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Francesca Woodman. “from Eel Series,” Venice, Italy, 1978. 8 1/2 x 8 5/8 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman. “from Eel Series,” Venice, Italy, 1978. 8 1/2 x 8 5/8 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman in “New Time: Art and Feminisms in the 21st Century” at University of California, Berkeley Art Museum & Pacific Film Archive (BAMPFA), Berkeley, California, August 28, 2021-January 30, 2022

This ambitious survey of recent feminist practices in contemporary art begins with Lucy Lippard’s observation that feminist art is “a value system, a revolutionary strategy, a way of life.” While the majority of works on view were made in the first two decades of this century, highlighting the wide-ranging concerns and multiple perspectives of contemporary artists, influential works made by artists of earlier generations are also featured, including three photographs by Francesca Woodman.

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L to R: Francesca Woodman. “Untitled,” Providence, Rhode Island, 1976. 5 1/4 x 5 3/16 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York / Claude Cahun. “Self-Portrait (in a cupboard),” 1932. Gelatin silver print. © Estate of Claude Cahun / Kirsten Justesen. “Portræt i arkiv med samling (Portrait in cabinet with collection),” 2013. 58 1/4 x 39 1/2 x 1 in. Chromogenic print mounted on Dibond with matte acrylic. © Kirsten Justesen.
Francesca Woodman. “Untitled,” Providence, Rhode Island, 1976. 5 1/4 x 5 3/16 in. Gelatin silver print.
Francesca Woodman, "Untitled," Providence, Rhode Island, 1976: STAFF PICKS

Hi, Celia Lê here! I am the Woodman Family Foundation’s Research Intern and my main responsibility is exhibition and provenance research for Francesca Woodman. Personally, I love how Francesca often investigates the relationship between the body and space, from the various textures created by the wall to the extension of her legs outside of the cupboard in this work.

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Envelope for letter from George Woodman in Boulder, Colorado to Francesca Woodman in Rome, Italy, October 19, 1977.
Envelope for letter from George Woodman in Boulder, Colorado to Francesca Woodman in Rome, Italy, October 19, 1977.
Betty Woodman, Francesca Woodman, and George Woodman in “Interior Scroll or What I Did on My Vacation” at S&S Corner Shop, The Art Building, Springs, New York, July 24-September 26, 2021

OPENING TOMORROW: Betty Woodman, Francesca Woodman, and George Woodman in “Interior Scroll or What I did on My Vacation” at S&S Corner Shop, The Art Building, Springs, New York. On view July 24 through September 26, 2021. Organized by Soft Network. We are pleased to announce that this exhibition includes a selection of correspondence written between Betty, Francesca and George Woodman in 1978, as well as Francesca Woodman’s “Selected Video Works,” 1976-1978.

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George Woodman, "Rachel's Gesture of Refusal," 1995: STAFF PICKS

Hi there, Eliza Little here. I am the Woodman Family Foundation’s Collections Assistant. While I now wear many hats in my job that involves helping to manage the artworks and archives of all three of our artists, my main responsibility when I first started in February 2018 was cataloguing the photographic works by George Woodman in our collection. During that time I became very familiar with George’s photographs, and coming from a background in photography myself, I felt an affinity with certain aspects of his work.

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L to R: All artworks by Francesca Woodman. Installation view, “Rincontrarsi a Venezia,” Spazio Berlendis, Venice, Italy, 2021, including “Caryatid,” New York, 1980. 101.93 x 36.62 in. Diazotype / "Self-Deceit #2,” Rome, Italy, 1978. 3 9/16 x 3 1/2 in. / “Self-Deceit #7,” 1978, Rome, Italy. 4 3/8 x 4 1/2 in. Gelatin silver print. Both gelatin silver prints.
L to R: All artworks by Francesca Woodman. Installation view, “Rincontrarsi a Venezia,” Spazio Berlendis, Venice, Italy, 2021, including “Caryatid,” New York, 1980. 101.93 x 36.62 in. Archival pigment print / "Self-Deceit #2,” Rome, Italy, 1978. 3 9/16 x 3 1/2 in. / “Self-Deceit #7,” 1978, Rome, Italy. 4 3/8 x 4 1/2 in. Gelatin silver print. Both gelatin silver prints.
Francesca Woodman in “Rincontrarsi a Venezia” at Spazio Berlendis, Venice, Italy, June 5-July 17, 2021

LAST CHANCE TO SEE Francesca Woodman in Rincontrarsi a Venezia at Spazio Berlendis, Venice, Italy. On view through July 17, 2021.

