Tate Modern May 28 – October 3, 2010 Exposed offers a fascinating look at pictures made on the sly, without the explicit permission of the people depicted. With photographs from the late nineteenth century to present day, the pictures present a shocking, illuminating and witty perspective on iconic and taboo subjects.  Beginning with the idea of the 'unseen photographer', Exposed presents 250 works by celebrated artists and photographers including Brassaï's erotic Secret Paris of the 1930s images; Weegee's iconic photograph of Marilyn Monroe; and Nick Ut's reportage image of children escaping napalm attacks in the Vietnam War.  Other renowned photographers represented in the show include Guy Bourdin, Henri Cartier-Bresson, Philip Lorca DiCorcia, Walker Evans, Robert Frank, Nan Goldin, Lee Miller, Helmut Newton and Man Ray.  Read the full press release here
	PHOTOGRAPHS BY JOHN GOODMAN Extachrome and Kodachrome images of the American landscape from the 1970s and 1980s recently discovered in a filing cabinet that had not been opened in over 20 years. Printed for the first time for this exhibition. HOWARD YEZERSKI GALLERY MARCH 4 - APRIL 1, 2010
	HOWARD YEZERSKI GALLERY THREE PHOTOGRAPHERS ROSWELL ANGIER JERRY BERNDT JOHN GOODMAN ONE DECADE Mark Feeney's review of "Boston: Combat Zone Exhibition," Boston Globe, March 7, 2010 "There is one genuine smile, if smile is the right word. It’s in Goodman’s “The Schlitz Boys,’’ and it’s terrifying. The photograph shows a carload of young men carbuncular with a couple of six packs. They’re ready for some action. The animal rictus on the face of the blond guy in the backseat is way beyond Arbus. It’s like something shot by a war photographer, only there’s no war going on. There is a transaction going on, though, or at least the anticipation of one. In the business of sex, as in any other kind, a supply side can’t exist without a demand side." Read Full Article link to current reviews The Boston Globe WBZ-TV WBUR.ORG The Boston Phoenix Daily Candy
Reviews
	Rebecca G. Dorr " Making Pictures," Boston Magazine, November 2008 "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." Read Full Article
	Cate McQuaid review of John Goodman's solo exhibition "Moving Pictures," Boston Globe, February 2008 "...."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." View the Show  /  Read Full Review
	Peggy Roalf on John Goodman's photos appearing in Devil Wears Prada, Design Arts Daily, June 2006 "..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." Read Full Review

Christopher Millis's review of John Goodman's exhibition at Art Institute of Boston, September 2004
"...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"



Vince Aletti's review of John Goodman's exhibition at June Bateman Gallery, Village Voice, June 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."



Duane Michals's review of John Goodman's The Times Square Gym monograph, 2002
"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."



Joyce Carol Oates review of John Goodman's The Times Square Gym, DoubleTake, Issue #10, Fall 1997
"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."

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Pete Hamill, introduction to John Goodman's The Times Square Gym monograph
"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."



Christopher Millis's review of John Goodman's Embody exhibiton, Boston Phoenix, 2002
"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."