Exhibition

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.

"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.

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.

Francesca Woodman was a frequent visitor to the Maldoror bookshop during the year she spent studying in Rome. In the hours she spent rooting through the stacks there, she began to collect old notebooks filled with elaborate handwriting exercises and objective mathematical lessons, all in Italian.

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.