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The Woodman Family Foundation was established by Betty Woodman (1930-2018) and George Woodman (1932-2017) during their lifetimes. Love of beauty was at the heart of their lives and art. In this spirit, the Foundation is dedicated to stewarding the artistic legacies of Betty, George, and their daughter, Francesca Woodman (1958-1981).

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George Woodman's geometric sculptures. "George Woodman: A Democracy of Parts, Paintings 1966-1978"
George Woodman's geometric sculptures. "George Woodman: A Democracy of Parts, Paintings 1966-1978"
George Woodman’s tessellated pattern paintings built upon observations made in the three-dimensional realm of architecture, specifically in the tiled surfaces that covered walls and floors as they emerged from and receded into space.
George Woodman's tessellations. "George Woodman: A Democracy of Parts, Paintings 1966-1978"
George Woodman's tessellations. "George Woodman: A Democracy of Parts, Paintings 1966-1978"
Tessellations are a type of pattern in which one or more geometric shapes are repeated—and often rotated and reflected—to seamlessly cover a surface. In George Woodman’s case, that surface was a canvas.
George Woodman in dialogue with New York minimalist painters. “George Woodman: A Democracy of Parts, Paintings 1966-1978”
George Woodman in dialogue with New York minimalist painters. “George Woodman: A Democracy of Parts, Paintings 1966-1978”
In her essay for the exhibition’s catalogue—“The Mind as it Measures: George Woodman’s Patterns”—curator Rebecca Skafsgaard Lowery discusses Woodman’s approach to pattern and color in the context of his contemporaries.
George Woodman's travels to Alhambra, Granada, Spain. "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York
George Woodman's travels to Alhambra, Granada, Spain. "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York
In 1965, George Woodman visited Granada, Spain to see the Alhambra, the iconic monument to Islamic architecture where geometry, ornamentation and architecture harmoniously converge in a multitude of tiled and carved surfaces.
George Woodman's year in Florence, Italy. "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York
George Woodman's year in Florence, Italy. "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York
From the fall of 1965 through the summer of 1966, George Woodman spent the year living and working near Florence, Italy. It was in this year that the presence of pattern and attention to color that characterized his earlier paintings took a definitive turn.
CLOSING SOON: The Woodman Family Foundation Housing Stability Grant for Artists
CLOSING SOON: The Woodman Family Foundation Housing Stability Grant for Artists
Applications for the Woodman Family Foundation Housing Stability Grant for Artists (WFF HSG) will close next week on Tuesday, APRIL 8.
NOW OPEN: The Woodman Family Foundation Housing Stability Grant for Artists
NOW OPEN: The Woodman Family Foundation Housing Stability Grant for Artists
The Woodman Family Foundation Housing Stability Grant for Artists (WFF HSG) is now open for applications
OPENING April 3: "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York, 2025
OPENING April 3: "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York, 2025
Focusing on geometric abstractions from a significant period within the artist's six-decade career, this exhibition traces the development of George Woodman's singular approach to pattern.
George Woodman in "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado
George Woodman in "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado
In December of 1963, George Woodman opened an exhibition of his recent paintings at the Henderson Gallery at University of Colorado, Boulder, where he also taught painting and philosophy of art. These paintings—made in 1962 and 1963—moved away from the loose abstraction he had previously applied to painting the landscape and towards an approach that recalled maps and aerial views.
Betty Woodman and her kilns: FROM THE ARCHIVES
Betty Woodman and her kilns: FROM THE ARCHIVES
Throughout her career, Betty Woodman embraced the possibilities that different kilns and firing techniques offered, adapting her approach to the materials available in the diverse places where she lived and worked.
Alice Butler on Francesca Woodman in "Gestures: A Body of Work," 2025: READING ROOM
Alice Butler on Francesca Woodman in "Gestures: A Body of Work," 2025: READING ROOM
In "Gestures: A Body of Work," first published this year, editors Alice Butler, Nell Osborne, and Hilary White compile a series of essays which explore embodied, affective, and political gesture in feminist art and writing. In her own contribution to the collection, Butler delves into the ways Woodman uses textiles in her photographs and their relationship to bodies and touch.
The Woodmans and the use of white
The Woodmans and the use of white
Betty Woodman and George Woodman are often celebrated for their exuberant use of color, while Francesca Woodman is best known for her dramatic black-and-white photographs, filled with shades of grey. Working across different mediums and methods, the Woodman artists used white—and the absence of color—to fascinating effects.