Painted Ladies / Combat Zone / December 1979

Painted Ladies / Combat Zone / December 1979

Howard Yezerski Gallery
460 Harrison Ave A16, Boston, MA 02118
Friday, September 6 - October 15, 2019

Exhibition Opening: Friday, September 6, 5-8pm
Artist Walkthrough: Saturday, September 21, 2pm

not recent is a selection of photographs taken in the streets of the late twentieth century Boston which vividly contrasts a stark urban landscape with the intensity and exuberance of city life. Rendered in moody black and white tones as well as a rich spectrum of color, the images reveal the many ways in which Goodman was examining his home town.

As a young photographer, Goodman set up a studio in the “Roof” of the Bradford Hotel located in the theater district. He had recently completed his studies with the renowned black and white photographer Minor White. At a time when color photography was not readily accepted as fine art, Goodman began experimenting with a variety of film stocks and exploring the color process to make meaning of the cultural landscape as he created his own voice as an artist.

Many of the silver gelatin monochromatic photographs were taken in the infamous “Combat Zone”, a district adjacent to Goodman’s studio. The images describe the unique diversity of the neighborhood as well as the daily challenges experienced in an area designated for adult entertainment. The archival pigment color photographs read as contemplative, surreal and even uncanny, reflecting Goodman’s talent in capturing sensations as well as quintessential moments.



Addison Gallery of American Art
Phillips Academy
180 Main Street
Andover, MA 01810

April 13 – July 31, 2019

Comprised of brilliant color photographs, the majority of which have never before been exhibited, John Goodman: not recent color examines the American cultural landscape through the coming of age of a young artist in the 1970s and 1980s. 

Made from recently rediscovered Kodachrome and Ektachrome slides, these photographs transport viewers to another time with their richly saturated colors and cinematic views. Piercing yet tender images shot in diners, bowling alleys, and darkened theaters, outside phone booths and gas stations, and on city streets and sidewalks conjure moments in individual lives and social interactions that together tell a story about the slowly changing social fabric of Goodman’s studio neighborhood in Boston––and the country at large. 

Mark Feeney’s Boston Globe review
Aperture Magazine / Exhibition to see
Design Arts Daily / 05.16.2019

Addison Current Exhibition
Press Release
An Observation

Installation images by David Kurtis



Rick Wester Fine Art
526 West 26th Street
New York, NY 10001

April 3 – May 31, 2014

”The Boston Ballet dancers that Goodman photographed backstage as they prepare for their performance exude their own contradictions. At once corporeal and otherworldly, they share in the sweat and exertion of the fighters and sometimes they too appear like warriors in battle. Mostly, however, their expected grace in motility is conveyed in the gritty and graphic manner of Goodman’s monochrome printing. These ballerinas are magical - as all ballerinas should be - formed by the photographer’s eye and his belief that angels can’t be photographed but their halos can.”

(Read full press release)

-Rick Wester

New York Review of Books / April 3, 2014
The Eye of Photography
Chelsea Now 

Installation shots from Boxers + Ballerinas at Rick Wester Fine Art in New York City


PhoPa Gallery
132 Washington Avenue
Portland, Maine

January 3 - February 22, 2014

View the exhibition press release here.

"This is no snatched kiss. It's an extraordinarily complex and well-composed photograph shot with the final print in mind. It is the soft white of her body against his chiseled dark form, the shape of the lovers' form on the sand, and the cacophony of textures and values that Goodman orchestrates into a symphony of formal brilliance." - Dan Kany, Maine Sunday Telegram



Caldbeck Gallery
12 Elm Street
Rockland, Maine

July 10 - August 10, 2013

Exhibition catalog, click here

"John Goodman's photographic prints are incomparably luscious. The idea of an aesthetic texture such as Goodman's exquisitely soupy grains is like brushwork. In some artist's begins with the smallest bits in their pictures – the brush strokes...." -Dan Kany, Maine Sunday Telegram





Howard Yezerski Gallery - Boston - solo exhibition
Scott Nichols Gallery - San Francisco - solo exhibition
Metropolitan Museum of Art - New York City - group exhibition
UMaine Bangor Museum of Art - Maine - solo exhibition

