L to R: George Woodman, c. 1970s / “Loie with Sculpture as Herself,” 2007. Gelatin silver print / Painting, c. 1970s. Courtesy Remo Brindisi House Museum / George Woodman, c. 2010s. Woodman Family Foundation Archives. All artworks by George Woodman © Woodman Family Foundation / SIAE, Rome
George Woodman, c. 1970s. Woodman Family Foundation Archives.
ON VIEW: George Woodman in collection of Remo Brindisi House Museum, Lido Di Spina, Italy
George Woodman on view in this collection of Remo Brindisi House Museum, Lido Di Spina, Italy.
L to R: George Woodman. “Beauty is Truth,” 1976. 52 x 52 in. Acrylic on canvas. Image courtesy RISD Museum | Francesca Woodman. “Charlie the Model #10,” 1976, 5 5/16 x 5 3/8 in. Lifetime gelatin silver print | Betty Woodman. “Pillow Pitcher: Rain Forest,” c. 1980s. 20 x 24 x 16 in. Glazed earthenware © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman. “Beauty is Truth,” 1976. 52 x 52 in. Acrylic on canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York. Image courtesy RISD Museum.
RISD Museum Acquisitions
We’re thrilled that RISD Museum has acquired a group of important works by Betty, Francesca, and George Woodman from the Foundation’s holdings through a combination of museum funds and Foundation gifts.
Envelope for letter from George Woodman in Boulder, Colorado to Francesca Woodman in Rome, Italy, October 19, 1977. Woodman Family Foundation Archives.
Betty Woodman, Francesca Woodman, and George Woodman in “Interior Scroll or What I Did on My Vacation” at S&S Corner Shop, The Art Building, Springs, New York, 2021
We are pleased to announce that this exhibition includes a selection of correspondence written between Betty, Francesca and George Woodman in 1978, as well as Francesca Woodman’s “Selected Video Works,” 1976-1978.
All works by George Woodman.
All works by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman's lifelong commitment to color is explored in Plotline 4
From his early abstract paintings to more recent painted photographs, color was a powerful and continuous thread in George Woodman’s work. Even as his focus shifted to black and white photography, Woodman never abandoned his interest in color, instead finding ways to create unexpected dialogues between and across media.
Cover and pages from Pattern, Crime & Decoration catalogue, edited by Franck Gautherot and Seungduk Kim, MAMCO, Geneva, Le Consortium, Dijon, 2020.
"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.
All artworks by George Woodman.
PLOTLINE 2: GEORGE WOODMAN / Pattern
Beginning his career in the 1950s as an abstract painter, by the mid 1960s George Woodman turned his focus to geometric abstractions grounded in complex patterned systems and rigorous formal structures.
George Woodman. "Untitled," 1974, 59 1/8 x 59 1/8 in. Acrylic on canvas © Woodman Family Foundation / ADAGP, Paris
ON VIEW: George Woodman in "Les Chemins du Sud" at Musée régional d'art contemporain, Sérignan, France, 2019
George Woodman’s pattern paintings, which combine formal rigor with an approach to color influenced by his years in Italy, are featured in this exhibition of works focused on a decorative approach to art.
George Woodman. "Grey Portal," 1978, 84 x 84 in. Acrylic on canvas © Woodman Family Foundation / ADAGP, Paris
ON VIEW: George Woodman in "Pattern, Crime & Decoration" at Le Consortium Museum, Dijon, France
Paintings by George Woodman reflect his embrace of color and beauty along with a minimalist take on pattern in this exhibition of works which celebrate decorative and non-Western approaches to art.