Installation view of Francesca Woodman’s Caryatid series at the National Portrait Gallery, London, 2024. Photograph by David Parry.
"An Unexpected Pairing of Francesca Woodman and Julia Margaret Cameron" in "Aperture," May 16
Read Stephen Frailey's review of Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery on Aperture.
Francesca Woodman, Untitled, c. 1977–78. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
"Photography’s Shooting Star" in "Air Mail," March 16
Read Sarah Hyde's feature on Francesca Woodman and exhibitions Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery & Francesca Woodman at Gagosian on Air Mail.
Pair: Julia Margaret Cameron. "The South West Wind," 1864. © The Metropolitan Museum of Art, New York. / Francesca Woodman, "House #3," from the "House" series, 1976 © Woodman Family Foundation/DACS, London.
"Two Visionary Women Photographers Collide in Unexpected Museum Showcase" in "Artnet," May 3
Read Jo Lawson-Tancred's review of Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery on Artnet.
Francesca Woodman, "House #3," from the "House" series, 1976 © Woodman Family Foundation/DACS, London.
"‘Portraits to Dream In’ goes beyond the usual appraisals of art by women" in "British Journal of Photography," April 5
Read Eliza Goodpasture's review of Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery on the British Journal of Photography.
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Pair: Julia Margaret Cameron. "I Wait (Rachel Gurney)," 1872. Albumen print. J. Paul Getty Museum, Los Angeles / Francesca Woodman. "Untitled," from the "Angels" series, 1977, 3 1/4 x 3 1/4 in. (8.255 x 8.255 cm). Gelatin silver print © Woodman Family Foundation / DACS, London.
"The dreamlike visions of Julia Margaret Cameron and Francesca Woodman" in Apollo Magazine, April 5
Read Sarah Watling's review of Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery on Apollo Magazine.
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Pair: Francesca Woodman. "Untitled," 1979, 7 3/8 x 9 1/2 in. (18.6 x 24 cm). Gelatin silver print © Woodman Family Foundation / DACS, London / Julia Margaret Cameron. "The Dream (Mary Hillier)," 1869. Courtesy of the Wilson Centre for Photography.
"Francesca Woodman and Julia Margaret Cameron at the NPG review: hundreds of unforgettable, magnificent images" in "The Standard," March 19
Read Ben Luke's review of Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery on The Standard.
Pair: Francesca Woodman. "These People Live in That Door," c 1976-77. Gelatin silver print. / Francesca Woodman, "Polka Dots #5," from the "Polka Dots" series, 1976. Gelatin silver print. © Woodman Family Foundation / DACS, London
"Step into Francesca Woodman and Julia Margaret Cameron's dreamy photographs in London" in "Wallpaper*," April 26
Read Katie Tobin's review of Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery on Wallpaper*.
Francesca Woodman. "Untitled," from the "Caryatid" series, 1980, 79 1/2 x 36 1/4 in. (201.93 x 92.075 cm). Diazotype © Woodman Family Foundation / DACS, London.
"Portraits to Dream In is more than token feminism – it’s heaven" in "The i Paper," March 21
Read Hettie Judah's review of Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery on The i Paper.
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L to R: Brooke Holmes, WFF Collections Curator Katarina Jerinic, and WFF Executive Director Lissa McClure in conversation on Francesca Woodman, Gagosian, New York.
In conversation: Brooke Holmes, Katarina Jerinic, and Lissa McClure on Francesca Woodman
Join Brooke Holmes, professor of Classics at Princeton University, and Lissa McClure and Katarina Jerinic, executive director and collections curator, respectively, at the Woodman Family Foundation as they discuss Francesca Woodman’s preoccupation with classical themes and archetypes, her exploration of the body as sculpture, and her development of photography’s capacity to invest representation with allegory and metaphor.
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Pair: Francesca Woodman. "Self-Portrait at Thirteen," c. 1972, 6 3/4 x 6 11/16 in. (17.145 x 16.988 cm). Gelatin silver print © Woodman Family Foundation / DACS, London. / Julia Margaret Cameron. "Annie (My very first success in Photography)," 1864 © National Science & Media Museum / Science & Society Picture Library.
"Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In by Isabelle Young" on "Doris Press," April 23
Read Isabelle Young's review of Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In at the National Portrait Gallery on Doris Press.
