James Coleman (b.1941, Ireland) is best known for his work in time-based installations
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James Coleman

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.

James Coleman (b.1941, Ireland) is best known for his work in time-based installations. In his pioneering practice since the early 70’s, he works with meticulously-composed media including film, video, audio, projected slide installations and performed works for theatre which engage the viewers role in defining the experience of the photographic image. While Coleman assigns a subtle conceptual and temporal aspect to the experience of the image, his works are characterized by a sensual beauty and elegance that results from his embrace of the image's inherent uncertainties and potential.

Today, follow along as we explore the vast ideas and inspirations of James Coleman. ↓


Mousse Magazine's 2011 feature "Staging Television: James Coleman's So Different... And Yet," in which writer Maeve Connolly revisits James Coleman‘s seminal video So Different... And Yet (1980), investigating how each different exhibition and installation context amplifies the work’s possibilities.


A conversation between Benjamin Buchloh, Professor of Modern Art, Harvard University, and Rachel Haidu, Associate Professor of Art History, University of Rochester, moderated by Stuart Comer, The Lonti Ebers Chief Curator of Media and Performance Art, The Museum of Modern Art, New York. The conversation took place after Coleman’s film Retake with Evidence (2007), was presented in February 2017, as part of MoMA’s Modern Monday series.


Dorothea von Hantlemann’s essay on Coleman’s Box (ahhareturnabout), 1977, based on the legendary 1927 boxing match between Jack Dempsey and Gene Tunney, which was broadcast live on radio around the world. Using documentary footage for the first and only time, Hantlemann describes how Coleman’s Box “not only invents a new form of re-presenting history” but “realises a different mode of producing history” through our visceral and live experience of the body and memory in film, sound, and space.