Francesca Woodman in "Women and Change," Arken Museum of Modern Art, Denmark, February 5-August 15, 2022

“Women and Change” at the Arken Museum of Modern Art in Denmark considers unfolding depictions of women in Western art history over the past 150 years, a period that roughly parallels the history of the women’s rights movement. The exhibition presents works by 64 international artists that challenge ideas about the body, gender, identity and history, including Francesca Woodman’s “Caryatid” (1980).

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Francesca Woodman. “Self-portrait talking to Vince," Providence, Rhode Island, 1977. 5 3/16 x 5 1/8 in. Gelatin silver print.
Francesca Woodman. “Self-portrait talking to Vince," Providence, Rhode Island, 1977. 5 3/16 x 5 1/8 in. Gelatin silver print.
OPENING TOMORROW Francesca Woodman in "girls girls girls," Lismore Castle Arts, Lismore, Ireland, April 2-October 30, 2022

Francesca Woodman in “girls girls girls” at Lismore Castle Arts, Lismore, Ireland. On view April 2 through October 30, 2022. Curated by Simone Rocha.

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L to R: All artworks by Francesca Woodman. “Untitled,” New York, 1979. 3 5/16 x 3 7/16 in. Digital color estate print / "A Woman; A Mirror; A Woman is a Mirror for a Man,” Providence, Rhode Island, 1975-78. Gelatin silver estate print.
Francesca Woodman. “Untitled,” New York, 1979. 3 5/16 x 3 7/16 in. Digital color estate print.
NOW OPEN Francesca Woodman in "A Century of the Artist's Studio: 1920-2020," Whitechapel Gallery, London, February 24-June 5, 2022

Francesca Woodman in “A Century of the Artist’s Studio: 1920-2020.” Whitechapel Gallery, London. February 24 through June 5, 2022.

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L to R: All artworks by George Woodman. “Cannon," 1980. 66 x 66 in. Acrylic paint on canvas / Images 2-6: Pages from the exhibition catalogue for “19 Artists—Emergent Americans,” The Solomon R. Guggenheim Museum, New York / "La Grande Fontaine du Printemps," 1980. 85 x 84 in. Acrylic paint on canvas / "Tessellation Sky,” 1975. 54 1/2 x 54 1/2 in. Acrylic paint on canvas. Collection The Solomon R. Guggenheim Museum.
George Woodman. “Cannon," 1980. 66 x 66 in. Acrylic paint on canvas.
George Woodman, "19 Artists—Emergent Americans," The Solomon R. Guggenheim Museum, New York, 1981: From the Archives...

Forty-one years ago, 19 Artists—Emergent Americans was presented at the Solomon R. Guggenheim Museum in New York featuring seven paintings by George Woodman, among work by eighteen of his contemporaries including Barbara Kruger, Guy de Cointet, and Manny Farber. The exhibition reflected curator Peter Frank’s desire to present the artists’ work as a series of small retrospectives. “What I have sought to assemble at the Guggenheim Museum is the skilled and confident visual articulation of engrossing ideas by individuals who have not been sufficiently recognized for their accomplishment,” he wrote.

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A note to say "Thank you"

Deep thanks to our friends and supporters whose generosity and insights made “Francesca Woodman: Alternate Stories” at Marian Goodman Gallery such a success: the talented Marian Goodman team; the scholars, curators and artists who shared their perceptive contributions to the video vignettes; the boundlessly inspiring Brooklyn Rail team and fellow panelists; the journalists and critics who wrote and spoke so movingly; the many viewers and followers for their continued interest in and openness to new facets of Woodman’s work. And to Francesca Woodman for creating a singular body of work that continues to captivate and invite. Wishing you all the happiest of holidays!

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Elisabeth Sussman on the work of Francesca Woodman: "Francesca Woodman: Alternate Stories," Marian Goodman Gallery New York

On the occasion of "Francesca Woodman: Alternate Stories," Marian Goodman Gallery commissioned eight video vignettes by an array of art historians, curators, and artists, each whom brought their own perspective to Woodman’s work and the exhibition currently on view. In this video, Elisabeth Sussman, the Curator and Sondra Gilman Curator of Photography at the Whitney Museum of American Art, contextualizes Woodman's work within the framework of its era.

