of fabric, and used a digital program to further shape the subjects of her collages. Through these garden scenes, Mattingly “explores how disparate elements—ancient symbols, mythic blooms, evolving plants—come together to speak of survival, imagination, and transformation in a time of environmental upheaval. Night Gardens is an inquiry into the wild and shifting relationships between lifeforms, the self included.” In these images, Mattingly cultivates a garden that begins in reality and transforms into an ethereal myth of what could be. “The garden becomes a miniature world, echoing Foucault’s idea of a symbolic and even sacred enclosure—a universe in-between, where time and space, nature and artifice, history and future all overlap.” Mattingly’s work has been exhibited at locations including the International Center of Photography, the Seoul Art Center, the Bronx Museum, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, Museo National de Belles Artes de la Habana, and the Palais de Tokyo among other venues. Her writings were included in Nature, edited by Jeffrey Kastner in the Whitechapel Documents of Contemporary Art series. She is a recipient of support from the Guggenheim Foundation, A Blade of Grass, New York Foundation for the Arts, and the Art Matters Foundation.

Consuelo Kanaga: Catch the Spirit presents the first West Coast retrospective on the work of this critical yet overlooked figure in the history of modern photography. A bicoastal artist between San Francisco and New York, Consuelo Kanaga was one of the first women to become a staff photojournalist at a major newspaper — The San Francisco Chronicle — in the 1910s. Over the course of six decades, Kanaga championed the artistic value of photography and documented urgent social issues, from urban poverty and labor rights to racial terror and inequality. Her work remains as relevant today as it was during her own lifetime. Organized from the collection of the Brooklyn Museum, this exhibition charts the artist’s vision, which spans pathbreaking photojournalism, modernist still lifes, and celebrated portraits of Black Americans. Image: Consuelo Kanaga, Kenneth Spencer, 1933 © Brooklyn Museum

Please join us for this retrospective exhibition of works by internationally exhibited photographer, archivist, curator and Professor Emeritus, Lewis Watts. With a keen interest in both historical and contemporary representations of people in the African diaspora, this exhibition includes portraits of artists, activists, authors, and musicians along with his photographs of historical, archival objects, images from his best-selling book, Harlem of the West, as well as his documentary street photography. For more than fifty years, Watts' photography practice and research has been grounded by an interest in the culture, history, and migration of people of the African diaspora, beginning in the San Francisco Bay Area and the nation, but also in Europe and abroad. On opening night we'll have the pleasure of hearing Pulitzer Prize-winning photojournalist Judy Walgren in conversation with renowned photographer Lewis Watts. Not to be missed! Lewis Watts is a photographer, archivist/curator and Professor Emeritus of Art at UC Santa Cruz where he taught for 14 years. Before that he taught in the College of Environmental Design at UC Berkeley. His research and artwork centers around the “cultural landscape” primarily in communities in the African Diaspora. He is a documentary photographer and he also examines the archive of 19th and 20th Century African American Literature and ephemera. He is the co- author of Harlem of the West: The San Francisco Fillmore Jazz Era (Heyday Books Berkeley 2020), New Orleans Suite: Music and Culture inTransition (UC Press 2013) and Portraits (Edition One Press, Berkeley 2020). His work has been exhibited at and/or is in the collections of The Zimmerli Museum, Rutgers University (Seize the Time), Staatiche Kunstammiunger, Dresden Germany, Jordan Schnitzer Museum of Art: University of Oregon, Autograph London, The San Francisco Museum of Modern Art, the Citè de La Musique, Paris France, The Ogden Museum of Southern Art, New Orleans, The Oakland Museum of California, The Neuberger museum of Art, Purchase NY, The Amistad Center for Art and Culture, Hartford, Conn, Light Work, Syracuse NY, The Paul Sack Collection, San Francisco, The McEvoy Foundation, San Francisco among others. He is currently working on the following photographic projects: “Charleston and the LowCountry” for the International African American Museum in Charleston South Carolina, as well as the long-term projects “Portraits of Black Creatives," and "Effects of Migration throughout America, Europe,the Middle East and Africa." Judy Walgren is a Pulitzer prize-winning journalist, photographer, photo editor, curator and chair of the Photography Department at Foothill College in Los Altos, California. Walgren teaches courses that range from introduction to photography through the capstone portfolio class. She also curates six exhibitions for two galleries located on the Foothill campus and produces 15 artist talks each academic year. Before coming to Foothill, she served as the associate director for the Michigan State University School of Journalism, teaching courses in beginning and advanced visual storytelling, documentary photography, 360-degree video, among others. During her professional career, she led the photography team at the San Francisco Chronicle and was a member of visual teams at The Dallas Morning News, The Rocky Mountain News and the Denver Post, where she focused on documenting human rights abuses against minoritized communities. Walgren's creative research unpacks the semiotics found within visual archives and explores methods for collaborative and community-engaged visual storytelling.

