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Francesca Woodman, Gagosian
Listen to Lissa McClure (WFF Executive Director) and Craig Gould (host) talk about Francesca Woodman's prodigous work and WFF's mission.
Read MoreRead Daniel Grant's article in "The Art Newspaper" on Francesca Woodman and her upcoming exhibitions at Gagosian and the National Portrait Gallery.
Read MoreRead Ted Loos' article on Francesca Woodman and her upcoming exhibitions at Gagosian and the National Portrait Gallery.
Read More"Installation of Francesca Woodman's Blueprint for a Temple (II)" and "Time-lapse of Francesca Woodman's Blueprint for a Temple (II)" for Francesca Woodman, Gagosian, New York, March 13–April 27, 2024.
Read MoreAs Gagosian’s inaugural exhibition of Francesca Woodman comes to a close on April 27th, this week is the last chance to see the exhibition.
Read MoreAs the works on view at Gagosian suggest, Francesca Woodman carried ideas with her from place to place, making the exhibition a map of her intellectual odyssey.
Read More“Sitting in bed – the slide projector is humming in the other room – a slide of helen as caryatid – im feeling very very lazy and contented – the cat lounges on a newly washed pile of pink clothes and the room is strewn with fresh tulips – even my fish has fresh flowers from Chinatown.”
Read MoreIn the current exhibition at Gagosian, works presented thematically and serially, including “Blueprint for a Temple (II),” draw attention to Francesca Woodman’s years-long exploration of the figure in space.
Read More"Blueprint for a Temple (II)," one of the largest and most ambitious of Francesca Woodman’s works, is on view for the first time in 44 years at Gagosian Gallery.
Read MoreIn today's "New York Times," critic Arthur Lubow sheds light on “Blueprint for a Temple (II)” (currently on view at Gagosian Gallery), a monumental diazotype collage discovered in summer 2022—41 years after the passing of Francesca Woodman.
Read MoreGagosian’s inaugural exhibition of works by Francesca Woodman presents key prints made by the artist from approximately 1975 through 1980. The photographs on view represent a culmination of Woodman’s exploration of the figure in space and prompt a reconsideration of how she drew on classical sculpture and architecture throughout her career.
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