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Betty Woodman in “With Pleasure: Pattern and Decoration in American Art 1972-1985” at Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, June 26 - November 28, 2021

This ambitious exhibition, curated by Anna Katz, brings together American artists, including Betty Woodman, associated with the Pattern and Decoration movement in the first such comprehensive and scholarly survey. The exhibition showcases painting, sculpture, collage, ceramics, installation and performance which embraced craft-based and decorative traditions and approached art-making from a sometimes dizzying appreciation of historic sources and feminist aesthetics.

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Francesca Woodman in "Learning to Look: The Addison at 90" at the Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, May 8 - December 31, 2021

The Addison has a long and important history with Francesca Woodman. It was the first institution to collect her work, purchasing six of her photographs in 1976. She had her first solo exhibition there that same year, including works she made while studying at Rhode Island School of Design.

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Betty Woodman, in collaboration with The Fabric Workshop and Museum, Philadelphia, Window, 1980. Pigment, thread, velcro on cotton, canvas, sateen, and earthenware. 62 x 75 inches. Collection of The Fabric Workshop and Museum. Photo credit: Phillip Unetic.
Betty Woodman, in collaboration with The Fabric Workshop and Museum, Philadelphia, Window, 1980.
Betty Woodman in "Hard/Cover" at Fabric Workshop and Museum, Philadelphia, April 9 - September 26, 2021

Hard/Cover looks at the interdisciplinary practice of three influential artists who participated in FWM's unique residency program, as well as five contemporary artists whose new works are equally informed by process and the intersection of ceramics and screen printing.

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PLOTLINE 5: FRANCESCA WOODMAN / Traces of Performance

PLOTLINE 5 considers the performative aspects of Francesca Woodman’s practice. In her photographs and videos, Woodman claimed the female body as subject by using her own - staging and sequencing its movements, capturing it in motion. The bodily, temporal, and spatial concerns in Woodman’s work align her with the feminist performance art of her time. Woodman’s photographs reveal traces of her carefully constructed performative process.

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Francesca Woodman on The Great Women Artists Podcast

Katy Hessel of The Great Women Artists Podcast interviews Katarina Jerinic, the Woodman Family Foundation’s Collections Curator, on Francesca Woodman’s work and life. The two discuss photographs made in Providence, Italy and New York and Jerinic shares some of Woodman’s own words and ideas found in the Foundation's archives.

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Betty Woodman with Aspen Garden Room, 1984. 8 x 10 x 11 ft. Glazed earthenware, epoxy resin, lacquer, fabric. Installation view at Aspen Art Museum, Colorado, 1984.
Betty Woodman with Aspen Garden Room, 1984. Installation view at Aspen Art Museum, Colorado, 1984.
Betty Woodman featured in Metropolis Magazine article "Ceramics and Architecture: The Legacy of Betty Woodman” March 2021

Osman Can Yerbekan looks back on 1984 Metropolis Magazine feature on Betty Woodman and George Woodman, linking the early influence of architecture on Betty’s ceramics to her legacy as a radical sculptor.

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Betty Woodman. Sea of Japan Pillow Pitcher, 1985. 17 x 24 1/2 x 18 inches. Glazed earthenware. From the Robert A. Ellison Jr. Collection / Shapes From Out of Nowhere: Towards Abstraction in Clay 1890-2018: The Robert A. Ellison Junior Collection exhibition catalogue cover. Published by August Editions, January 5, 2021.
Betty Woodman. Sea of Japan Pillow Pitcher, 1985. 17 x 24 1/2 x 18 inches. Glazed earthenware. From the Robert A. Ellison Jr. Collection.
Betty Woodman in "Shapes from Out of Nowhere: Ceramics from the Robert A. Ellison Jr. Collection," February 22 - August 29, 2021

Betty Woodman in “Shapes from Out of Nowhere: Ceramics from the Robert A. Ellison Jr. Collection” at the Metropolitan Museum of Art through August 29, 2021.

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