L to R: 1, 15: George Woodman, installation view of "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado | 2, 6, 10, 12-13: Installation view of "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado | 3: “End of the Alphabet,” c. 1963, 52 x 52 in. | 4: “The Magic Box,” c. 1963, 55 x 45 in. | 5: “Landscape (After the Death of Adonis),” 1963, 72 x 72 in. | 7: “Untitled,” c. 1962-63, dimensions unknown. | 8: “Cleopatra (With Asp),” c. 1963, 48 x 51 in. | 9: “April Cool” or “Buddhist Shrine” or “Diamond Gestalt,” 1963, 70 x 70 in. | 11: “Love is a Bridge,” c. 1963, 52 x 52 in. | 14: “Mid-West Landscape (With Fallout)," 1963, 48 x 80 in. All oil on canvas. All artworks by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archives.
George Woodman, installation view of "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado. Woodman Family Foundation Archives.
George Woodman in "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado
In December of 1963, George Woodman opened an exhibition of his recent paintings at the Henderson Gallery at University of Colorado, Boulder, where he also taught painting and philosophy of art. These paintings—made in 1962 and 1963—moved away from the loose abstraction he had previously applied to painting the landscape and towards an approach that recalled maps and aerial views.
L to R: 1: Still Life Vase in kiln, Boulder, Colorado, 1991 | 2: Betty and kiln, Boulder, Colorado, March 1970 | 3: Betty and kiln, Boulder, Colorado, May 1965 | 4: “Folded Tri-part Vase,” 1975, 8 x 25 x 8 in. Salt glazed stoneware | 5: Betty and kiln, Boulder, Colorado, c. 1960s | 6: Kiln, Antella, Italy, c. 1990s | 7: Kiln, Antella, Italy, c. 1996 | 8: Kiln, Antella, Italy, c. 1990s | 9: Betty and kiln, Antella, Italy, c. 1990s | 10: Betty and George firing the kiln, Antella, Italy, c. 1973 | 11: “Pillow Pitcher: Italian,” 1977, 15 x 30 x 15 in. Terra sigillata | 12: Betty and kiln, Antella, Italy, c. 1960s | 13: Betty and kiln, Antella, Italy, c. 1969 | 14: “Fabric Samples” in progress in kiln, New York, New York, 2005 | 15: “Fabric Samples,” 2005, 30 x 31 x 8 in. Glazed earthenware. Installation view from “The Art of Betty Woodman,” Metropolitan Museum of Art, New York, New York, 2006 | 16: Ceramic fragments in the kiln, New York, New York, 2013 | 17: Detail from “Wallpaper 9,” 2015, dimensions variable. Glazed earthenware, epoxy resin, lacquer, acrylic paint | 18: “Vase,” 1955, 5 x 5 x 5 in. Lusterware | 19: Kiln, Albuquerque, New Mexico, 1955. All artworks by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archives.
Still Life Vase in kiln, Boulder, Colorado, 1991. Artwork by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archives.
Betty Woodman and her kilns: FROM THE ARCHIVES
Throughout her career, Betty Woodman embraced the possibilities that different kilns and firing techniques offered, adapting her approach to the materials available in the diverse places where she lived and worked.
L to R: 1: “Untitled,” 1980, 5 5/8 x 5 9/16 in. Gelatin silver print | 2: “Untitled,” 1980, 4 15/16 x 4 15/16 in. Gelatin silver print | 3: “Zig Zag (Dress),” 1980, 36 1/2 x 92 in. Diazotype | 4: “Untitled,” 1979, 5 5 1/8 in. Gelatin silver print | 5: “Untitled,” 1979, 3 13/16 x 3 13/16 in. Gelatin silver print | 6: “Untitled,” 1980, 4 15/16 x 4 15/16 in. Gelatin silver print | 7: “I'm Trying My Hand at Fashion Photography,” 1977, 4 11/16 x 4 15/16 in. Gelatin silver print | 8: “Untitled,” c. 1979-80, 6 3/16 x 9 in. Gelatin silver print | 9: “Untitled,” c. 1979-80, 5 3/8 x 5 7/16 in. Gelatin silver print | 10: “Untitled,” c. 1979-80, 6 5/8 x 6 3/4 in. Gelatin silver print. All artworks by Francesca Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
Francesca Woodman. “Untitled,” 1980, 5 5/8 x 5 9/16 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York
Alice Butler on Francesca Woodman in "Gestures: A Body of Work," 2025: READING ROOM
In "Gestures: A Body of Work," first published this year, editors Alice Butler, Nell Osborne, and Hilary White compile a series of essays which explore embodied, affective, and political gesture in feminist art and writing. In her own contribution to the collection, Butler delves into the ways Woodman uses textiles in her photographs and their relationship to bodies and touch.
