L to R: “Betty Woodman: Conversations on the Shore, Works from the 1990s.” Designed by Laura Coombs. Published by David Kordansky Gallery, 2024. Images 1, 5-8 courtesy of AIGA.
“Betty Woodman: Conversations on the Shore, Works from the 1990s.” Designed by Laura Coombs. Published by David Kordansky Gallery, 2024. Image courtesy of AIGA.
“Betty Woodman: Conversations on the Shore, Works from the 1990s” selected for awards
Thrilled to announce that “Betty Woodman: Conversations on the Shore, Works from the 1990s”—the exhibition catalogue designed by Laura Coombs for Woodman’s 2022 solo show at David Kordansky Gallery—has been named a Winner of AIGA 50 Books | 50 Covers of 2024.
L to R: “Untitled,” c. 1976, 4 11/16 x 4 5/8 in. Gelatin silver print | "Self-Portrait at Thirteen,” c. 1972, 6 3/4 x 6 11/16 in. Gelatin silver print | “Untitled,” c. 1977-78, 5 15/16 x 5 7/8 in. Gelatin silver print | “The Woman Question 1550–2025,” edited by Alison M. Gingeras. The University of Chicago Press, 2026. All works by Francesca Woodman © Woodman Family Foundation / ZAIKS, Warsaw.
Francesca Woodman. “Untitled,” c. 1976, 4 11/16 x 4 5/8 in. Gelatin silver print © Woodman Family Foundation / ZAIKS, Warsaw
ON VIEW: Francesca Woodman in “The Woman Question 1550-2025,” Museum of Modern Art in Warsaw, Warsaw, Poland, 2025
Curated by Alison M. Gingeras, this exhibition brings together nearly 200 works that defy the myth of women’s absence from art history. Spanning 500 years—from the Renaissance and Baroque to the 20th century—it offers a powerful visual history of women’s centuries-long "emancipation."
L to R: 1: “Naiads and Poppies,” 2002, 20 x 12 in. Gelatin silver print | 2: Mary Delany. “Punica Granatum,” 1778. Paper collage with body color, watercolor, ink. Collection of the British Museum | 3: “Lovers within Venus,” 1990, 14 1/2 x 20 in. Gelatin silver print | 4: “The Choreography of Saskia,” 2004, 23 3/4 x 19 3/4 in. Chromogenic print | 5: Spread from “Mrs. Delany: her life and her flowers,” 1986 | 6: “Saskia Hiding in a Bouquet,” c. 2002-04, 23 3/4 x 19 3/4 in. Chromogenic print | 7: Excerpt from “A Certain Presence.” “Paper Tilings by George Woodman,” 1982 | 8: “Paper Tilings,” 1981. Installation view, Wright State University, Dayton, OH, 1981 | 9: “Untitled,” c. 1980-84, 44 x 32 in. Oil on canvas | 10: Exhibition pamphlet, “Mrs. Delany’s Flower Collages: From the British Museum,” 1986 | 11-12: George Woodman. “Gulliver in the Garden.” The Village Voice, 4 November 1986 | 13: “The Vivienne Panels III,” c. 1993, 41 1/4 x 79 3/4 in. Gelatin silver print | 14: “Mrs. Delany: her life and her flowers,” 1986. All works by George Woodman unless indicated otherwise © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman. “Naiads and Poppies,” 2002, 20 x 12 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman's review of "Mrs. Delany’s Flower Collages,” the Village Voice, 1986
George Woodman’s writings offer rare insight into his artistic sensibilities and philosophy. A prolific commentator on both his own work and that of others, his 1986 review in the Village Voice of “Mrs. Delany’s Flower Collages” at the Pierpont Morgan Library (now Morgan Library and Museum) reveals much about his enduring preoccupations.
L to R: 1: City Council Member Keith Powers | 2: NYFA’s Board Chair Sarah Young O’Donnell | 3: City Council Member Erik Bottcher | 4: Actor André De Shields. Photo: Phil O’Brien. New York City Hall, New York, November 12, 2025.
City Council Member Keith Powers, New York City Hall, New York, November 12, 2025
Artist Housing Press Conference at City Hall, November 12, 2025
WFF was pleased to attend a press conference at City Hall hosted by City Council Members Keith Powers and Erik Bottcher to announce their proposed new legislation that will lower the barriers to create affordable housing for artists in New York City.
WFF Housing Stability Grant Awarded
The first round of funds have officially been sent to recipients of the inaugural WFF Housing Stability Grant for Artists (WFF HSG)!