Photographs by Roy DeCarava and Danny Lyon from the Sandor Family Collection As part of a generous gift of photographs to The Ringling from Richard and Ellen Sandor, we’ve received two significant portfolios: Twelve Photogravures by Roy DeCarava (American, 1919-2009) and Danny Lyon’s (American, born 1942) Memories of the Southern Civil Rights Movement. These bodies of work by two of America’s most consequential photographers offer distinct but complementary expressions of Black life and the struggle for civil rights in the U.S. This exhibition is curated by Christopher Jones, Stanton B. and Nancy W. Kaplan Curator of Photography and Media Arts, Natalia Benavides, The Ringling's Coville Photography Intern and Jevon Brown, The Ringling's Eleanor Merritt Fellow. Image: Danny Lyon, American, born 1942, Cairo, IL, 1962: SNCC field secretary, later SNCC Chairman, now Congressman John Lewis, and others pray during a demonstration. from the portfolio Memories of the Southern Civil Rights Movement,1962-1964, printed 1996, Gelatin silver print, Gift of the Richard & Ellen Sandor Family Collection, 2023, 2023.36.3

Chicana Photographers LA! features the work of five Chicana artists from Los Angeles who share common concerns about families, neighborhoods, sacred spaces, and body and identity politics. Featuring 41 photographs produced from the early 1980s to 2024, this exhibition considers domestic and environmental transformations occurring across the artists’ home turf, some cultural, demographic, and diasporic, others directly confronting the impact of gentrification on Chicanx communities. From Christina Fernandez’ suburban landscapes to Sandra de la Loza’s archaeological ruins of a beloved neighborhood to the situated biographical and autobiographical portraits by Laura Aguilar (1959–2018), Amina Cruz, and Star Montana, the vast cultural terrain of Southern California, is depicted and infused with family narratives, memory, and belonging. Image: Suburban Nightscape (Theo and Diego) #4, ​2023

On Saturday, November 23, 2024, PDNB Gallery will open a new exhibition celebrating the 50th Anniversary of the release of Neal Slavin’s book and photography series from the 1970’s, When Two or More are Gathered Together. The expanded edition includes an essay by Kevin Moore, along with new portraits. Neal started his series in the 1970’s, traveling around the United States in search of any organizations, clubs, and societies. Groups include Trekkies at a Star Trek convention, bodybuilders, Delorean car collectors, Sabrett Hot dog vendors and Miss America contestants lined up in their one-piece swimsuits. Slavin’s vibrant color photographs mark a shift in the art world of the 70’s. Previously, photography was mostly viewed as the classic black and white prints done by the masters. Color photography was popularized by the young artists of the 70’s like William Eggleston, Stephen Shore, Larry Sultan and more. Color became part of the subject and photographs became more conceptual, adding more dimension than the typical beautiful landscape. Bold primary colors shine through in Neal’s photograph of the Sabrett Hot Dog Vendors. A quartet of men stand by their respective carts, in front of the K & P Distributor’s Sign. They are about to roll out into the streets of New York City, serving up the classic hot dog that tourists crave and business men grab for a quick lunch. Conventions provide the optimal opportunity for interesting groups, as seen in this 1970’s Star Trek Convention. Today this has morphed into a ComicCon convention. Slavin's mismatched group of young adults in handmade costumes is sure to charm even the non-Trekkie and will transport serious fans into the Captain Kirk time zone. Channel Swimmers depicts an eclectic group of all ages, still wearing their swim caps and goggles from their grueling swim. The photograph featured in this