L to R: George Woodman. “285” or “Bari” or “Winterreise”, 1975, 65 x 65 in. Acrylic on canvas | Francesca Woodman. “Untitled”, c. 1975-78, 6 5/8 x 6 9/16 in. Gelatin silver print | Betty Woodman. “Joined Vases”, 1972, 11 1/2 x 23 x 10 in. Porcelain | Francesca Woodman. “Untitled”, c. 1979-80, 11 x 14 in. Gelatin silver print | George Woodman. “Study in White: Marble from Michelangelo’s Quarry”, 2004, 16 x 20 in. Gelatin silver print | Betty Woodman. “Boys”, 2013, 28 x 28 x 7 in. Glazed earthenware | George Woodman. “Untitled”, 1974, 84 x 84 in. Acrylic on canvas | Detail from Betty Woodman. “Aeolian Pyramid”, 2001/2006, approx. 150 x 168 x 100 in. Glazed earthenware, epoxy resin, lacquer, paint | George Woodman. “Tessellation Sky”, 1975, 54 1/2 x 54 1/2 in. Acrylic on canvas | Betty Woodman. “Nina’s Room”, 2012, 86 x 107 x 12 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas | Francesca Woodman. “Untitled”, c. 1977-78, 3 13/16 x 3 7/8 in. Gelatin silver print | Betty Woodman. “Judith’s Window”, 2012, 59 1/2 x 43 1/2 x 10 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood | Francesca Woodman. “Untitled”, 1980, 8 1/2 x 8 1/2 in. Gelatin silver print | Betty Woodman. “Divided Vases: Window”, 2012, 33 1/4 x 42 x 7 1/2 in. Glazed earthenware, epoxy resin, lacquer, paint | Francesca Woodman. “Untitled”, 1976, 5 1/8 x 5 1/8 in. Gelatin silver print | George Woodman. “Untitled”, c. 1980, dimensions unknown. Acrylic on canvas | Francesca Woodman. “Untitled”, c. 1979-80, 3 7/8 x 5 5/8 in. Gelatin silver print | Francesca Woodman. “Untitled,” c. 1979-80, 5 1/2 x 5 5/8 in. Gelatin silver print | George Woodman. “Christening Dress and Roman Sculpture (A Roman Fragment with a Christening Dress)”, 2011, 42 x 38 1/2 in. Oil on gelatin silver print | Betty Woodman. “White Amphoras”, 2004, 33 x 57 x 12 in. Glazed earthenware. All artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman. “285” or “Bari” or “Winterreise”, 1975, 65 x 65 in. Acrylic on canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York
The Woodmans and the use of white
Betty Woodman and George Woodman are often celebrated for their exuberant use of color, while Francesca Woodman is best known for her dramatic black-and-white photographs, filled with shades of grey. Working across different mediums and methods, the Woodman artists used white—and the absence of color—to fascinating effects.
L to R: "Hymn to Classicism," 1993, 20 x 24 in. Gelatin silver print - "Psyche and Amor," 1993, 20 x 16 in. Gelatin silver print | "Psyche and Amor in the Wisteria," 1988, 20 x 16 in. Gelatin silver print | "Psyche, Amor and Iris," 1988, 20 x 16 in. Gelatin silver print | "Psyche, Amor and Sara," 2010, 16 5/16 x 22 5/8 in. Oil on gelatin silver print | "Canova Museum," 2010, 42 x 36 in. Oil on gelatin silver print. All artworks by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman. "Hymn to Classicism," 1993, 20 x 24 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York
Cupid and Psyche's divine love in George Woodman's photographs
Neoclassical beauty, particularly as depicted through sculptures of embracing lovers, is a recurring theme in George Woodman’s photographs—especially the myth of Psyche and Cupid’s divine love.