L to R: 1: "Lightning" or "Lightning Legs," 1976, 5 x 5 1/8 in. | 2: "Space²," 1976, from the "Space²" series, 5 1/8 x 5 1/16 in. | 3: "Untitled," 1977, 3 1/16 x 3 1/8 in. | 4: Installation view, “Women Photographers 1853-2018," National Gallery of Australia, Canberra, Australia, 2025. Photo courtesy and copyright National Gallery of Australia. All lifetime gelatin silver prints. Collection of the National Gallery of Australia. Works by Francesca Woodman © Copyright Agency, Sydney
Francesca Woodman. "Lightning" or "Lightning Legs," 1976, 5 x 5 1/8 in © Woodman Family Foundation / Copyright Agency, Sydney
ON VIEW: Francesca Woodman in “Women Photographers 1853-2018,” National Gallery of Australia, Canberra, Australia, 2025
Curated by Anne O’Hehir, Magdalene Keaney, and Shaune Lakin, this exhibition explores how women have reshaped the photographic landscape through works spanning more than 160 years.
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L to R: 1: “Chandelier”, 2004. Glass, gold, painted aluminum, wire and light bulbs, 24 x 71 x 31 inches, detail view | 2: “Chandelier”, 2004 | 3: Excerpt, correspondence between Betty Woodman’s studio and vendors, January 2004 | 4: Excerpt, correspondence between Betty Woodman’s studio and vendors, May 2004 | 5: Liquid gold samples, fired at 620° C for 30 min. | 6: Betty Woodman’s notes | 7: “La Coupe des Plaisirs”, 2003/2004. Glass, gold | 8: Packing list, Reusche & Co., 2007 | 9: “Charpentier”, 2007. Glazed soft-paste porcelain | 10: “Rosa Bonheur”, 2007. Glazed soft-paste porcelain | 11: “Chardin”, 2007. Porcelain | 12: Gold foil samples, Italy | 13: "Santa Maria Della Quercia Drawing”, 2005. Terra sigillata, ink and gold leaf on paper. Woodman Family Foundation Archives. All artworks by Betty Woodman © Woodman Family Foundation / ARS, New York
Betty Woodman, detail of “Chandelier”, 2004, 24x71x31 in. Glass, gold, painted aluminum, wire and light bulbs © Woodman Family Foundation / ARS, New York
Betty Woodman's pursuit of gold
Betty Woodman's creative process was deeply informed by travel and she often returned home with ideas sparked by experiences working abroad, drawing inspiration from the techniques she encountered during residencies. An example of these influences is Woodman’s pursuit of the radiant gold that appears throughout her work.
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L to R: 1: Agnes Gund and Betty Woodman, Antella, Italy, c. 2000s | 2: Agnes Gund and George Woodman, Italy, c. 1990s. Woodman Family Foundation Archives.
Agnes Gund and Betty Woodman, Antella, Italy, c. 2000s. Woodman Family Foundation Archives
Celebrating the life and impact of Agnes Gund
Tireless advocate and patron saint of art and social justice. Devoted friend and supporter to so many artists, curators, and institutions, including Betty Woodman and George Woodman and many of our Board members. Equity-focused creator of Studio in a School and the Studio Institute, whose summer interns we've been fortunate to host for many years.
L to R: 1: George Woodman. “Paper Tilings,” 1981. Installation view, Wright State University, Dayton, OH, 1981 | 2, 3: Correspondence from Betty to George, 1952. Woodman Family Foundation Archives | 4: Detail from “Paper Tilings,” 1981, Wright State University | 5: Henri Matisse. “La Vierge et l’Enfant,” 1950. From “Matisse: From Color to Architecture” | 6: George Woodman. Paper tiles, 1980. Installation view, Denver Art Museum, Denver, CO, 1980 | 7: Henri Matisse. “L’Oiseau,” 1946. From “Matisse: From Color to Architecture” | 8: Spread from “Matisse: From Color to Architecture” | 9: Chapelle du Rosaire, Vence, France. Photo © David Huguenin | 10: George Woodman. “Sentimental Geometry,” 1981, 120 x 252 in. Hand-painted paper tiles. Installation view, Yellowstone Art Center, Billings, MT, 1981 | 11: Chapelle du Rosaire, Vence, France. Photo © Musée Matisse de Nice | 12: Betty Woodman. “The Chapel,” 2011, 105 x 86 x 13 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, wood, canvas | 13: Henri Matisse. “L’Arbre de Vie,” 1949. From “Matisse: From Color to Architecture” | 14: Betty Woodman. “Windows of Matisse,” 2005, 37 x 44 1/2 x 7 1/2 in. Glazed earthenware, epoxy resin, lacquer, paint | 15: Page from “Paper Tilings by George Woodman,” 1981 | 16: “Matisse: From Color to Architecture” by René Percheron and Christian Brouder, 2004. Works by Matisse © Succession H. Matisse / Artists Rights Society (ARS), New York. Works by Betty Woodman and George Woodman © Woodman Family Foundation / ARS, New York
George Woodman. “Paper Tilings,” 1981. Installation view, Wright State University, Dayton, OH, 1981 © Woodman Family Foundation / ARS, New York
Matisse’s influence on the Woodman family: La Chapelle du Rosaire
Matisse’s influence on the Woodman family is evident not only in the joie de vivre and cut-out forms of Betty Woodman’s ceramic sculptures, but also in the architectural sensibilities that inform both her and George Woodman’s work. George’s site-specific paper tile installations, in particular, invite comparison to Matisse’s Chapelle du Rosaire—not through direct lineage, but through a shared devotion to formal clarity, and the transformative potential of scale and repetition.
