George Woodman

Image details: 1. Betty Woodman at work in her studio in Antella, Italy, 1996. Photograph by George Woodman | 2. An assemblage of Betty Woodman’s studio materials. Clockwise from bottom left: Rocket Expansion cement, broken ceramic pieces, measuring cup, sponges, Orton standard pyrometric cones (open box) Orton small pyrometric cones, fork, toothbrush, kitchen knife | 3. George Woodman in his New York City studio c. 1980s | 4. An assemblage of George Woodman’s studio materials. Clockwise from bottom left: Gorton vapor equalizing valve, Bessey vise clamp, Xcemite screw driver, rubber hook tool, Dap silicone, GE silicone, Stanley level, Conair hair dryer, Wiss pliers, Great Neck wood chisel, Maimeri set of paints

L to R: Pair: Dodd, Wayne (Ed.) The Ohio Review, No. 60. Athens, OH: The Ohio University, 1999. / “A Classical Mystery,” 1996 | Quote from “Some Photographs of Photographs” by George Woodman in The Ohio Review, No. 60, 1999. | “A Classical Mystery,” 1996, 20 x 16 in. | “Apollo and Psyche” or “Pysche et Amour,” 1997, 20 x 16 in. | “Still Life with Rachel” or “Childhood Memories,” c. 1997-98, 20 x 16 in. | “French Fashion in Madison Square” or “M. Vionnet in Madison Square,” 1999, 24 x 20 in. | Woodman, George. “Some Photographs of Photographs,” in The Ohio Review, No. 60, 1999. All gelatin silver prints. All works by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York.

L to R: Betty, Charles, and Francesca Woodman in front of the New York World's Fair Unisphere, 1964 / Charles and Francesca Woodman in front of Thailand's pavilion, 1964 / Bird's eye view of the New York World's Fair, 1964. Woodman Family Foundation Archives.

L to R: Francesca Woodman. “Untitled,” c. 1979-80. Gelatin silver print. 7 1/8 x 9 3/16 in. / Francesca Woodman. “Untitled,” c. 1979-80. Gelatin silver print. 6 13/16 x 9 3/8 in. / George Woodman. “Psyche, Amor and Sara,” 2010. Oil on gelatin silver print. 163 x 226 in. / George Woodman. “Five Cases of Classicism,” 2011. Gelatin silver print. 23 x 35 3/4 in © Woodman Family Foundation / Artists Rights Society (ARS), New York

L to R: George Woodman. "Daphne," 1982, 78 x 60 in. Acrylic on canvas. Image courtesy DC Moore Gallery. Artwork © Woodman Family Foundation / Artists Rights Society (ARS), New York / Installation view, "Who Is There?", DC Moore Gallery, New York, 2024

L to R: 1-3: Betty Woodman and George Woodman on their wedding day, Cambridge, MA, June 27, 1953 / Wedding announcement, 1953 / 4 & 5: Wedding telegrams from friends and family, June 27, 1953. Woodman Family Foundation Archives.

Detail: Betty Woodman walking under torii gates, Japan, 1990 / Pair: Details of Betty Woodman and George Woodman in a traditional ryokan inn, Japan, 1990 / Betty Woodman, Japan, 1990 / George Woodman, Japan, 1990 / George Woodman, Shinto shrine, Japan, 1990 / Hōryū-ji Temple, Nara, Japan, 1990 / Buddhist Guardian statue, Hōryū-ji Temple, Nara, Japan, 1990 / Pillars, Hōryū-ji Temple, Nara, Japan, 1990 / Shave ice stall, Japan, 1990. Woodman Family Foundation Archives.

L to R: George Woodman with his painting, "Untitled," c. 1970. / George Woodman with his installation "Path Games," 2004, Renaissance Center Station, Detroit, MI. Woodman Family Foundation Archives.

Customs declaration form penned by George Woodman. Woodman Family Foundation Archives.

L to R: George Woodman, c. 1963 from slide preserver with slides most likely from his solo exhibition at Henderson Gallery, University of Colorado, Boulder, 1963. The installation views of such an early show in George's career are so exciting to see, especially since there are far fewer photos of these earlier shows / Photo of George’s New York studio with “Lattice Lady with Convolvulus,” 1986 visible in the background. I love getting glimpses of the artist's studios and how the set up of them reflects the artist himself / George's Palazzo Pitti show in 1987 where he can be seen taking the photo in a mirror. I don't actually get to see images of George, so I liked that he set up this shot so that you could see him actually taking the photo / Overview of a small portion of slide cases in George's collection. Not the prettiest picture, but it's interesting to see the number of slide cases in the collection and George's handwriting on each of them / Slide preserver with slides from a trip to Spain in 1965 featuring photos of tiles, nature, and people. I like how even on a trip, George is still thinking about his art and taking photos of things that can inspire his own work / Slide of George Woodman. “Untitled #VIII,” c. 1980s. Monotype. 30 x 22 in. I thought it was interesting to see the process and sketch of an artwork and how it is different from the final product / Slide preserver “Pictures of house 1965” featuring the interior and exterior of the family’s house in Boulder, Colorado. It's a view into the personal life and residence of George, and one of the few times in the slides where it seems that none of the photos are related to any artworks or research / Slide of George Woodman. “Untitled,” 1966. A medium format slide of one of George's earlier paintings that I really enjoyed / Slide preserver with slides from a trip to Morocco featuring photos of tiles, pottery, and the landscape. George is still thinking about his art and took photos of things that would inspire his own work. All materials George Woodman Collection, Woodman Family Foundation Archives, New York.

L to R: All artworks by George Woodman. Pair: “Repose (The Sleeper),” 2003. 24 x 30 in / Ephemera, c. 1950s-2010s, George Woodman Collection, Woodman Family Foundation Archives, New York / “Repose (The Sleeper),” 2003. 24 x 30 in / Images 3-4, 8: Ephemera, c. 1980s-2010s, George Woodman Collection, Woodman Family Foundation Archives, New York / “Saskia in a Still Life,” 2003. 30 x 22 in / “Jessica and Airplane,” 2002. 30 x 40 in / “Still Life with Rachel,” 1997. 20 x 16 in. All artworks gelatin silver prints.