One of contemporary art’s most esteemed gallerists turned 90 this past June. To honor Marian Goodman on this occasion, two of the gallery’s eminent artists, Tacita Dean and Julie Mehretu, proposed an installation of 90 monotypes, one for each candle on the Goodman birthday cake. The choice of monotype as medium for this celebration has a certain historical resonance: Goodman, let it not be forgotten, began her career in 1965 with Multiples, Inc., the innovative publisher of artists’ prints and editions. Though longtime friends, Dean and Mehretu worked separately on opposite coasts of the United States with little idea of what the other was up to until they met in Paris for the installation of “Monotype Melody” in Goodman’s elegant Marais space. (The gallery now has branches in New York, Paris and London.)
Dean came to fame in the early 1990s as one of the less outrageous leaders of London’s New British Art scene. She made distinctive films that queried the forward push of time, the veracity of representation and our need to hang on to the present moment. In the first moving-image commission for Tate Modern’s Turbine Hall— FILM (2011)—she monumentalized the near-obsolete medium of analog film with a silent celebration of the material of film itself.Become a subscriber to Art in Print to continue reading.
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