WFF Housing Stability Grant Awarded
The first round of funds have officially been sent to recipients of the inaugural WFF Housing Stability Grant for Artists (WFF HSG)!
L to R: 1: "Lightning" or "Lightning Legs," 1976, 5 x 5 1/8 in. | 2: "Space²," 1976, from the "Space²" series, 5 1/8 x 5 1/16 in. | 3: "Untitled," 1977, 3 1/16 x 3 1/8 in. | 4: Installation view, “Women Photographers 1853-2018," National Gallery of Australia, Canberra, Australia, 2025. Photo courtesy and copyright National Gallery of Australia. All lifetime gelatin silver prints. Collection of the National Gallery of Australia. Works by Francesca Woodman © Copyright Agency, Sydney
Francesca Woodman. "Lightning" or "Lightning Legs," 1976, 5 x 5 1/8 in © Woodman Family Foundation / Copyright Agency, Sydney
NOW ON VIEW: Francesca Woodman in “Women Photographers 1853-2018,” National Gallery of Australia, 2025
Curated by Anne O’Hehir, Magdalene Keaney, and Shaune Lakin, this exhibition explores how women have reshaped the photographic landscape through works spanning more than 160 years.
L to R: 1-3, 5, 6: Installation views, “The Mad MAD World of Jonathan Adler,” Museum of Arts and Design, 2025 | 4: Betty Woodman. “Indonesian Napkin Holder,” 1984, 18 1/2 x 22 1/2 x 10 1/2 in. Glazed earthenware © Woodman Family Foundation / Artists Rights Society (ARS), New York | 7: Installation view, “The Mad MAD World of Jonathan Adler" © Museum of Arts and Design
Installation view, “The Mad MAD World of Jonathan Adler,” Museum of Arts and Design, 2025
NOW ON VIEW: Betty Woodman in "The Mad MAD World of Jonathan Adler,” 2025
Curated by potter, interior designer, and author Jonathan Adler, this vibrant exhibition at MAD brings together over 60 works from the museum’s permanent collection, juxtaposed with Adler’s own iconic designs.
L to R: 1, 5: Installation views from “Places to Dream,” Kunsten Museum of Modern Art Aalborg, Aalborg, Denmark, 2025 © Niels Fabæk, Kunsten Museum of Modern Art Aalborg | 2: “Untitled,” 1980. Archival pigment print | 3: “Untitled,” 1979, 3 3/8 x 3 1/2 in. Digital chromogenic print | 4: “Untitled,” 1979, 3 3/8 x 3/12 in. Digital chromogenic print | 6: “Space2, 1976, from the Space2 series. 5 7/8 x 5 5/8 in. Gelatin silver print. All artworks by Francesca Woodman © Woodman Family Foundation / VISDA, Copenhagen
NOW ON VIEW: Francesca Woodman in "Places to Dream," Kunsten Museum of Modern Art Aalborg, Aalborg, Denmark, 2025
This September marks the final opportunity to view Places to Dream, an exhibition featuring photographs by Francesca Woodman alongside works by Cindy Sherman, Ana Mendieta, Birgit Jürgenssen, and Nan Goldin, among others.
Francesca Woodman. "Untitled," 1980, 89 1/2 x 36 1/4 in. Diazotype © Woodman Family Foundation / Artists Rights Society (ARS), New York
"Re-Presentations of the Past: Through Francesca Woodman's Lens" by Ambar-Vasquez Mitra
We are pleased to share “Re-Presentations of the Past: Through Francesca Woodman’s Lens” by Ambar Vasquez-Mitra, who was our Research Intern this summer through the Studio Institute Arts Intern program.
L to R: 1: Francesca Woodman, “Untitled,” 1980, Gelatin silver print, 4 1/2 x 4 1/2 in. | 2: Gian Lorenzo Bernini, “Apollo and Daphne,” 1622–1625, Galleria Borghese, Rome | 3: Francesca Woodman, “Untitled,” 1980, Gelatin silver print, 3 15/16 x 4 in. | 4: Francesca Woodman, “Untitled,” 1980, Gelatin silver print, 10 5/8 x 13 1/2 in. | - 5: Alexander Pope’s sketch of the shield of Achilles. MS 4808 © The British Library | 6: Cy Twombly, “Fifty Days at Iliam: Shield of Achilles,” 1978 © Cy Twombly Foundation | 7: Cover of Parentheses of Reception. All Francesca Woodman artworks © Woodman Family Foundation / BILDKUNST, Bonn
Francesca Woodman, “Untitled,” 1980, Gelatin silver print, 4 1/2 x 4 1/2 in. (11.43 x 11.43 cm) © Woodman Family Foundation / BILDKUNST, Bonn
Brooke Holmes on Francesca Woodman in "Parentheses of Reception," 2025: READING ROOM
Published in May 2025, the anthology "Parentheses of Reception" explores how the parenthesis, a rhetorical figure of speech and thought, can offer fresh insights into classical reception studies by conceptualizing Greco-Roman antiquity as being both “inserted into” and “remaining apart” from the present.
