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.

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.

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 the catalogue that accompanied the exhibition Francesca Woodman, presented at SFMOMA, San Francisco in 2011 and the Guggenheim Museum, New York, in 2012, Guggenheim Senior Curator of Photography Jennifer Blessing writes about the primacy of process in Francesca Woodman’s work in video

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. “FEEL MORE: Ahead of her solo exhibition at the Institute of Contemporary Arts, London, Betty Woodman talks to Amy Sherlock about ceramic histories and modern painting.”

In 1984, George Woodman’s first public commission in ceramic tile was installed in the Delavan-Canisius NFTA-Metro station in Buffalo, New York. Three walls in the station’s mezzanine—measuring 11 feet high by 72 feet long in total—are still today covered in pattern made from 8 inch square tiles, greeting riders as they pass from the trains to the street.

"Francesca Woodman: The Artist’s Books" collects for the first time every page of all eight of Francesca Woodman’s unique artist’s books in one comprehensive volume, including two newly discovered books which have never before been seen alongside better-known titles such as "Some Disordered Interior Geometries."

Photographers Francesca Woodman and Julia Margaret Cameron are two of the most influential women in the history of photography. They lived a century apart – Cameron working in the UK and Sri Lanka from the 1860s, and Woodman in America and Italy from the 1970s. Both women explored portraiture beyond its ability to record appearance – using their own creativity and imagination to suggest notions of beauty, symbolism, transformation and storytelling.

“Betty Woodman and George Woodman” is the first UK exhibition to show both artists' work together, celebrating the work of ground-breaking American ceramic artist Betty Woodman and the painter and photographer George Woodman.

In January of 1996, Betty and George Woodman escaped a snowy Colorado winter to join their good friends Bud and Barbara Shark in Holualoa on the Big Island of Hawaii.

“The painted photographs of George Woodman are ripe with mental connections, rich evidence of the artist’s talent for noticing, for witnessing, for making new wholeness,” wrote Clayton Maxwell in a 2012 essay for EYEMAZING magazine, which accompanied a portfolio of his photographs combined with oil paint and other images.

NOW OPEN Francesca Woodman in “FEMME FATALE. Gaze—Power—Gender” at Hamburger Kunsthalle, Hamburg, Germany. On view through April 10, 2023. Curated by Dr. Markus Bertsch.

Excerpt from the documentary “Betty Woodman: Thinking Out Loud,” 1991 © Charles Woodman.