exhibition was taken with the 20 x 24 inch Polaroid camera. Slavin used this camera to document groups in Great Britain. A book was published on this project, The Britons, but not included in the new edition of When Two or More are Gathered Together. Slavin always asks the subjects to arrange themselves, allowing the group dynamics and natural hierarchies to become the main subject. This process creates a typology of sorts, like August Sander’s document of Germans in the early 20th century. Slavin’s portraits celebrate these found communities of shared interests, while provoking questions of the groups’ dynamic. Do they all look alike? Do they share similar beliefs? Which chose to blend into the group, and who is commanding attention? These portraits serve as a visual sociological study, presenting unity and individuality in one photograph. Neal Slavin will be in attendance on opening night, Saturday, November 23rd from 5 – 8pm. His book, When Two or More are Gathered Together, can be purchased in gallery or on the gallery’s website.

When one thinks of American landscape photography, the first region of the country that comes to mind is usually the West. The iconic photographs made in the late 19th century by Timothy O’Sullivan and Carleton Watkins, captured the majestic views of the West’s endless wide-open expanses and formed the visualization of manifest destiny. In the 20th century, America’s most important and famous landscape photographer, Ansel Adams, visually defined the dramatic scenery of Western landscape in art and popular culture through the Half Dome in California’s Yosemite National Park and the moon rise over Hernandez, New Mexico. Unlike the West, the American South is not well known as a subject of landscape photography. Perhaps, this is due to the Southern landscape not being as visually dramatic or as photogenic as the West. The Appalachian and Ozark mountains of the South are beautiful, but cannot compete visually with the much more rugged and higher peaks of the West’s Rockies, Tetons and Sierra-Nevada mountains. The sandy dunes of the Atlantic Ocean and Gulf of Mexico beaches that ring the South are much more sublime when compared to the roaring waves, rocky beaches and jagged cliffs of the Pacific Ocean. The landscape in Southern art is much more about the romantic idealization of a place. Place along with time, are the central components of Southern art, music and literature. Within Southern art, place can be actual, imaged or metaphysical. When O’Sullivan and Watkins were documenting the virgin Western landscape, the lands of the American South (east of the Mississippi River) had been almost entirely tamed for hundreds of years through European settlement. The settlement came with European romantic ideas of art and literature. The 18th century European concept of Romanticism in art and literature (which had an emphasis on imagination, idealization and emotion) were first infused into Southern landscape painting and later into photography. Southland examines the role photographs have played in the visualization of the natural landscape of the American South. The exhibition explores the many technical and aesthetic methods photographers have employed in approaching the subject of the Southern Landscape. Highlighting the marshlands in Louisiana, the beaches of Florida, the flatlands of the Mississippi Delta and the mountains of North Carolina and Virginia, the exhibition shows the landscape of the American South is as diverse as the people and culture of the region. Southland not only investigates the topographical physical characteristics of the land of the American South, but the metaphysical and emotional role romanticism plays in the understanding of landscape photographs made of and about the American South. Image: Mississippi River from the Bluffs (Near Port Hudson, LA.), 1962 © Elemore Morgan, Sr.

