From the 1970s onward, Annette Messager’s work has been known for a heterogeneity of form and subject matter
 ‌ ‌ ‌ ‌ ‌ ‌ ‌ 

Annette Messager

Annette Messager, Self Portrait, 2020.

Marian Goodman Gallery is pleased to continue our artist-centric newsletter IN FOCUS, where we take the time to delve deeply into one artist on the MGG roster at a time. Aiming to show a fuller picture of the breadth of our artists' careers, we will feature our favorite stories, podcasts, interviews, artists’ writings and videos from the archive, as well as new and upcoming projects.

From the 1970s onward, Annette Messager’s work has been known for its heterogeneity of form and subject matter, ranging from the personal to the fictional, the social to the universal. Through an embrace of everyday materials, and principles of assemblage, collection and theatrical display, her diverse media has included construction, documents, language, objects, taxidermy, drawings, photographs, fabric, embroidery, image collections, albums, sculpture and installation. Messager has explored fairy tales, mythology and doppelgängers throughout her œuvre. Often using reminiscence and memory as a vehicle for inspiration, Messager's wide range of hybrid forms has had an affinity with traditions as varied as the romantic, the grotesque, the absurd, the phantasmagoric.

Today, follow along as we examine Annette Messager's ever-developing vocabulary. ↓


Annette Messager’s 2009 retrospective at The Hayward Gallery with Adrian Searle, as a part of The Guardian’s culture podcast. Searle describes his experience as he walks through and interacts with the multitude of suspended puppets, robots, dolls, and the like, which comprise Messager’s seminal Articulés-Désarticulés, 2001-2002.


Fée d'artifice, Patricia Falguières' 2014 essay on Messager, which was published on the occasion of her exhibition at The Museum of Contemporary Art, Australia that same year. Falguières describes how Messager's work has continued "undermining national assumptions about the division of the sexes," though, distinctly from her American contemporaries.


Annette Messager in conversation with Maria Balshaw CBE, Director of the Tate, on the occasion of Art Basel's 2017 fair. Messager dissects her early interests in art making and, particularly, her desire to stand out.

A short documentation of Messager's 2019 piece Petite Babylone, which was part of her most recent exhibition Sleeping Songs at Galerie Marian Goodman in Paris.

Image:« Innocents, Help », 2017. Collection de la Fondation Louis Vuitton.

Marian Goodman Gallery

24 West 57th Street
New York, NY 10019

79 Rue du Temple
75003 Paris, France

5-8 Lower John Street,
W1F 9DY, United Kingdom