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"Alternate Stories: Francesca Woodman" Panel hosted by the Brooklyn Rail: "Francesca Woodman: Alternate Stories," Marian Goodman Gallery, New York

Watch the “Alternate Stories: Francesca Woodman” panel event hosted by The Brooklyn Rail in conjunction with the exhibition closing tomorrow at Marian Goodman Gallery, New York. A conversation featuring Katarina Jerinic, Corey Keller, Lissa McClure, Elisabeth Sussman, and Lyle Rexer.

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Rosalind Krauss on the work of Francesca Woodman: "Francesca Woodman: Alternate Stories," Marian Goodman Gallery, New York

On the occasion of “Francesca Woodman: Alternate Stories,” Marian Goodman Gallery commissioned eight video vignettes by an array of art historians, curators, and artists, each whom brought their own perspective to Woodman’s work and the exhibition currently on view. In this video, Rosalind Krauss, art critic and theorist and Columbia University professor, discusses her initial responses to Woodman’s photographs when co-curating the retrospective exhibition at Hunter and Wellesley Colleges in 1986. She advocates for the formal power and intelligence of Woodman’s work, then and still today.

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L to R: Artworks by Francesca Woodman. “A waltz in three parts - 3,” Providence, Rhode Island, 1975-78. 5 7/16 x 5 7/16 in / “Untitled,” Providence, Rhode Island, 1975-78. 5 1/4 x 5 1/4 in / “A waltz in three parts,” Providence, Rhode Island, 1975-78. 5 1/2 x 5 1/2 in / “Untitled,” Providence, Rhode Island, 1975-78. 5 1/2 x 7 3/8 in / “Untitled,” Providence, Rhode Island, 1975-78. 5 1/2 x 6 1/2 in / “Untitled,” Providence, Rhode Island, 1975-78. 7 3/8 x 7 3/8 in.
Francesca Woodman. “A waltz in three parts - 3,” Providence, Rhode Island, 1975-78. 5 7/16 x 5 7/16 in. Gelatin silver print.
The shroud, Francesca Woodman: "Francesca Woodman: Alternate Stories," Marian Goodman Gallery, New York

Francesca Woodman’s engagement with the figure was not only connected to re-interpretations of classical art, but also reflective of the art of her time. In the 1970s—when Woodman made much of her work as a student at the Rhode Island School of Design—artists from Hannah Wilke to Bruce Nauman were concerned with representations of the body and self, stemming from wide-ranging concerns about its relationship to cultural and physical space. Here Woodman uses the shroud - as plaster cast or embroidered sheet - in two series’ of images to alternately hide and reveal the figure’s form, in both sculptural and perfomative ways.

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Sabina Mirri on the work of Francesca Woodman: "Francesca Woodman: Alternate Stories," Marian Goodman Gallery, New York

On the occasion of “Francesca Woodman: Alternate Stories,” Marian Goodman Gallery commissioned eight video vignettes by an array of art historians, curators, and artists, each whom brought their own perspective to Woodman’s work and the exhibition currently on view. In this video, Sabina Mirri, Italian artist and close friend of Woodman, shares her memories and impressions of Woodman as a singular, compelling young woman and artist during her time in Rome.

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"Francesca Woodman: Alternate Stories" featured in The Art Newspaper, December 17, 2021

Read a review on "Francesca Woodman: Alternate Stories" by Justin Kamp in The Art Newspaper. The exhibition is currently on view through December 23.

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L to R: Artworks and contact sheet by Francesca Woodman. “Untitled,” Providence, Rhode Island, 1975-78. 6 3/4 x 6 3/4 in / Contact sheet, Providence, Rhode Island, c. 1975-78. 10 x 8 in / “Untitled,” Providence, Rhode Island, 1975-78. 7 3/8 x 9 1/2 in. All gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman. “Untitled,” Providence, Rhode Island, 1975-78. 6 3/4 x 6 3/4 in. Gelatin silver print.
Contact sheets, Francesca Woodman: "Francesca Woodman: Alternate Stories," Marian Goodman Gallery, New York

Francesca Woodman’s contact sheets are revealing about her process, demonstrating ways that ideas took shape as she explored and realized them while printing. Each contact sheet has at least a half a dozen frames trying to work out what the right composition should be for a particular photograph. Here she experiments with a variety of compositions and poses, concerned with juxtaposing various patterns, fabrics and the body.

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