NOW OPEN: The Woodman Family Foundation Housing Stability Grant for Artists
The Woodman Family Foundation Housing Stability Grant for Artists (WFF HSG) is now open for applications
L to R: 1-3, 5, 6: Installation views, “An Interior Exchanged,” Fashion Institute of Technology, New York, New York, 1982. Woodman Family Foundation Archives | 4: Spread from “Wallpapers for Historic Buildings” by Richard C. Nylander, The Preservation Press, Washington, D.C., 1983 | 7: Betty Woodman, “Cloistered Arbor Room,” 1981, 10 x 23 ft. Glazed earthenware, epoxy resin, lacquer, fabric. Installation view from “The Elizabeth Reed Keller Memorial Exhibition: Ceramics,” Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, Vermont, 1981 | 8: Betty Woodman, “Bedroom with Lattice,” 2009, 92 x 85 x 15 in. Glazed earthenware, paint, canvas | 9: Spread from “Pompei ercolano stabile oplontis: le città sepolte dal Vesuvio” by Pietro Giovanni Guzzo, Electa Napoli, Italy, 2003 | 10: Betty Woodman, “Villa Oplontis,” 2006, 45 x 121 x 11 in. Terra sigillata, canvas, glazed earthenware, epoxy resin, lacquer, wood | 11: Betty Woodman, “Il Giardino Dipinto,” 1993, 9 x 35 ft. Glazed earthenware, epoxy resin, lacquer, paint. Installation view from “Betty Woodman: Il Giardino Dipinto,” Rhode Island School of Design Museum, Providence, Rhode Island, 2005 | 12: Selected books on wall paintings, wallpapers, and architecture from Betty Woodman’s collection | 13: Betty Woodman, “Wallpaper 11,” 2016, 120 x 144 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint. All Betty Woodman artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York
Installation view, “An Interior Exchanged,” Fashion Institute of Technology, New York, New York, 1982. Woodman Family Foundation Archives
Betty Woodman's collaboration with Cynthia Carlson and her pivot to the wall
In the spring of 1981, Betty Woodman and Cynthia Carlson started planning for “An Interior Exchanged,” an environmental collaboration presented in ARTISANSPACE at the Fashion Institute of Technology in 1982.
L to R: 1: Betty Woodman, “Ceramic Pictures of Korean Paintings: Rose Lattice Tree Vase, Tiger Lily Tree Vase, Evergreen Tree Vase, Lotus Tree Vase, Camellia Tree Vase,” 2001/2002, 37.5 x 10 x 1 ft. Glazed earthenware, clay, canvas | 2: Installation view, “Betty Woodman,” Daum Museum of Contemporary Art, Sedalia, Missouri, 2002 | 3, Pair: Detail from Betty Woodman, “Cactus, Lotus, and Butterfly,” 2005 / Page from “Korean Art Book Vol. 6: Minhwa I” by Yoon Yeol-soo, Yekyung Publishing, Korea, 2000 | 4: Betty Woodman, “Cactus, Lotus, and Butterfly,” 2005, 120 x 90 x 12 in. Glazed earthenware, canvas | 5, Pair: Page from “Korean Art Book Vol. 6: Minhwa I” / Detail from Betty Woodman, “Cartoon of Roman Paintings: Santa Brigida,” 2005 | 6: Betty Woodman, “Cartoon of Roman Paintings: Santa Brigida,” 2005, 98 x 86 in. Terra sigillata, ink and wax on paper | 7, Pair: Detail from Betty Woodman, “Cartoon of Roman Paintings: Santa Brigida,” 2005 / Page from “Korean Art Book Vol 7: Minhwa II” by Yoon Yeol-soo, Yekyung Publishing, Korea, 2000 | 8: Spread from “Korean Art Book Vol 6: Minhwa I” with handwritten note by Betty Woodman | 9: Betty Woodman, “Siena: Ceramic Pictures of Korean Vases,” 2004, 96 x 84 x 9 1/2 in. Glazed earthenware, clay, canvas | 10: “Korean Art Book” volumes 1, 2, 6, 7, from Betty Woodman’s collection. All Betty Woodman artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York
Betty Woodman, “Ceramic Pictures of Korean Paintings: Rose Lattice Tree Vase, Tiger Lily Tree Vase, Evergreen Tree Vase, Lotus Tree Vase, Camellia Tree Vase,” 2001/2002, 37.5 x 10 x 1 ft. Glazed earthenware, clay, canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York
Betty Woodman and works inspired by Korean folk painting
On a trip to South Korea in 2001, Betty Woodman was introduced to the Joseon Dynasty folk art (minhwa)—with motifs like vibrant scenes of peonies and lotuses. With these paintings in mind, she started a new series of wall-based works titled “Ceramic Pictures of Korean Paintings,” which she first showed at the Daum Museum in 2002 as a five-panel mural.
