Francesca Woodman

As 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.

“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.” It’s easy to imagine Francesca Woodman writing the above words in her journal around the same time that she made this suite of photographs in her New York City apartment.

In 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.

On this day, we celebrate the extraordinarily talented Francesca Woodman.

"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.

In this review on "The Guardian" of “Portraits to Dream In,” Sean O’Hagan underscores the “intriguing pairing” of Francesca Woodman and Julia Margaret Cameron by curator Magdalene Keaney at National Portrait Gallery.

In 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.

"Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In" offers fresh perspectives on the work of two of the most influential women in the history of photography who lived and worked nearly a century apart.

Francesca Woodman’s eight unique artist books demonstrate the artist’s nuanced and sophisticated approach to narrative and sequencing. Don’t miss two opportunities in London to learn more about these remarkable works.

Gagosian’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.

As the child of artists, Francesca Woodman grew up on the periphery of the Fine Arts Department at the University of Colorado, Boulder, where her father, George Woodman, taught painting and the philosophy of art. Well-versed as she was from a young age in art history and contemporary art, Francesca was famously precocious in asserting her own ideas. In this series of photographs, which she gifted to her father, she humorously and good-naturedly carves out her own position as an artist, bursting through a poster for his 1976 lecture on minimalist heavy-weight Sol LeWitt, replacing it with a poster for her own exhibition at the Addison Gallery, and then herself.

RE/SISTERS reflects on a range of themes related to eco-feminism, unpacking alternate relationships to the natural world which often resist the logic of capitalism, as well as environmental and gender justice. Fifteen photographs by Woodman—many of which have rarely or never before been seen—explore the figure in relation to the landscape.