Our Cataloguing & Library Research Intern Eliza Guzman.
Our Cataloguing & Library Research Intern Eliza Guzman.
Introducing our Cataloguing & Library Research Intern Eliza Guzman
We are pleased to introduce our Cataloguing & Library Research Intern Eliza Guzman. Eliza just graduated from Gettysburg College with a major in Anthropology and a minor in Studio Art. She is working with us this summer as part of the Studio Institute Arts Intern program to build our research library of periodicals, books, and exhibition catalogues for all three of our artists.
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.
Francesca Woodman. "Space²," Providence, Rhode Island, 1976. 5 3/8 x 5 1/4 in. Gelatin silver print. Collection of RISD Museum, Providence, Rhode Island.
NOW OPEN Francesca Woodman in “The Performative Self-Portrait” at RISD Museum, Providence, Rhode Island, May 13-November 12, 2023
From capturing themselves in shadows and reflections to trying on alternative or speculative identities, "The Performative Self-Portrait” explores the body as material and medium and photography as vehicle to consider ways artists use self-portraiture to enact the self, question history, and articulate identity. Made between 1930 and the present, works in the exhibition range from new acquisitions to older works on view for the first time.
-47_crop.jpg)
-47.jpg)
L to R: Installation view: Betty Woodman and George Woodman at Charleston 2023. © The Charleston Trust; photograph: James Bellorini / Betty Woodman. "His and Hers Vases: Looking Back," 2006. 29 1⁄2 x 45 x 13 1⁄2 in. Glazed earthenware, epoxy resin, lacquer, and paint. Photo: Jeff Elstone / George Woodman. "Blue Arm and Chinese Maiden," 2012. 24 x 19 1⁄2 in. Oil paint on gelatin silver print. Photo: Eliza Little / Pair: Betty Woodman. “His/Her Vase, Gauguin’s Nude,” 2005. 29 x 58 x 11 in. Glazed earthenware, epoxy resin, lacquer, and paint / George Woodman. “Classical De Stijl,” 2007. 16 x 20 in. Oil paint on gelatin silver print. Photo: Eliza Little / George Woodman. “Untitled,” 1987. 20 x 16 in. Gelatin silver print. Photo: Eliza Little / Betty Woodman. “Venus #12,” 2016. 34 1/4 x 16 x 5 1/2 in. Glazed earthenware, epoxy resin, lacquer, paint, and cement / George Woodman. “Euridice and Amor,” 1982. 63 x 51 in. Acrylic paint on canvas / Betty Woodman. “Green Nude,” 2007. 33 x 33 3/4 x 6 3/4 in. Glazed earthenware, epoxy resin, lacquer, and paint / George Woodman. “Untitled,” c. 1992. 41 1/4 x 33 1/2 in. Gelatin silver print.
Installation view: “Betty Woodman and George Woodman” at Charleston 2023. © The Charleston Trust; photograph: James Bellorini.
Art historical influence: "Betty Woodman and George Woodman," Charleston, East Sussex, UK, March 25-September 10, 2023
The exhibition at Charleston explores ways that Betty Woodman’s and George Woodman’s shared life and experiences over more than six decades found expression in the works that emerged from each artists’ studio. Art history significantly influenced them both, as can be seen in many of the works on view at Charleston as well as numerous other works in the Foundation’s collection, as shown here.
Betty Woodman, Pompei, Metropolitan City of Naples, Campania, Italy, c. 1990s. Woodman Family Foundation Archives.
Betty Woodman, Pompei, Metropolitan City of Naples, Campania, Italy, c. 1990s. Woodman Family Foundation Archive.
Happy birthday to Betty Woodman
Happy birthday to Betty Woodman, who was born on this day in 1930!
L to R: All artworks by Betty Woodman. Images 1-3: “Floating Beauty,” 1999. 27 x 56 x 10 1/4 in / Images 4-6: “After the Bath,” 2011. 35 x 37 1/2 x 8 in / Images 7-9: “Egyptian Diptych,” 1995. 28 x 52 x 8 in. All artworks glazed earthenware, epoxy resin, lacquer, and paint. All images Courtesy of David Kordansky Gallery. Photography: Phoebe d’Heurle.
Betty Woodman. “Floating Beauty,” 1999. 27 x 56 x 10 1/4 in. Glazed earthenware, epoxy resin, lacquer, and paint.
OPENING Friday May 12: "Betty Woodman: Diptychs," David Kordansky Gallery, Los Angeles, May 12-June 16, 2023
“Betty Woodman: Diptychs” focuses on two-part ceramic sculptures made by the artist between 1990 and 2013. The exhibition charts the evolution of Woodman's ideas about positive and negative space and sculpture and painting through these carefully composed works.
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: George Woodman, c. 1950s / George Woodman, Mexico, c. 1980. All images Woodman Family Foundation Archives.
