Thrilled to announce that “Betty Woodman: Conversations on the Shore, Works from the 1990s”—the exhibition catalogue designed by Laura Coombs for Woodman’s 2022 solo show at David Kordansky Gallery—has been named a Winner of AIGA 50 Books | 50 Covers of 2024.

Curated by Alison M. Gingeras, this exhibition brings together nearly 200 works that defy the myth of women’s absence from art history. Spanning 500 years—from the Renaissance and Baroque to the 20th century—it offers a powerful visual history of women’s centuries-long "emancipation."

George Woodman’s writings offer rare insight into his artistic sensibilities and philosophy. A prolific commentator on both his own work and that of others, his 1986 review in the Village Voice of “Mrs. Delany’s Flower Collages” at the Pierpont Morgan Library (now Morgan Library and Museum) reveals much about his enduring preoccupations.

WFF was pleased to attend a press conference at City Hall hosted by City Council Members Keith Powers and Erik Bottcher to announce their proposed new legislation that will lower the barriers to create affordable housing for artists in New York City.

The first round of funds have officially been sent to recipients of the inaugural WFF Housing Stability Grant for Artists (WFF HSG)!

Curated by Anne O’Hehir, Magdalene Keaney, and Shaune Lakin, this exhibition explores how women have reshaped the photographic landscape through works spanning more than 160 years.

Betty Woodman's creative process was deeply informed by travel and she often returned home with ideas sparked by experiences working abroad, drawing inspiration from the techniques she encountered during residencies. An example of these influences is Woodman’s pursuit of the radiant gold that appears throughout her work.

Tireless advocate and patron saint of art and social justice. Devoted friend and supporter to so many artists, curators, and institutions, including Betty Woodman and George Woodman and many of our Board members. Equity-focused creator of Studio in a School and the Studio Institute, whose summer interns we've been fortunate to host for many years.

Matisse’s influence on the Woodman family is evident not only in the joie de vivre and cut-out forms of Betty Woodman’s ceramic sculptures, but also in the architectural sensibilities that inform both her and George Woodman’s work. George’s site-specific paper tile installations, in particular, invite comparison to Matisse’s Chapelle du Rosaire—not through direct lineage, but through a shared devotion to formal clarity, and the transformative potential of scale and repetition.

Curated by potter, interior designer, and author Jonathan Adler, this vibrant exhibition at MAD brings together over 60 works from the museum’s permanent collection, juxtaposed with Adler’s own iconic designs.

This September marks the final opportunity to view Places to Dream, an exhibition featuring photographs by Francesca Woodman alongside works by Cindy Sherman, Ana Mendieta, Birgit Jürgenssen, and Nan Goldin, among others.

Betty Woodman, Francesca Woodman, and George Woodman also succumbed to the lure of beaches and seashores in their work, each artist reimagining the beachscape with a distinct sensibility and overlapping visual languages.