L to R: Group: “Untitled,” c. 1979-80, 5 9/16 x 5 9/16 in. / “Untitled,” c. 1979-80, 5 11/16 x 5 11/16 in. / “Untitled,” c. 1979-80, 5 5/8 x 5 9/16 in. “Untitled,” c. 1979-80, 5 9/16 x 5 9/16 in. “Untitled,” c. 1979-80, 5 5/8 x 5 9/16 in. All artworks by Francesca Woodman. All gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Group: “Untitled,” c. 1979-80, 5 9/16 x 5 9/16 in. / “Untitled,” c. 1979-80, 5 11/16 x 5 11/16 in. / “Untitled,” c. 1979-80, 5 5/8 x 5 9/16 in. All works by Francesca Woodman. All gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
NOW ON VIEW: Francesca Woodman at Gagosian
“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.
L to R: “Untitled,” from the “Angel” series, 1977, 3 1/4 x 3 1/4 in. Gelatin silver print. / O’Hagan, Sean. “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In review – an intriguing double act.” “The Guardian,” 2024. / Quote from “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In review – an intriguing double act” / “Self-Portrait at Thirteen,” c. 1972, 6 3/4 x 6 11/16 in. Gelatin silver print. All artworks by Francesca Woodman © Woodman Family Foundation / DACS, London.
Francesca Woodman. “Untitled,” from the “Angel” series, 1977, 3 1/4 x 3 1/4 in. Gelatin silver print. © Woodman Family Foundation / DACS, London.
"Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In" in "The Guardian," 2024
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.
L to R: Images 1-2: Lubow, Arthur. “Francesca Woodman’s Crowning Achievement, and Mystery.” “The New York Times,” 2024. / Quote from “Francesca Woodman’s Crowning Achievement, and Mystery.” / Installation view of “Francesca Woodman,” Gagosian Gallery, New York, 2024. / “Untitled,” c. 1977-78, 5 3/4 x 5 3/4 in. (14.605 x 14.605 cm). Gelatin silver print. / "Lightning” or “Lightning Legs,” 1976, 5 3/8 x 5 3/8 in. (13.653 x 13.653 cm). Gelatin silver print. All artworks by Francesca Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Lubow, Arthur. “Francesca Woodman’s Crowning Achievement, and Mystery.” “The New York Times,” 2024.
Francesca Woodman in "The New York Times," March 2024
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. “Untitled,” Antella, Italy, c. 1977-78. 4 x 3 7/8 in. Gelatin silver print / Images 2-5: Installation views from “The Rose,” Lumber Room, Portland, OR, 2023. Courtesy the lumber room. Photo: Mario Galluci. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman. “Untitled,” Antella, Italy, c. 1977-78. 4 x 3 7/8 in. Gelatin silver print.
NOW OPEN Francesca Woodman in "The Rose," Lumber Room, Portland, OR, July 29-October 28, 2023
Curated by Justine Kurland, this exhibition brings together 44 artists whose works resonate with Jay DeFeo’s cumulative use of materials, including Wangechi Mutu, Hannah Wilke, Moyra Davey, K8 Hardy, Joiri Minaya, Lee Bontecou, and Ruth Asawa, among others. Conceived by Kurland as an homage to DeFeo’s monumental sculptural painting “The Rose” (1958-66), the assembled works on view together from an exhibition as collage.
L to R: Betty Woodman. “Courtyard: Pontormo,” 2016. 110 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas / Images 2-3: Spreads from “Betty Woodman: New York/Florence.” Purple Magazine, Fall/Winter, 2017 / Betty Woodman. “Courtyard: Van Gogh,” 2016. 96 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas.
Betty Woodman. “Courtyard: Pontormo,” 2016. 110 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas.
Betty Woodman interview with Selva Barni, "Purple Magazine," Fall/Winter, 2017: READING ROOM
READING ROOM highlights past essays, reviews and interviews about Betty Woodman, Francesca Woodman, and George Woodman that provided new insights and lenses through which to understand their work. In this interview with Selva Barni, published in "Purple Magazine" in 2017, Betty Woodman talks about taking chances in her work and life, her relationship to feminism, her shift from potter to sculptor, and much more.
Spread from Francesca Woodman. "Portraits, Friends, Equations,” c. 1977-1978. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Spread from Francesca Woodman. "Portraits, Friends, Equations,” c. 1977-1978. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
"Francesca Woodman: The Artist's Books" review in "The Brooklyn Rail," 2023
Read Karen Chernick's review in "The Brooklyn Rail" on "Francesca Woodman: The Artist's Books" published by MACK.
