Francesca Woodman

PLOTLINE 5 considers the performative aspects of Francesca Woodman’s practice. In her photographs and videos, Woodman claimed the female body as subject by using her own - staging and sequencing its movements, capturing it in motion. The bodily, temporal, and spatial concerns in Woodman’s work align her with the feminist performance art of her time. Woodman’s photographs reveal traces of her carefully constructed performative process.

Katy Hessel of The Great Women Artists Podcast interviews Katarina Jerinic, the Woodman Family Foundation’s Collections Curator, on Francesca Woodman’s work and life. The two discuss photographs made in Providence, Italy and New York and Jerinic shares some of Woodman’s own words and ideas found in the Foundation's archives.

Francesca Woodman's love of dessert was well-known to her family and friends, often coming up in letters or conversations, and even in two paintings she made in the late 1970s.

LAST CHANCE to see Francesca Woodman in "The Body Electric" at the National Gallery of Australia!

Francesca Woodman often used the backs of her photographs to write letters to family and friends, addressing, stamping and dropping her prints directly into the mailbox. In this exchange between her and George from April 1977, they discuss her first forays into fashion photography and other news from Providence and Boulder.

LAST CHANCE to see Francesca Woodman: New York Works in Venice this week! On view through Saturday, December 12, 2020 at Victoria Miro Venice.

From 1972-1973, Francesca Woodman studied at Abbot Academy, one of the few high schools in the US at the time to offer a concentrated art program. It was there that Francesca met Wendy Snyder MacNeil, her earliest, highly influential teacher who introduced her to the creative and expressive capabilities of photography.

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.

This exhibition centers on a rare series of color photographs that Francesca Woodman staged in her New York apartment in 1979.

In the spring of 1980, Francesca Woodman’s 'Blueprint for a Temple' was included in the exhibition 'Beyond Photography' at the Alternative Museum in New York City. This ambitiously-scaled work, made from photographs printed on architect’s blueprint paper, is now in the collection of the Metropolitan Museum of Art.

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.

Not long after Francesca Woodman arrived in Rome in 1977 on the RISD European Honors Program, she discovered the surrealist bookshop Maldoror, where she later had her first solo exhibition in Europe. She made unique, individual invitations to the show, each featuring one of her photographs attached to a postcard.