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L to R: Pair: Julia Margaret Cameron. “Vivien and Merlin,” 1874 / Francesca Woodman. “Charlie the Model #9,” c. 1976-77 / Julia Margaret Cameron. “Vivien and Merlin,” 1874, 322 x 256 mm. Albumen print. National Portrait Gallery, London / Francesca Woodman. “Charlie the Model #9,” c. 1976-77, 5 1/4 x 5 1/8 in. (13.3 x 13 cm). Gelatin silver print / Julia Margaret Cameron. “Lady Elcho/A Dantesque Vision,” 1865, 273 x 225 mm. Albumen print. Victoria and Albert Museum / Francesca Woodman. “Untitled,” c. 1977-78, 3 1/4 x 3 1/4 in. (8.255 x 8.255 cm). Gelatin silver print / Julia Margaret Cameron. “Daphne (Mary Pinnock),” 1866-68, 352 x 272 mm. Albumen print. Ashmolean Museum, University of Oxford / Francesca Woodman. “Untitled,” 1980, 4 3/8 x 3 15/16 in. (11.113 x 10.003 cm). Gelatin silver print / Julia Margaret Cameron. “May Prinsep,” 1868, 324 x 232 mm. Albumen print. The Metropolitan Museum of Art / Francesca Woodman. “Corner With Lily,” 1978, 8 7/16 x 8 3/8 in. (21.433 x 21.273 cm). Gelatin silver print/ Pair: Julia Margaret Cameron. “May Prinsep,” 1868 / Francesca Woodman. “Corner With Lily,” 1978. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Julia Margaret Cameron. “Vivien and Merlin,” 1874, 322 x 256 mm. Albumen print. National Portrait Gallery, London / Francesca Woodman. “Charlie the Model #9,” c. 1976-77, 5 1/4 x 5 1/8 in. (13.3 x 13 cm). Gelatin silver print. © Woodman Family Foundation / DACS, London.
Mythology. "Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, 2024
In “Portraits to Dream In,” Francesca Woodman’s and Julia Margaret Cameron’s photographs are paired not based on chronology or art historical influence, but rather with an eye to ways that considering the work of these two artists side by side allows for new readings of each of their work and intentions.
L to R: Pair: Francesca Woodman. “Angels,” c. 1977-78 / Julia Margaret Cameron. “The Angels at the Sepulchre,” 1869-70 | Francesca Woodman. “Angels,” c. 1977-78, 3 13/16 x 3 3/4 in. (9.685 x 9.525 cm). Gelatin silver print | Julia Margaret Cameron. “The Angels at the Sepulchre,” 1869-70, 353 x 256 mm. Albumen print. Victoria and Albert Museum | Julia Margaret Cameron. “Cupid & Psyche,” 1864-65, 270 x 230 mm. Albumen print. Victoria and Albert Museum | Francesca Woodman. “Untitled,” c. 1977-78, 3 15/16 x 3 15/16 in. (10.003 x 10.003 cm). Gelatin silver print | Julia Margaret Cameron. “The Angel at the Tomb,” 1869, 344 x 252 mm. Albumen print. The J. Paul Getty Museum, Los Angeles | Francesca Woodman. “Untitled,” from the “Angels” series, 1977. 3 1/4 x 3 1/4 in. (8.255 x 8.255 cm). Gelatin silver print | Julia Margaret Cameron. “I Wait (Rachel Gurney),” 1872, 327 x 254 mm. Albumen print. The J. Paul Getty Museum, Los Angeles | A visitor to “Francesca Woodman and Julia Margaret Cameron: PortraIts to Dream In” looks at photographs by Francesca Woodman and Julia Margaret Cameron depicting angels and cherubs at the National Portrait Gallery. Photo © David Parry | Francesca Woodman. “Untitled,” c. 1977-78, 5 1/16 x 4 13/16 in. (12.86 x 12.225 cm). Gelatin silver print. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Pair: Francesca Woodman. “Angels,” c. 1977-78 © Woodman Family Foundation / DACS, London / Julia Margaret Cameron. “The Angels at the Sepulchre,” 1869-70
Angels. “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In,” National Portrait Gallery, 2024
“In diverse cultural histories over millennia, angels have had the capacity to move between spiritual and earthly realms, the conscious and unconscious, and are often met in a dream or vision,” exhibition curator Magdalene Keaney writes in the catalogue for “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In.”