Installation view of “Francesca Woodman,” Gagosian Gallery, New York, 2024
Installation view of “Francesca Woodman,” Gagosian Gallery, New York, 2024
Installation videos of Francesca Woodman's "Blueprint for a Temple (II)," Gagosian, New York
"Installation of Francesca Woodman's Blueprint for a Temple (II)" and "Time-lapse of Francesca Woodman's Blueprint for a Temple (II)" for Francesca Woodman, Gagosian, New York, March 13–April 27, 2024.
L to R: Installation view, “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In” at National Portrait Gallery, London, 2024 / Julia Margaret Cameron. "Teachings from the Elgin Marbles," 1867, 284 x 233 mm. Albumen print. Ashmolean Museum, University of Oxford. / Francesca Woodman. “Untitled,” from the “Caryatid” series, 1980, 79 1/2 x 36 1/4 in. (201.93 x 92.075 cm). Diazotype. / Julia Margaret Cameron. “2d. version study after the Elgin Marbles,” 1867, 582 x 465 mm. Albumen print. Victoria and Albert Museum. / Francesca Woodman. “Untitled,” from the “Caryatid” series, 1980, 71 1/4 x 36 1/4 in. (180.975 x 92.075 cm). Diazotype. / Julia Margaret Cameron. “Isabel Bateman,” 1874, 331 x 252 mm. Albumen print. Wilson Centre for Photography. / Installation view, “Portraits to Dream In” / Julia Margaret Cameron. “[A Sibyl]”, 1870, 350 x 273 mm. Albumen print. The Metropolitan Museum of Art. / Francesca Woodman. “Untitled,” 1980, 19 x 17 1/8 in. (48.26 x 43.498 cm). Diazotype. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Installation view, “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In” at National Portrait Gallery, London, 2024
NOW ON VIEW: “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In”
"Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In" pairs the work of two of the most influential women in the history of photography, revealing a shared space in each artists’ approach to portraiture which curator Magdalene Keaney describes as “the Dream Space."
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.
George Woodman with his painting, "Untitled," c. 1970. Woodman Family Foundation Archives.
Happy birthday to George Woodman
Happy birthday to George Woodman—lover of color, pattern, and setting the stage—who was born on this day in 1932 in Concord, New Hampshire.
L to R: “Untitled,” c. 1977-78, 7 9/16 x 7 3/16 in. Gelatin silver print. / “Untitled,” c. 1977-78, 4 1/8 x 4 1/8 in. Gelatin silver print. / “Untitled,” from the “Caryatid” series, 1980, 76 7/8 x 36 3/8 in. Diazotype. / “Untitled,” c. 1977-78, 4 1/2 x 4 7/16 in. Gelatin silver print. / “Self-Deceit #5,” from the “Self-Deceit” series, 1978, 3 3/8 x 3 3/8 in. Gelatin silver print. / “My House,” 1976, 5 3/4 x 5 3/4 in. Gelatin silver print. All artworks by Francesca Woodman. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman. “Untitled,” c. 1977-78, 7 9/16 x 7 3/16 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
CLOSING Saturday, April 27: Francesca Woodman at Gagosian
As Gagosian’s inaugural exhibition of Francesca Woodman comes to a close on April 27th, this week is the last chance to see the exhibition.
L to R: “Untitled,” c. 1977-78, 3 7/16 x 3 7/16 in. / “Untitled,” c. 1977-78, 3 3/8 x 3 3/8 in. / “Untitled,” c. 1979-80, 5 1/2 x 5 1/2 in. / “Untitled,” c. 1979-80, 5 3/4 x 5 3/4 in. / “Still” or “Still Life in House,” 1976, 4 5/8 x 4 1/8 in. / “House #4,” from the “House” series, 1976, 5 3/8 x 5 3/8 in. / “Lightning” or “Lightning Legs,” 1976, 5 3/8 x 5 3/8 in. All artworks by Francesca Woodman. All gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman. “Untitled,” c. 1977-78, 3 7/16 x 3 7/16 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman's intellectual odyssey. "Francesca Woodman," Gagosian, New York
As the works on view at Gagosian suggest, Francesca Woodman carried ideas with her from place to place, making the exhibition a map of her intellectual odyssey.
L to R: Group: “Untitled,” c. 1979-80, 5 9/16 x 5 9/16 in. / “Untitled,” c. 1979-80, 5 11/16 x 5 11/16 in. / “Untitled,” c. 1979-80, 5 5/8 x 5 9/16 in. “Untitled,” c. 1979-80, 5 9/16 x 5 9/16 in. “Untitled,” c. 1979-80, 5 5/8 x 5 9/16 in. All artworks by Francesca Woodman. All gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Group: “Untitled,” c. 1979-80, 5 9/16 x 5 9/16 in. / “Untitled,” c. 1979-80, 5 11/16 x 5 11/16 in. / “Untitled,” c. 1979-80, 5 5/8 x 5 9/16 in. All works by Francesca Woodman. All gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Transforming the body into form. "Francesca Woodman," Gagosian, New York.