Baldwin Lee was born in 1951 in Brooklyn, New York and was raised in Manhattan’s Chinatown. He studied photography at the Massachusetts Institute of Technology (M.I.T.) with American photographer Minor White and received an M.F.A. from the Yale School of Art, where he studied with photojournalist Walker Evans. After becoming the first Director of the Photography Department at the University of Tennessee in 1982, Lee set out from Knoxville the following year with a 4 x 5 view camera on a 2,000 mile journey of self-discovery, photographing his adopted homeland – the American South. Lee’s artistic goal for the trip was to partially re-trace and re-photograph the 1930s-40s routes made across the South by his teacher and mentor Walker Evans. Unlike Evans’ iconic depression-era photographs, Lee would eventually focus on documenting Black Americans, many of whom were living in poverty on the fringes of society. As a Chinese-American, Lee described having a semi-pass to enter into Black spaces, allowing him to make intimate portraits of Black life. Over the next seven years Lee traveled thousands of miles on the back roads of the South, taking over 10,000 photographs – producing one of the most important visual documents of and about the American South in the past half century. With this work, Lee had found his primary subject, and credits his many years of working within Black communities throughout the South as having a “political” effect on his life and art. The compassion Lee felt for those he photographed resonates within his work. Although Lee’s 1980s photographs documenting the human condition of Southern Blacks were known and respected by his fellow photographers and collectors; until recently this work has remained largely unknown and under appreciated by the larger public. In the fall of 2022, Hunter’s Point Press published “Baldwin Lee,” a book of the artist’s 1980s Southern photographs. The book became an instant classic and the first edition sold out in less than a month. The book’s success led to solo exhibitions at Howard Greenberg Gallery in New York City and Joseph Bellows Gallery in La Jolla, California. After nearly 40 years, Baldwin Lee is finally being recognized for his groundbreaking work. Baldwin Lee will feature a selection of over 40 gelatin silver prints culled from thousands of images Lee made across the South in the 1980s. Many of these photographs will be exhibited for the first time. The exhibition will include compelling portraits of Black Americans, as well as a collection of landscape and cityscape images that visually encapsulate the Reagan-era American South. Baldwin Lee will be on view at Ogden Museum of Southern Art October 5, 2024 through February 16, 2025. The exhibition is curated by Richard McCabe, Curator of Photography, Ogden Museum of Southern Art. Image: Untitled, ca. mid 1980s. © Baldwin Lee

Ghanaian photographer Gerald Annan-Forson portrays both political transformation and daily life in the African city during the last decades of the 20th century. This exhibition is only the second time his work has been shown in North America. His photographs tell the visual story of Ghana after it won independence from British imperial rule on March 6, 1957. Annan-Forson documents the changing landscape of Accra, the nation’s capital, with its subtle moods and evolving cosmopolitanisms. His compositional style, playful focus, and formal repetitions challenge photographic conventions and disrupt viewer expectations by centering quirky figures and offbeat moments. His commitment to both spectacular occasions and the quiet intimacies of Ghanaian life places his images in dialogue with the previous generation of independence-era African photographers such as Felicia Abban, James Barnor, and Malick Sidibé and anticipates the recent explosion of photographers across the continent who are experimenting with documentary storytelling.

