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When Marian Goodman began her venture in 1977, she challenged the somewhat provincial tastes of an American market dominated by Abstract Expressionism and nationalism. For over 40 years, the gallery of the same name has expanded the appreciation of the art world with works exported from Europe, such as works by Gerhard Richter and Pierre Huyghe.
Now in her nineties, the seller has made decisions about the Marian Goodman Gallery, which operates in New York, Paris, and London: Five employees have been promoted and become partners, while Goodman has been assigned a new title, managing director. It also established an advisory committee of five longtime staff members to support the partners.
“This announcement is really a formalization of what’s going on in the field,” Goodman said in an email. “I will continue to oversee strategy, planning and operations in the same capacity.”
The five partners are directors Emily-Jane Kirwan, Rose Lord, Leslie Nolen, Junette Teng and Philipp Kaiser. Kaiser, the senior museum director and curator, who joined the gallery in 2019, will also be president. In a phone interview, she described their new role as helping to manage the gallery’s operations “while fighting for the integrity that Marian represents.”
“He wanted a solid structure for the artists to make sure the gallery would move forward,” Kaiser said. “The artists came up to us and wanted the doors to stay open because this is a very special place.”
How a generation of female gallerists approached their legacy is being discussed in the art world. Metro Pictures Gallery, founded by Helene Winer and Janelle Reiring, announced it was closing in March after four decades of championing artists like Cindy Sherman and Sherrie Levine. Winning and Reiring He told The New York Times They said they wanted to tell through the dealer. Next month, Paula Cooper identified four new partners gallery, to focus on artists and set up shows, while getting away from some aspects of the business.
Kaiser said changes in the reduced space of medium-sized galleries were instrumental in the restructuring at Marian Goodman, especially as mega franchises like Hauser & Wirth continue. dating the luxury industry and move artists away from more traditional galleries.
talk to The Times in 2016Goodman described his disdain for a booming art market and people who bought the works but soon bought them to sell at auction for quick profits. “There are people who buy and sell art like stocks on farms,” he said. But the gallerist has always had an affinity for collectors who pledged to donate their work to museums, and has been successful in defending enduring artists such as Marcel Broodthaers and Nan Goldin.
“A showroom like Marian Goodman never sells hard. There is no one approaching you in the elevator,” said the gallery owner. Jeffrey DeitchCollaborating with Goodman on past exhibitions and seeing him as an inspiration. “He described the contemporary gallery model as having the same standards of a large museum.”
It’s the kind of selective delight that some of Goodman’s new partners hope will shed the light.
“Ours is an old-fashioned value system,” said Kaiser, “which I believe will ultimately survive.”
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