Photos, L to R: Betty Woodman in her New York studio, c. 1983 | Francesca Woodman, c. 1979-80. Photo: George Woodman | George Woodman in front of his paper tile installation, 1979 Woodman Family Foundation Archives. Artwork and photo by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
Graphic with text: "WFF Housing Stability Grant for Artists / 3-year rent subsidies for 5 visual artists in NYC"
Announcing the WFF Housing Stability Grant for NYC-based visual artists
Thrilled to announce our partnership with NYFA on the inaugural WOODMAN FAMILY FOUNDATION HOUSING STABILITY GRANT for ARTISTS (WFF HSG). In recognition of the increasing unaffordability of rental housing in New York City and the housing insecurity it creates for artists, we will award grants of $30,000—distributed over three years—to five visual artists with the goal of improving their housing stability.
L to R: Group, T to B: Betty Woodman, “Athens,” 1991, 35 1/2 x 68 5/8 x 10 1/4 in. Glazed earthenware, epoxy resin, lacquer, and paint / George Woodman, “Untitled,” c. 1966-68, 39 1/2 x 39 1/2 in. Acrylic on canvas / Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/4 in. Gelatin silver print | Betty Woodman, “Athens,” 1991, 35 1/2 x 68 5/8 x 10 1/4 in. Glazed earthenware, epoxy resin, lacquer, and paint | George Woodman, “Untitled,” c. 1966-68, 39 1/2 x 39 1/2 in. Acrylic on canvas | Francesca Woodman, “After My Grandmother's Funeral” series, 1977. Gelatin silver prints | Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/4 in. Gelatin silver print | Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/8 in. Gelatin silver print | Francesca Woodman, “Untitled,” 1977, from the “After My Grandmother's Funeral” series, 5 5/16 x 5 1/4 in. Gelatin silver print | Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 x 5 1/8 in. Gelatin silver print | Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/8 in. Gelatin silver print | Francesca Woodman, “2,” 1977, from the “After My Grandmother's Funeral” series, 5 1/4 x 5 1/4 in. Gelatin silver print All artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Group, T to B: Betty Woodman, “Athens,” 1991, 35 1/2 x 68 5/8 x 10 1/4 in. Glazed earthenware, epoxy resin, lacquer, and paint / George Woodman, “Untitled,” c. 1966-68, 39 1/2 x 39 1/2 in. Acrylic on canvas / Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/4 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Acquisition by the Currier Museum of Art, Manchester, New Hampshire, 2024
We are very pleased to announce the acquisition of a group of important works by Betty Woodman, Francesca Woodman, and George Woodman from the Foundation’s holdings by the Currier Museum of Art in Manchester, New Hampshire.
.png)
L to R: 1981 New York Magazine feature | 1977 Rocky Mountain News | 1981 Rocky Mountain News | Betty Woodman’s pottery at WFF. Woodman Family Foundation Archives.
1981 New York Magazine feature. Woodman Family Foundation Archives.
Betty Woodman's and George Woodman's press clippings: FROM THE ARCHIVES
Archives Intern Shauna Fitzgerald shares some thoughts on her experience in the WFF Archives in the Fall of 2024.
.png)
L to R: Micaela shows the Pratt class a magazine article on George Woodman and Betty Woodman. Photo by Cristina Pattuelli. | Detail of a drawing done by Francesca Woodman with a note to Betty Woodman and George Woodman. The drawing includes a sofa Francesca used as a prop in photographs and teacups likely depict Betty Woodman’s ceramics. Flight information in the note may help us establish timelines for all three artists in the future. | Photo boxes owned by George Woodman. While the boxes are not “archival” (acid free), the information written on them by the artist makes them valuable in establishing provenance of final artworks. | The archive interior. Simple industrial rolling racks are utilized to hold archival assets.
Micaela shows the Pratt class a magazine article on George Woodman and Betty Woodman. Photo by Cristina Pattuelli.
Visit to WFF Archive from the Pratt School of Information’s MSLIS program, November 18, 2024
The Woodman Family Foundation archive was delighted to host students from the Art Documentation class in the Pratt School of Information’s MSLIS program on November 18. Professor Cristina Pattuelli, consulting archivist Sewon Kang, and the students joined us to survey of some of the archives highlights and have an engaging discussion on the unique opportunities and challenges the Woodman Family archives have.