-45_crop%201.jpg)
Installation view: Betty Woodman and George Woodman at Charleston 2023. © The Charleston Trust; photograph: James Bellorini.
Installation view: Betty Woodman and George Woodman at Charleston 2023. © The Charleston Trust; photograph: James Bellorini.
"Betty Woodman and George Woodman" featured in "Stories" on Charleston's website
Read Halima Jibril's piece on "Betty Woodman and George Woodman." On view now through September 10, 2023 at Charleston, East Sussex, UK.
Betty Woodman. "Wallpaper 19," 2017. 65 x 59 in. Glazed earthenware, epoxy resin, lacquer, and paint. Photo: Bruno Bruchi.
Betty Woodman. "Wallpaper 19," 2017. 65 x 59 in. Glazed earthenware, epoxy resin, lacquer, and paint. Photo: Bruno Bruchi.
"In Talks With" Podcast: Betty and George Woodman at Charleston hosted by Danielle Radojcin
Lissa McClure, the Foundation's Executive Director, and Emily Hill, Acting Head of Exhibitions at Charleston, talk about the exhibition "Betty Woodman and George Woodman" on "In Talks With" podcast with journalist Danielle Radojcin.
Francesca Woodman. “These people live in that door,” Providence, Rhode Island, 1976-77. 4 1/4 x 4 1/4 in. Vintage gelatin silver print.
Francesca Woodman. “These people live in that door,” Providence, Rhode Island, 1976-77. 4 1/4 x 4 1/4 in. Vintage gelatin silver print.
Francesca Woodman featured in "The Art Newspaper," June 7, 2023
Big thanks to Jori Finkel for this lovely piece in the Art Newspaper! We’re thrilled to have her share more about the Foundation's plans and exciting things on the horizon for Francesca Woodman.
Betty Woodman, George Woodman, and friend outside their home, Antella, Italy, c. 1990s. Woodman Family Foundation Archives.
Betty Woodman, George Woodman, and friend outside their home, Antella, Italy, c. 1990s. Woodman Family Foundation Archives.
"Betty Woodman and George Woodman" featured in "Recessed Space," May 5, 2023
Read Jelena Sofronijevic's feature on Betty Woodman and George Woodman. On view now through September 10, 2023 at Charleston, East Sussex, UK.
L to R: Betty Woodman. "His and Hers Vases: Looking Back," 2006. 29 ½ x 45 x 13 ½ in. Glazed earthenware, epoxy resin, lacquer, and paint / George Woodman. "Blue Arm and Chinese Maiden," 2012. 24 x 19 ½ in. Oil paint on gelatin silver print.
L to R: Betty Woodman. "His and Hers Vases: Looking Back," 2006. 29 ½ x 45 x 13 ½ in. Glazed earthenware, epoxy resin, lacquer, and paint / George Woodman. "Blue Arm and Chinese Maiden," 2012. 24 x 19 ½ in. Oil paint on gelatin silver print.
"Betty Woodman and George Woodman" featured in "STIR," March 26, 2023
Read Rahul Kumar's interview with Charleston curator Emily Hill in "STIR" about the exhibition "Betty Woodman and George Woodman" on view now through September 10, 2023 at Charleston, East Sussex, UK.
Betty Woodman. "Night Window," 2016. 69 1/4 x 79 3/4 x 10 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, and wood. Photo: Bruno Bruchi / George Woodman. "Canova Museum," 2010. 42 x 36 in. Oil paint on gelatin silver print. Photo: Eliza Little.
Betty Woodman. "Night Window," 2016. 69 1/4 x 79 3/4 x 10 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, and wood. Photo: Bruno Bruchi / George Woodman. "Canova Museum," 2010. 42 x 36 in. Oil paint on gelatin silver print. Photo: Eliza Little.
OPENING SATURDAY "Betty Woodman and George Woodman," Charleston, East Sussex, UK, March 25-September 10, 2023
Representing a decades-long dialogue in ceramics and paint, “Betty Woodman and George Woodman” brings together the artists’ vibrant ceramics, vivid abstract paintings, radical assemblages, and photographs, illuminated by archival materials. Focused on the couple’s prolific time at their farmhouse in Antella, Italy—where they lived and worked for part of each year for nearly fifty years—the exhibition explores the artists’ mutual influences and their shared life immersed in art, culture, travel and experimentation, reflected in kindred palettes and patterns.