L to R: 1-3, 5, 6: Installation views, “The Mad MAD World of Jonathan Adler,” Museum of Arts and Design, 2025 | 4: Betty Woodman. “Indonesian Napkin Holder,” 1984, 18 1/2 x 22 1/2 x 10 1/2 in. Glazed earthenware © Woodman Family Foundation / Artists Rights Society (ARS), New York | 7: Installation view, “The Mad MAD World of Jonathan Adler" © Museum of Arts and Design
Installation view, “The Mad MAD World of Jonathan Adler,” Museum of Arts and Design, 2025
ON VIEW: Betty Woodman in "The Mad MAD World of Jonathan Adler,” Museum of Arts and Design, New York, New York, 2025
Curated by potter, interior designer, and author Jonathan Adler, this vibrant exhibition at MAD brings together over 60 works from the museum’s permanent collection, juxtaposed with Adler’s own iconic designs.
L to R: 1, 5: Installation views from “Places to Dream,” Kunsten Museum of Modern Art Aalborg, Aalborg, Denmark, 2025 © Niels Fabæk, Kunsten Museum of Modern Art Aalborg | 2: “Untitled,” 1980. Archival pigment print | 3: “Untitled,” 1979, 3 3/8 x 3 1/2 in. Digital chromogenic print | 4: “Untitled,” 1979, 3 3/8 x 3/12 in. Digital chromogenic print | 6: “Space2, 1976, from the Space2 series. 5 7/8 x 5 5/8 in. Gelatin silver print. All artworks by Francesca Woodman © Woodman Family Foundation / VISDA, Copenhagen
Installation view from “Places to Dream,” Kunsten Museum of Modern Art Aalborg, Aalborg, Denmark, 2025 © Niels Fabæk, Kunsten Museum of Modern Art Aalborg
ON VIEW: Francesca Woodman in "Places to Dream," Kunsten Museum of Modern Art Aalborg, Aalborg, Denmark, 2025
This September marks the final opportunity to view Places to Dream, an exhibition featuring photographs by Francesca Woodman alongside works by Cindy Sherman, Ana Mendieta, Birgit Jürgenssen, and Nan Goldin, among others.
L to R: 1: Francesca Woodman. “Untitled,” 1976, 6 1/2 x 7 in. Gelatin silver print | 2: Betty Woodman. “Beach Girls,” 2013, 21 x 31 1/2 in. India ink, clay, pencil and acrylic paint on paper | 3: Francesca Woodman. “Untitled,” 1976, 6 3/8 x 6 3/8 in. Gelatin silver print | 4: Betty Woodman. “At the Beach,” 2007, 50 x 84 1/2 x 0 1/2 in. Glazed earthenware, canvas, terra sigillata | 5: Francesca Woodman. “Seashore Circle,” 1976, 5 3/16 x 5 3/16 in. Gelatin silver print | 6: Betty Woodman. “Balustrade Relief Vase: 97-8,” 1997, 57 x 62 x 9 in. Glazed earthenware | 7: George Woodman. “Betty at the Seashore,” 1995, 12 x 9 1/2 in. Gelatin silver print | 8: Betty Woodman. “Low Triptych: Seaside Still Life,” 2006, 24 1/2 x 74 1/2 x 9 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint | 9: Francesca Woodman. “Untitled,” c. 1979-80, 6 1/2 x 9 5/8 in. Gelatin silver print | 10: Betty Woodman. “Posing with Vases at the Beach,” 2008, 33 x 81 x 6 3/4 in. Glazed earthenware, epoxy resin, lacquer, paint | 11: Betty Woodman. “Conversations on the Shore,” 1994, 84 x 142 x 53 in. Glazed earthenware, epoxy resin, lacquer, paint © Woodman Family Foundation / Artists Rights Society (ARS), New York
Francesca Woodman. “Untitled,” 1976, 6 1/2 x 7 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York
The Woodmans and the alluring shores
Betty Woodman, Francesca Woodman, and George Woodman also succumbed to the lure of beaches and seashores in their work, each artist reimagining the beachscape with a distinct sensibility and overlapping visual languages.