Francesca Woodman

On the occasion of “Francesca Woodman: Alternate Stories,” Marian Goodman Gallery commissioned eight video vignettes by an array of art historians, curators, and artists, each whom brought their own perspective to Woodman’s work and the exhibition currently on view. In this video, Ann Gabhart, Woodman Family Foundation Board member, former Director of the Wellesley College Museum, and curator of Woodman’s first solo museum exhibition at Wellesley and Hunter Colleges in 1986, reflects on her early experiences with and impressions of Woodman’s work.

On the occasion of "Francesca Woodman: Alternate Stories," Marian Goodman Gallery commissioned eight video vignettes by an array of art historians, curators, and artists, each whom brought their own perspective to Woodman’s work and the exhibition currently on view. In this video, Drew Sawyer, the Brooklyn Museum's Phillip Leonian and Edith Rosenbaum Leonian Curator, discusses Woodman's historical references and artistic affinities among her and her peers.

Read a review on "Francesca Woodman: Alternate Stories" by Arthur Lubow in The New York Times. The exhibition is currently on view at Marian Goodman Gallery, New York through December 23.

On the occasion of "Francesca Woodman: Alternate Stories," Marian Goodman Gallery commissioned eight video vignettes by an array of art historians, curators, and artists, each whom brought their own perspective to Woodman’s work and the exhibition currently on view. In this video, Chris Kraus, the American critic and writer, talks through Francesca Woodman's artistic process.

Francesca Woodman was a frequent visitor to the Maldoror bookshop during the year she spent studying in Rome. In the hours she spent rooting through the stacks there, she began to collect old notebooks filled with elaborate handwriting exercises and objective mathematical lessons, all in Italian.

"While I was in Rome my Junior year I began to work with the ideas that presently occupy me,” Francesca Woodman wrote in 1980. “I also met a number of Italian artists who shared similar concerns in other mediums. In June we had a show at the Ugo Ferranti Gallery, my first exhibition in a prestigious gallery. That year I also showed at the Libreria Maldoror, a book store and gallery specializing in Futurist and Dada Literature. The owners introduced me to many rare books and writers, ets.”

Francesca Woodman was deliberate about the photographs she made, frequently sketching in her journal and jotting down notes about her concepts and intentions. Here you can see the evolution of some specific “Ideas in Antella:” first as simple drawings, then translated from photographic negatives to a contact sheet, and finally as the pair of lush and mysterious gelatin silver prints now on view at Marian Goodman Gallery New York.

Read about Francesca Woodman's work and new solo exhibition "Francesca Woodman: Alternate Stories" in a review by Johanna Fateman in 4Columns magazine. The exhibition is currently on view at Marian Goodman Gallery New York through December 23.

Over the course of Francesca Woodman's solo exhibition "Francesca Woodman: Alternate Stories" at Marian Goodman Gallery New York, we’ll be sharing additional images and materials from Woodman’s archive which shed light on her process and elaborate on specific works currently on view.

Read about the work of Francesca Woodman in the new issue of XIBT Magazine. Included are an interview with the Foundation's Executive Director Lissa McClure and Dr. Kostas Prapoglou and images of some of the vintage photographs currently on view in "Francesca Woodman: Alternate Stories" at Marian Goodman Gallery New York through December 23, 2021.

This solo exhibition of vintage photographs by Francesca Woodman includes more than twenty previously unseen works and draws on the artist's writings about her practice in newly available archival material from the Foundation's holdings. The show presents thematic threads and groupings of images in relational contexts, offering a fresh perspective on Woodman's work.

The Woodman Family Foundation archives include boxes and boxes of family photographs, spanning the early days George and Betty spent in Albuquerque where they welcomed their son Charlie into the world; to their move to a modernist home in Boulder—the site of many birthday parties, pottery sales, impromptu installations of paintings and Francesca’s earliest experiments with “dress up;” until just a few years ago enjoying breakfast with their grandson Alexander in both New York and Antella.