Group Exhibition
	Boston Combat Zone: 1967-1978 Opening Reception: Friday, February 12, 2010 John Goodman Jerry Berndt Roswell Angier February 12 through March 16, 2010 Howard Yezerski Gallery www.HowardYezerski.com
Reviews
	"Boston photographer John Goodman has earned a national reputation with his striking, revelatory portraits. In this portfolio of highlights spanning more than 30 years, he provides a rare glimpse into what the photographs don't show." - Rebecca G. Dorr " Making Pictures," Boston Magazine, November 2008 Read Full Article
	"...."Father's Day, Coney Island" couldn't be crisper; you can see the grains of sand on the beach blanket as a couple smooches, heads hidden beneath a towel. For all that clarity, there's an aching sense of urgency. Right next to that is the gorgeously textured "Blanket," empty and half-buried in the sand, still but filled with the suggestion of what has happened there. Most of Goodman's photos move, suggesting a speedy ride through the country, giddily taking in country singers and ballet dancers. But it's those pauses that give the show its expressive rhythm." -Cate McQuaid on Goodman's solo exhibition "Moving Pictures," Boston Globe February 2008 View the Show  /  Read Full Review
	"..In an unusual product placement for the visual arts, production designer Jess Gonchor consulted with New York art dealer June Bateman to build an on-screen photography collection that reflects the style and taste of the title character, the high-powered fashion editor Miranda Priestly. When seated in her exquisite office suite at Runway magazine, an elegantly moody portrait by photographer John Goodman can be seen behind her desk. As you watch the movie, try to find three more of Goodman's eclectic black-and-white images." - Peggy Roalf on Goodman photos appearing in Devil Wears Prada. Design Arts Daily, June 2006 Read Full Review

"...for John Goodman the gesture is the equivalent of the human voice. Hands abound in his images-fretful, poised, world-weary, guarded-and in their shape, in the kind and amount of tension they carry, we come to know the person to whom they're connected.Goodman makes us the reader of human signs.
Throughout his career, John Goodman has invited contradictions. His photography marries the tumult of personality with the symmetry of design, the visceral with the deliberate, guts with formality. By embracing these contradictions he has given us a body of work that compels us to see"
-Goodman's exhibition at Art Institute of Boston / Christopher Millis, September 2004



"Goodman over-uses blur and jarring out-of-register effects, but his results are often so moody, sexy and intriguing that you don't mind. Although his best shots here are of street and beach scenes in Havana, a number of fragmented portraits--hands, eyes, a neck, a torso, a gesture--make us curious to see what comes next. Through 6/5 June Bateman Gallery, 560 Broadway."
-Exhibition at June Bateman Gallery, New York City / Vince Aletti, Village Voice, June 2004



"John Goodman's 'The Times Square Gym' is the best book about boxing that I've ever seen. It is very reminiscent of the great Brodovitch's book 'Ballet' in the way it captures the atmosphere of the boxer's world. You can almost hear the thud of the gloves hitting each other and smell the smoke and perspiration. All in all this is a wonderful accomplishment."
-Duane Michals review of John Goodman's Times Square Gym monograph, 2002



"John Goodman's technically brilliant 'The Times Square Gym' may well take its place as one of those works of memoralist beauty dedicated to boxing and the myriad ways it has gotten into our blood."
-Joyce Carol Oates, DoubleTake magazine, Issue #10, Fall 1997
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"The Times Square Gym is a gritty, passionate series of black-and-white photos of the middle-aged trainers and the young boxers they coach in a dilapidated space in what until recently had been this country's pre-eminently seedy neighborhood. Published as a book in 1996, it represents that rarest of artistic achievements: a monumental homage to the lower working class. Its poignancy owes to its unflinching lack of sentimentality."
-Pete Hamill, co-author of "The Times Square Gym"



"It easy to wish for more of his work.... particularly since the vast majority of his images are marked not by abstraction but by their fleeting figurativeness. (Even his posed stills have momentum.) I was grateful to be introduced to his enormous talent."
-Christopher Millis, Boston Pheonix, review of Embody exhibiton, 2002