George Woodman, c. 1950s. Woodman Family Foundation Archive.
Happy birthday to George Woodman
Happy birthday to George Woodman, who was born on this day in 1932!
L to R: Betty surveys pots fresh from the kiln in front of one of George’s tessellation paintings in the Woodmans’ living room in Antella, c. 1970s / Pair: George Woodman. “Untitled,” c. 1970. 52 x 52 in. Acrylic paint on canvas. Photo: John Berens / Betty Woodman. “The Kitchen Table,” 2014. 63 x 60 x 12 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, and wood. Private collection / One of George’s paintings in the Woodman’s bedroom, c. 1970s / The Woodmans' farmhouse in Antella, c. 1990s. Betty's studio was located in what had been the house's wine cellar. An outdoor structure was added to give her more space to work / Betty installing a Balustrade Relief Vase in the workspace just outside of her wine cellar studio, 1996 / George on the threshold of his former studio, when it had been located next to the outdoor dining area, c. 1980s / The Woodmans continued to expand the wine cellar studio. In 2008, they renovated and expanded the space significantly, transforming it into new studio for George / George decorates the exterior wall of his new studio with his version of “sgraffito,” a technique of scratching into plaster walls, popularized in 15th and 16th Century Italy and significant in the Italian Renaissance, Antella, Italy, 2008 / George and Betty in George’s wine cellar studio, 2009 / Works in progress in Betty’s most recent Antella studio, which was built into the hillside below the house and above the olive groves, 2004. All archival images Woodman Family Foundation Archives.
Betty surveys pots fresh from the kiln in front of one of George’s tessellation paintings in the Woodmans’ living room in Antella, c. 1970s. Woodman Family Foundation Archives.
NOW ON VIEW: "Betty Woodman and George Woodman," Charleston, East Sussex, UK, March 25-September 10, 2023
This exhibition at Charleston—the home and studio of artists Vanessa Bell and Duncan Grant—centers on Betty and George Woodman’s prolific time in Antella, Italy, where they lived and worked together for part each year for nearly 50 years. In addition to presenting a range of artworks exploring the couple’s mutual influences and their ongoing dialogue in a variety of media, the exhibition includes archival photographs documenting their home, life and work in Antella.
L to R: Francesca Woodman. “Small sketch for a piece about bridges and tiaras,” New York, January, 1980. 12 1/4 x 31 in. Vintage diazotype / Images 2-3: Details of “Small sketch for a piece about bridges and tiaras,” New York, January, 1980.
Francesca Woodman. “Small sketch for a piece about bridges and tiaras,” New York, January, 1980. 12 1/4 x 31 in. Vintage diazotype.
Francesca Woodman, "Small sketch for a piece about bridges and tiaras," January, 1980: STAFF PICKS
Over many years I’ve had the privilege of being first the curator of Francesca Woodman’s estate and now in my current role with the Woodman Family Foundation, I’ve had an equal number of “favorite” works by the artist. It’s a real challenge to choose just one! “Small sketch for a piece about bridges and tiaras” for me exemplifies the wit, keen observation, and inventiveness characteristic of Francesca Woodman’s photographs and points to her larger concerns as an artist.
L to R: Francesca Woodman, c. 1979-80 / Painting of cake by Francesca Woodman, c. late 1970s. Woodman Family Foundation Archives.
Francesca Woodman, c. 1979-80.
Happy birthday to Francesca Woodman
Happy birthday to Francesca Woodman—lover of sweets and occasional painter of cakes—who was born on this day in 1958!
L to R: All artworks by George Woodman. “Untitled,” 1980. 85 x 84 in / “Untitled,” c. 1980-81. 75 x 110 in / “Untitled,” c. 1980-84. 44 x 32 in. Oil paint on canvas / “Iris,” 1991. 48 x 37 1/2 in. Collection of Denver Art Museum, Denver, Colorado / “Daphne,” 1982. 78 x 60 in / Detail of "Low Balustrade Screen (Garden Balustrade Screen),” 1981 / “Low Balustrade Screen (Garden Balustrade Screen),” 1981. 42 x 151 1/2 in. Each panel 42 x 30 in. Photo: John Berens / Irene Clurman. “George Woodman.” Arts Magazine, April 1982 / Installation view, “Paper Tilings,” 1982. Acrylic paint on paper. University Galleries, Wright State University, Dayton, Ohio. Woodman Family Foundation Archive. All artworks acrylic paint on canvas unless otherwise noted.
George Woodman. “Untitled,” 1980. 85 x 84 in. Acrylic paint on canvas.
Irene Clurman on George Woodman, "Arts Magazine," April 1982: 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 her essay for "Arts Magazine” related to George Woodman’s 1982 solo exhibition at Haber-Theodore Gallery in New York, Irene Clurman discusses the transformation of Woodman’s patterns and palette into more representational forms.