Set to the music of Stephane Wrembel's band
Live at Cliff Bells, Detroit, Michigan March 2013
Produced and directed by Jason Elon Goodman



Metropolitan Museum of Art
1000 Fifth Avenue 
New York City
March 27–September 9, 2012

Couple, 327 Commonwealth Avenue, Boston, June 1976 (image to left)

"I was walking up Commonwealth Avenue in Boston at the end of a warm day in June 1976. I heard music coming from an open second floor window and as I looked up I saw a nude couple. At the same time, they saw me with my camera and said "hey come on up" and I said "come on down." They did and I made this portrait."

-John Goodman

Roberta Smith's review in the New York Times of "Naked before the Camera"
Press Release, click here




UMaine Museum of Art
40 Harlow Street 
Bangor, ME
April 6- June 9, 2012

Exhibition images, click here

George Kinghorn's curatorial statement, click here
Peggy Roalf's interview with John in Design Arts Daily

Goodman's works drift between abstraction and reality; they are incomplete sentences in the artist's ongoing search for transcendent, yet inevitably fleeting moments. For this photographer, beauty lies within life's contradictions: power and grace, light and darkness, youth and old age, stillness and motion, the refined and the raw.


Howard Yezerski Gallery
460 Harrison Avenue 
Boston, MA
February 10 - April 17, 2012

Peggy Roalf's interview with John in Design Arts Daily
Exhibition images, click here
Press Release, click here

A constant in all Goodman's work is his connection to people and his ability to photograph them during the moments when they are most revealed. He captures the boxer lost in thought, the ballet dancer preparing for her moment onstage, a gospel singer in song, the couple who have playfully shed their clothes on a summer day to pose for his camera. Goodman's world is one in which oppositions become dualities-one can't exist without the other.




Scott Nichols Gallery
49 Geary Street
San Francisco, CA
March 1- April 28, 2012

A student of the influential abstract expressionist Minor White, John Goodman credits White with teaching him the difference between seeing and looking...Joyce Carol Oates offers, “Goodman’s camera, however, is not an instrument of detachment, analysis, or judgment, but an iris of an eye that is our own, dissolving ostensible barriers between objects and subject. His intention is to make us feel, and not merely see, the world of the Times Square Gym.”

View Exhibition, click here
Peggy Roalf's interview with John in Design Arts Daily 


Voyeurism, Surveillance And The Camera Since 1870

San Francisco, CA 
October 30, 2010 - April 17, 2011

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. 

Online exhibition here 
Cindy Wright's "Power and the Photograph: an essay"




Howard Yezerski Gallery
460 Harrison Avenue
Boston, MA
February 12 - March 16, 2010

[Goodman's "The Schlitz Boys"] 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.

-Mark Feeney, The Boston Globe, March 7, 2010

WBUR Radio Boston review
Mark Feeney's Boston Globe review
Greg Cook's Boston Phoenix review
Cindy Wright's "Power and the Photograph: an essay"



Howard Yezerski Gallery
460 Harrison Avenue
Boston, MA
February 10th - March 11th 2008

"Most of Goodman's photos move, suggesting a speedy ride through the country...But it's those pauses that give the show its expressive rhythm." 

- excerpt from Cate McQuaid's Boston Globe review




Boxers and Ballerinas
Center for Maine Contemporary Art
Rockport, Maine
September 8th  - October 22, 2005

"What Goodman captures visually for our contemplation speaks to the character of Goodman himself. Contemplative, ever-searching, and questioning intentions and meaning on the one hand, the photographer is also the expansive teacher and friend, trigger-quick to speak and act in a blur of boundless enthusiasm and wit."

-excerpt from Bruce Brown's curatorial statement



The Art Institute of Boston at Lesley University
Boston, MA
September 9 – October 31, 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."

excerpt from Christopher Millis's exhibition catalog essay

Bonnell Robinson's Curatorial Statement
Big Red & Shiny's Review 
Christopher Millis's Essay




June Bateman Fine Art
560 Broadway, Soho, NY
April 22 – June 5, 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. June Bateman Gallery, 560 Broadway."

-Vince Aletti, Village Voice