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Francesca Woodman

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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"Francesca Woodman: Alternate Stories" featured in BBC Culture, December 12, 2021

Read a review on "Francesca Woodman: Alternate Stories" by Andrew Dickson in BBC Culture. The exhibition is currently on view through December 23.

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Francesca Woodman. "Untitled," MacDowell Colony, Peterborough, New Hampshire, 1980. 5 5/8 x 5 5/8 in. Gelatin silver print.
Francesca Woodman. "Untitled," MacDowell Colony, Peterborough, New Hampshire, 1980. 5 5/8 x 5 5/8 in. Gelatin silver print.
Kevin Moore 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, Kevin Moore, a New York based curator and writer, on Woodman's Victorian aesthetic, identity exploration and the artist's role in her artistic narrative.

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Francesca Woodman. "Untitled," MacDowell Colony, Peterborough, New Hampshire, 1980. 5 5/8 x 5 5/8 in. Gelatin silver print.
Francesca Woodman. "Untitled," MacDowell Colony, Peterborough, New Hampshire, 1980. 5 5/8 x 5 5/8 in. Gelatin silver print.
Isolde Brielmaier 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, Isolde Brielmaier, Deputy Director of the New Museum and the Curator-at-Large at the International Center of Photography (ICP) in New York, shares her thoughts on Woodman’s use of the body and the nude in her highly crafted photographs.

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Glimpses of hands and feet, Francesca Woodman: "Francesca Woodman: Alternate Stories," Marian Goodman Gallery New York

Francesca Woodman was well-acquainted with the traditions of Classical Western art and representations of the figure within it, which seeped into her own picture-making. While perhaps better-known for her photographs of the full female body—she specified that she used nudes “in an ironic sense like classical painting nudes"—Woodman returned again and again to highly composed glimpses of hands and feet.

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