All images related to Chinese Pleasure, 2007-2008, 27 x 12 x 1 feet, glazed earthenware, terra sigillatta, canvas. Images L to R: Betty Woodman / Proposal materials / Views of installation.
Betty Woodman with Chinese Pleasure (2007-2008) at the American Embassy in Beijing, 2008.
Betty Woodman’s permanent installation Chinese Pleasure at the United States Embassy in Beijing, China, 2007-2008: From the Archives…
Betty Woodman’s Chinese Pleasure (2007-2008) was commissioned by the U.S. Department of State Art in Embassies Program for the United States Embassy in Beijing. Woodman was inspired by and freely borrowed from visual influences all over the world and throughout art history, here incorporating three distinct moments in the history of Chinese art, ranging from Sichuan bronzes to popular culture into this dramatic installation.
Images from L to R: The Woodman family at home in Boulder, Colorado, circa 1963 / Sirotkin House, designed by Tician Papachristou, 1959, Boulder, Colorado, courtesy M. Gerwing Architects / Images 3-7: Interior and exterior views of the Woodman family home in the Sirotkin House, circa 1960s / Baskets in Betty’s studio before one of her twice-yearly sales.
The Woodman family at home in Boulder, Colorado, circa 1963.
The Woodmans in Boulder, Colorado, 1960s: From the Archives…
In 1960, after returning to Boulder, Colorado, from their first year together in Italy, the Woodman family moved into the Sirotkin House. One of more than a dozen modernist homes in Boulder by architect Tician Papachristou, the house was designed for the original owner as a pair with the house next door.
Images left to right: Betty Woodman working at the Manufacture nationale de Sèvres, France, c. 1987 / Installation views, Betty Woodman: L’allegra vitalità delle porcellane, Palazzo Pitti, Museo delle Porcelane, Florence, Italy, 2010 / Betty Woodman. Puccini, 1989. 6 x 13.2 x 8.274 in. Glazed porcelain / Betty Woodman. Beccafumi, 2002. 8.9 x 7.9 x 8.2 in. Glazed porcelain. © Woodman Family Foundation.
Betty Woodman working at the Manufacture nationale de Sèvres, France, c. 1987.
Betty Woodman's Sèvres porcelain, 1987: From the Archives…
In 1987, Betty Woodman began her work at the Manufacture nationale de Sèvres, as an artist invited by the French Ministry of Culture. Over the course of more than twenty years, she made a series of sculptural vases and cups and saucers in brilliantly decorated porcelain, later shown at the Palazzo Pitti in her adopted home city of Florence.
Images from left to right: Francesca and Charlie in their grembiule (Italian school uniforms), c. 1965-66 / George Woodman’s studio in a 16th century building, Italy, c. 1965-66 / Betty Woodman in her studio, Italy, 1965 / Francesca drawing in an Italian museum, c. 1965-66 / Charlie and Betty at the market, c. 1965-66 / George, Francesca and Betty in Italy, c. 1965-66.
Francesca and Charlie in their grembiule (Italian school uniforms), c. 1965-66.
The Woodmans in Italy, 1960s: From the Archives…
Beginning in 1965, Betty, George, Charlie and Francesca Woodman spent an influential year together as a family in Italy, immersed in museums, art, and culture. Their affinity for Florence took root, leading to the acquisition of a farmhouse in Antella several years later that has served as a family and creative nucleus ever since.
Cover and pages from Pattern, Crime & Decoration catalogue, edited by Franck Gautherot and Seungduk Kim, MAMCO, Geneva, Le Consortium, Dijon, 2020.
George Woodman and Betty Woodman featured in newly released "Pattern, Crime & Decoration" exhibition catalogue
The catalogue for Pattern, Crime & Decoration—a two-part exhibition at MAMCO, Geneva and Le Consortium, Dijon —focuses on the work of artists associated with the Pattern and Decoration movement in the US. It includes paintings by George Woodman and wall-based ceramic sculptures by Betty Woodman.
Images from left to right: Brochure for Betty Woodman / MATRIX 119, Wadsworth Atheneum, Hartford, Connecticut, 1992 / Installation view from Betty Woodman / Matrix 119. Etruscan Vases, 1965-1966, Wadsworth Atheneum, Hartford Connecticut, 1992.
Brochure for Betty Woodman / MATRIX 119, Wadsworth Atheneum, Hartford, Connecticut, 1992.
Betty Woodman at the Wadsworth Atheneum in Hartford, Connecticut, 1992: From the Archives…
Her exhibition in the Matrix series at Wadsworth Atheneum in 1992 helped to define a context for Betty Woodman's work in ceramics within the larger world of contemporary art, highlighting "that Woodman sees herself ‘dealing with painting as much as with sculpture.'"
Betty Woodman. The Red Table, 2014.
Betty Woodman in "For a Dreamer of Houses" at Dallas Museum of Art
Betty Woodman’s The Red Table (2014) is included in this exhibition of works from the museum’s collection which explore the significance of our domestic spaces.
Betty Woodman. Joined Vases, 1972.
Betty Woodman in "Making Knowing: Craft in Art, 1950-2019" at Whitney Museum of American Art
This exhibition of works spanning 70 years looks at ways that artists draw on craft traditions and materials. It includes multiple works by Betty Woodman, from her early push beyond production pottery to more recent works showcasing her talents as a painter and sculptor.
All artworks by Betty Woodman.
PLOTLINE 3: BETTY WOODMAN / Alluding to Architecture
Betty Woodman is widely known for her seven-decade, groundbreaking engagement with clay, in particular her deconstruction and re-framing of the classical vase.
Betty and George Woodman in Antella, Italy, c. 2010s.
Happy Anniversary, Betty and George Woodman
Today we celebrate what would have been Betty and George Woodman’s 67th wedding anniversary.
Betty with flowers from her garden, Antella, Italy, c. 2015. Woodman Family Foundation Archives.
Happy Birthday, Betty Woodman
Happy Birthday to Betty! Celebrating and missing her indefatigable spirit, zest for life, and myriad talents.
Betty Woodman. Of Botticelli, 2013.
Betty Woodman in "Less is A Bore: Maximalist Art & Design" at ICA Boston
Ceramic and mixed-media installations spanning Betty Woodman’s career are featured in this exuberant exhibition of works tracing the legacy of Pattern and Decoration.