L to R: 1: “Untitled,” c. 1979-80, 3 1/8 x 5 in. Gelatin silver print | 2: “Untitled,” 1980, 15 x 33 3/4 in. Diazotype | 3: Spread from “Some Disordered Interior Geometries,” c. 1980-81, 9 x 13 in. Found notebook with artist’s 16 lifetime gelatin silver prints | 4: Spread from “Quaderno,” c. 1978, 8 3/16 x 11 3/4 in. Found notebook with artist’s 7 lifetime photographic transparencies. All artworks by Francesca Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
Francesca Woodman. “Untitled,” c. 1979-80, 3 1/8 x 5 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York
Francesca Woodman, "Untitled," c. 1979-80 and "Untitled," 1980: STAFF PICKS
Hi! I'm Ambar Vasquez-Mitra, a recent graduate from Middlebury College with a BA in History and Museum Studies and part of the Studio Institute Arts Intern Program. As this year's summer research intern at the Woodman Family Foundation, I've been tasked with organizing and compiling enhanced information on the numerous exhibitions of Francesca Woodman’s work over the past forty years.
L to R: 1: "Space²," 1976, from the "Space²" series, 5 1/16 x 4 13/16 in. | 2, 3, 7: Installation views, “Medardo Rosso: Inventing Modern Sculpture,” Kunstmuseum Basel, Basel, Switzerland, 2025. Photo: Max Ehrengruber. Image courtesy Kunstmuseum Basel | 4: “Legs,” 1976, 5 1/4 x 5 3/16 in. | 5: “Untitled,” c. 1975-78, 6 1/4 x 6 9/16 in. | 6: “#1” or “House #1” or “Abandoned House,” 1976, from the “Abandoned House” series, 5 11/16 x 5 3/4 in. | 8-9: Installation views, “Medardo Rosso: Inventing Modern Sculpture,” Kunstmuseum Basel, Basel, Switzerland, 2025. Photo: Julian Salinas. Image courtesy Kunstmuseum Basel | All gelatin silver prints. Artworks by Francesca Woodman © Woodman Family Foundation / ProLitteris, Zurich
Francesca Woodman. "Space²," 1976, from the "Space²" series, 5 1/16 x 4 13/16 in. Gelatin silver print © Woodman Family Foundation / ProLitteris, Zurich
NOW ON VIEW: Francesca Woodman in "Medardo Rosso: Inventing Modern Sculpture,” Kunstmuseum Basel, Basel, Switzerland, 2025
This Art Basel, visit the Kunstmuseum Basel to see Francesca Woodman’s photographs featured in "Medardo Rosso: Inventing Modern Sculpture."
Installation view, "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York, 2025
Exhibition Video for "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York, 2025
Watch the exhibition video to listen to Rebecca Lowery, Curator of Exhibitions at the Wexner Center for the Arts at The Ohio State University, discusses George Woodman's evolving use of tessellations and color.
L to R: 1-4: “Dreamers and Voyagers Come to Detroit,” 1987. Installation views, Renaissance Center Station, Detroit, MI, 1987 | 5: Students laying tiles on the floor, Renaissance Center station, Detroit, MI, 1987 | 6-7: Production and silkscreening of tiles, Franco Pecchioli SRL, Borgo San Lorenzo, Tuscany, Italy | 8-9: Notes and sketches on modules’ designs and colors, 1986 | 10: Bullock, Lorinda. “A creator starts over. Renaissance indeed: tile art reborn.” Detroit Free Press, 17 November 2004 | 11-13: “Path Games,” 2004. Installation views, Renaissance Center Station, Detroit, MI, 2004 | 14: Drawing of modules for “Path Games." All artworks, sketches, and notes by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archive.
George Woodman. “Dreamers and Voyagers Come to Detroit,” 1987. Installation view, Renaissance Center Station, Detroit, MI, 1987 © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archive.
George Woodman's tile installations at Detroit People Mover's Renaissance Center station, Detroit, Michigan, 1987/2004. FROM THE ARCHIVES
In 1987, three years after his first ceramic tile public commission for Buffalo Metro Rail, New York, George Woodman realized an installation for the Detroit People Mover’s Renaissance Center station. A firm believer in public art, he sought to create a work that does more than simply impress at first glance but rather brings life to being in the station for commuters using the system daily.
L to R: “Untitled,” c. 1977-78, 8 x 8 1/16 in. | “Untitled,” 1977, 5 5/16 x 5 3/8 in. | Installation view from ““Blur / Obscure / Distort: Photography and Perception,” Norton Museum of Art, West Palm Beach, Florida, 2025. Photo courtesy Norton Museum of Art. All gelatin silver prints. All artworks by Francesca Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman. “Untitled,” c. 1977-78, 8 x 8 1/16 in. Gelatin silver print © Woodman Family Foundation / Bildupphovsrätt i Sverige, Stockholm
NOW ON VIEW: Francesca Woodman in "The Subterranean Sky: Surrealism in the Moderna Museet Collection" and “Blur / Obscure / Distort: Photography and Perception”
Works by Francesca Woodman are currently on view in two museum exhibitions about Surrealism and photography's relationship with truth at the Moderna Museet and Norton Museum of Art, respectively.
Betty Woodman. “Pillow Pitcher,” c. 1983, 17 1/4 x 20 1/2 x 14 1/2 in. Glazed earthenware. Promised Gift of David and Julianne Armstrong. Installation views from “Hot! & Ready to Serve: Celebrating Functional Ceramics,” American Museum of Ceramic Art, Pomona, California, 2025.
NOW ON VIEW: Betty Woodman in "Hot! & Ready to Serve: Celebrating Functional Ceramics," American Museum of Ceramic Art, Pomona, California, 2025
In honor of International Museum Day this past week, our Collections Coordinator Celia Lê visited AMOCA, where Betty Woodman’s "Pillow Pitcher" is on view alongside works by Ron Nagle, Paul Soldner, Peter Voulkos, among others in "Hot! & Ready to Serve."