Marian Goodman Gallery is very pleased to announce a solo exhibition of new work by An-My Lê, Dark Star/Grey Wolf, which will be on view from 10 January to 22 February 2025. The exhibition follows on two important solo museum exhibitions in the United States including her recent 2023 career retrospective, Between Two Rivers/Giữa hai giòng sông/Entre deux rivières at MoMA, and the exhibition On Contested Terrain, at the Carnegie Museum, 2020-2021, which traveled to the Milwaukee Museum and the Amon Carter Museum. In this exhibition, An-My Lê presents two new series of recent photographs, Dark Star and Grey Wolf, continuing her exploration of the contradictory nature of the manifest and the sublime within the contemporary American landscape, and the latter as a present-day locus of technology, power and ambition. In Lê’s work, scale is both temporal and historical, encompassing themes of displacement, war, memory, and resilience. These are present in her earliest black and white pictures of Vietnam (1994-1998) in which she returned to a scarred homeland as a political refugee, to her pictures of war re-enactors in the southern U.S. (Small Wars, 1999-2002), to staged military training exercises in the American desert (29 Palms, 2003-04), to her more recent lens on polarization in the United States through a series of historical fragments (Silent General, 2015 to today). With extraordinary consideration of history and culture, Lê’s view onto her subjects often incorporates an elevated perspective to achieve its signature precision and ethical neutrality. In zooming out to look closer, her stepped back ‘proscenium framing’ brings into crystal clear vision her observations and stories not unlike layers of a history painting. This strategy expands in the current exhibition in which two new series of photographs, both cinematic in their depiction of the constructs of war, explore a new geopolitical gravity, and what Lê defines as the nexus between photography and the post-atomic world. Establishing a thin line between reality and fiction, what is visible and unknown, each begins from reverse points of view: Dark Star, presents starscapes taken in Mesa Verde, and Grey Wolf, aerial views in Montana. While embarking on the latter, Lê discovered her interest in documenting the stars, as well as the evolution of a contemporary and paranoid sublime.

Marian Goodman Gallery is very pleased to announce a forthcoming exhibition of works by the acclaimed Ukrainian photographer Boris Mikhailov which will be on view from 10 January to 22 February 2025. Known for his groundbreaking photographic practice which combines his interest in cinema, documentary, performance, and writing, Mikhailov has been an inventive, tender but uncompromising witness to the changing fate of his native Ukraine and the consequent experiences of war and displacement. The exhibition explores his rethinking and reworking of the photographic image by including two video works – one from the late '60s-'70s, Yesterday’s Sandwich, and the most recent, Our Time is Our Burden, 2024 – as well as showcasing three iconic photographic series from the ‘80s and ‘90s. One of the most acclaimed photographers of the former USSR, he represented Ukraine at the Venice Biennale in 2007, and debuted his work in the United States with a solo presentation at MoMA in 2011. Mikhailov was born in 1938 in Kharkhiv, Ukraine, and has spent his life living between Kharkhiv and Berlin. Educated as an engineer, he encountered photography as an art form quite by chance. Through his raw pictures which offer an unequivocal critique of everyday life, he has represented the collective unconscious of Ukraine for over five decades. His embrace of social truths often involves the incorporation of deliberate accidents in his image construction to allow the abject to surface. His work is known also for specific aesthetic innovations, such as hand coloration as part of his conceptual practice, and the superimposition of images as a metaphor for the duality of Soviet life, as first seen in Yesterday’s Sandwich (1960s-70s). Alongside the videos, three seminal sets of photographs will be presented, taken between 1986-1993, which reflect on the changing conditions and inevitable contradictions of Ukrainian life. Operating in a society in which prescribed portrayals of idealized Soviet life were part of the era, these pictures represent the complex scrutiny, irony, and dissent that Mikhailov brought to his work. From the mid eighties, operating behind the ideological façade of the times, just as ‘glasnost’ was on the horizon, to the social upheavals that followed the downfall of the Soviet Union in 1991, he seeks to represent everyday humanity, questioning legacies of heroic identity. The earliest of the series on view is a set of black & white works, Salt Lake, 1986, in which we see bathers around a body of water in Southern Ukraine, recalling as Mikhailov says, ‘ times gone by post- revolution, where seemingly, like in the 1920’s and 1930’s people bathed naked, believing in the