“Sitting in bed – the slide projector is humming in the other room – a slide of helen as caryatid – im feeling very very lazy and contented – the cat lounges on a newly washed pile of pink clothes and the room is strewn with fresh tulips – even my fish has fresh flowers from Chinatown.”
L to R: "Untitled," c. 1975-78, 5 5/8 x 5 11/16 in. / Group: "Untitled," c. 1977-78, 8 x 7 3/4 in.; "Untitled," c. 1977-78, 8 x 7 3/8 in.; "Untitled," c. 1977-78, 8 x 7 3/8 in.; "Untitled," c. 1977-78, 8 x 7 3/8 in. / "Untitled," c. 1977-78, 8 x 7 3/4 in. / "Untitled," c. 1977-78, 8 x 7 3/8 in. / "Untitled," c. 1977-78, 8 x 7 5/16 in. / "Untitled," c. 1977-78, 8 x 7 3/8 in. / "Untitled," c. 1977-78, 8 x 7 3/8 in. All artworks by Francesca Woodman. All gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman. "Untitled," c. 1975-78, 5 5/8 x 5 11/16 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Architectural elements: Francesca Woodman. "Francesca Woodman," Gagosian, New York.
In the current exhibition at Gagosian, works presented thematically and serially, including “Blueprint for a Temple (II),” draw attention to Francesca Woodman’s years-long exploration of the figure in space.
Francesca Woodman. "Fish Calendar--6 days," c. 1977-78, 3 7/8 x 3 13/16 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Happy birthday to Francesca Woodman
On this day, we celebrate the extraordinarily talented Francesca Woodman.
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L to R: Francesca Woodman. "Blueprint for a Temple (II)," 1980, 171 1/2 x 125 in. Diazotype collage with gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York. / Images 2-3: Detail of "Blueprint for a Temple (II)," 1980 / Installation view of “Francesca Woodman,” Gagosian Gallery, New York, 2024
Francesca Woodman. "Blueprint for a Temple (II)," 1980, 171 1/2 x 125 in. Diazotype collage with gelatin silver prints. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
"Blueprint for a Temple (II)": Francesca Woodman. "Francesca Woodman," Gagosian, New York
"Blueprint for a Temple (II)," one of the largest and most ambitious of Francesca Woodman’s works, is on view for the first time in 44 years at Gagosian Gallery.
L to R: “Untitled,” from the “Angel” series, 1977, 3 1/4 x 3 1/4 in. Gelatin silver print. / O’Hagan, Sean. “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In review – an intriguing double act.” “The Guardian,” 2024. / Quote from “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In review – an intriguing double act” / “Self-Portrait at Thirteen,” c. 1972, 6 3/4 x 6 11/16 in. Gelatin silver print. All artworks by Francesca Woodman © Woodman Family Foundation / DACS, London.
Francesca Woodman. “Untitled,” from the “Angel” series, 1977, 3 1/4 x 3 1/4 in. Gelatin silver print. © Woodman Family Foundation / DACS, London.
"Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In" in "The Guardian," 2024
In this review on "The Guardian" of “Portraits to Dream In,” Sean O’Hagan underscores the “intriguing pairing” of Francesca Woodman and Julia Margaret Cameron by curator Magdalene Keaney at National Portrait Gallery.
L to R: Images 1-2: Lubow, Arthur. “Francesca Woodman’s Crowning Achievement, and Mystery.” “The New York Times,” 2024. / Quote from “Francesca Woodman’s Crowning Achievement, and Mystery.” / Installation view of “Francesca Woodman,” Gagosian Gallery, New York, 2024. / “Untitled,” c. 1977-78, 5 3/4 x 5 3/4 in. (14.605 x 14.605 cm). Gelatin silver print. / "Lightning” or “Lightning Legs,” 1976, 5 3/8 x 5 3/8 in. (13.653 x 13.653 cm). Gelatin silver print. All artworks by Francesca Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Lubow, Arthur. “Francesca Woodman’s Crowning Achievement, and Mystery.” “The New York Times,” 2024.
Francesca Woodman in "The New York Times," March 2024
In today's "New York Times," critic Arthur Lubow sheds light on “Blueprint for a Temple (II)” (currently on view at Gagosian Gallery), a monumental diazotype collage discovered in summer 2022—41 years after the passing of Francesca Woodman.
L to R: Images 1-2: Installation view, “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In” at National Portrait Gallery, London, 2024 / Francesca Woodman. "Untitled," 1979, 7 3/8 x 9 1/2 in. (18.6 x 24 cm). Gelatin silver print. © Woodman Family Foundation / DACS, London / Julia Margaret Cameron. "The Dream," 1869, 305 x 240 mm. Albumen print. Wilson Center for Photography. / Images 5-6: Poster for “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In” at National Portrait Gallery, London, 2024
Installation view, “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In” at National Portrait Gallery, London, 2024
OPENING Thursday, March 21: "Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, March 21-June 16, 2024
"Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In" offers fresh perspectives on the work of two of the most influential women in the history of photography who lived and worked nearly a century apart.