healing properties of waters. ’ This everyday portrayal of a lakeside idyll, with people mingling and socializing in regenerative spirit, actually depict the ‘underside of a proselytized utopia’ taking place against an industrial landscape with a factory looming in the distance, that was known to pollute the waters with waste. “It seemed to be the quintessence of the life of an average person in the Soviet context; despite the atrocious, polluted, humane environment, the people were relaxed, calm and happy … families, old men, and women lying down like odalisques or Greek statues. “ By the Ground, 1991, a series made five years later, was created the same year as the fall of the Soviet Union. Through a horizon camera that featured a panoramic point of view on his subjects in a novel sepia tone, a destitute reality emerged, reflecting life of the people at ‘ground level. ’ Shot from hip height, solitary figures are captured against an urban landscape, leaving the easy idyll behind. Having depicted subjects in a purposefully nostalgic manner through sepia tones, Mikhailov writes of these images: “Things were beginning to fall apart, the country was breaking up. This was life beyond the collapse. This series begins with a photo of a man lying on the ground… Suddenly I thought of Maxim Gorky’s play “The Lower Depths,” and this inspired the title of the series.” Two years later, Mikhailov continued his experiment with color, returning to the street with his series At Dusk, 1993. Evoking memory and war, At Dusk continues to document a worsening condition in Ukraine, following independence and collapse of the USSR. Using a horizon panoramic camera again, the images are hand-colored cobalt blue, recalling a complex beauty but also the foreboding of the night sky, which Mikhailov remembers having fled as a young boy from ‘sirens, searchlights, and bombs’ in 1941 Kharkhiv, during the advance of World War II. Mikhailov writes, “Blue for me is the color of the blockade, hunger and war.” In his documentation of Soviet life, there’s an underlying tone of dark humor, which serves a means to subvert the status quo, and as commentary to denote the failure of the prevailing systems of communism and capitalism. The narrative that he captures is in stark contrast to the reality and expectation from society and its government, then and especially now, in light of current events. In 1971, Mikhailov co-founded the Vremya group, an underground art collective exploring experimental forms of photographic techniques and methods, which later formed the basis of the Kharkiv School of Photography. He was the head of the photography department of Panorama, the Ukrainian Union of Experimental Photography, from 1987 until 1991. His work was included in the Carnegie International in 1991; and his series By the Ground was included in a show of New Photography that same year at MoMA in 1993. In 1993, he spent a year in Berlin, sponsored by the German Academic Exchange Organisation (DAAD). He was a visiting professor at Harvard University in 2000 and a professor at the Leipzig Academy in 2002-2003. Mikhailov has received many prestigious awards, including the Coutts Contemporary Art Award (1996), the Albert Renger-Patzsch Prize (1997), the Goslarer Kaiserring Award (2015), the Hasselblad Foundation International Award in Photography (2000), the Deutsche Börse Photography Foundation Prize (2001). In 2000, his book “Case History” won the prize for best photography book at the Rencontres Internationales de la Photographie in Arles, France, and the Kraszna Krausz Book Award in London. In 2021, his slideshow installation Temptation of Death (2017-2019) was awarded the Shevchenko National Prize, the first official recognition of Mikhailov’s work in Ukraine. Mikhailov’s work has been shown in numerous solo exhibitions at such institutions as the Ukrainian Pavilion at Venice Biennale (2007 and 2017), Tate Modern, London (2010), MoMA, New York (2011), Berlinische Galerie (2012), Sprengel Museum, Hannover (2013), PinchukArtCentre, Kyiv (2019), Staatliche Kunsthalle, Baden-Baden (2020), Maison Européenne de la Photographie, Paris (2022), Palazzo Esposizioni, Rome (2023), and Fotomuseum Den Haag, The Hague (2024), and the Royal Danish Library, Copenhagen (2024). Marian Goodman Gallery champions the work of artists who stand among the most influential of our time and represents over five generations of diverse thought and practice. The Gallery’s exhibition program, characterized by its caliber and rigor, provides international platforms for its artists to showcase their work, foster vital dialogues with new audiences, and advance their practices within nonprofit and institutional realms. Established in New York City in 1977, Marian Goodman Gallery gained prominence early in its trajectory for introducing the work of seminal European artists to American audiences. Today, through its exhibition spaces in New York, Los Angeles, and Paris, the Gallery maintains its global focus, representing some 50 artists working in the U.S. and internationally.