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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.

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.

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.

L to R: 1: Betty Woodman, “Wallpaper,” 2013, 84 x 120 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint | 2, 9: Page from “The Cut-Outs of Henri Matisse” | 3: Betty Woodman, “Orange Rug with Clay Bones,” 2013, 105 1/4 x 47 x 1 in. Earthenware, canvas, acrylic paint | 4: Detail from Henri Matisse, “Oceania, the Sea,” 1948, 68 1/8 × 152 1/2 in. Linen, plain weave; screen printed. Produced by Zika Ascher, Ltd. Art Institute of Chicago. | 5: Detail from “Orange Rug with Clay Bones,” 2013 | 6: Betty Woodman, “Balustrade Relief Vase 05-1,” 2005, 55 x 48 x 9 in. Glazed earthenware, epoxy resin, lacquer | 7: Betty Woodman, "Outside and In," 2017, 75 1/2 x 120 x 10 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood | 8: Betty Woodman, “House of the South,” 1994-1996, 159 x 246 x 9 1/2 in. Glazed earthenware, epoxy resin, lacquer, paint. Installation view from “The Art of Betty Woodman,” Metropolitan Museum of Art, New York, New York, 2006 | 10: "The Cut-Outs of Henri Matisse” by John Elderfield, New York: George Braziller, 1978, from Betty Woodman’s collection. All Betty Woodman artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York. All Henri Matisse artworks © Succession H. Matisse / Artists Rights Society (ARS), New York

Betty Woodman, “Wallpaper,” 2013, 84 x 120 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint © Woodman Family Foundation / Artists Rights Society (ARS), New York

Betty Woodman's works and Matisse's cut outs

Betty Woodman's eclecticism reflects a wide array of influences, including those from modernist French painters like Gauguin, Bonnard, and Matisse. Yet Woodman’s connection to Matisse transcends their shared use of vivid, exuberant colors. Both artists indulged in decorative impulses through their inventive use of positive and negative space.

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

Betty Woodman at work in her studio in Antella, Italy, 1996. Photograph by George Woodman. Woodman Family Foundation Archives.

Tools used by Betty Woodman and George Woodman: FROM THE ARCHIVES

October is American Archives Month and we are celebrating by looking at some of the tools of the trade used by George Woodman and Betty Woodman in our collection.

L to R: 1: Betty Woodman. “Edo Fashion Ladies,” 2006, glazed earthenware, 34 1/2 x 32 1/2 x 7 in. | 2: Page from “Fashion of Edo: Women's Dress in Ukiyo-e Paintings 1989." Japan Institute of Arts and Crafts, 1989 | 3 & 7: Betty Woodman. “After the Bath,” 2011, glazed earthenware, epoxy resin, lacquer, acrylic paint, 35 x 37 1/2 x 8 in. | 4: Pair: Detail from Betty Woodman, “After the Bath” / Ippitsusai Bunchō, “Kagiya Osen,” from “Japanese Prints” by Gabriele Fahr-Becker, Barnes & Noble Inc., 2003 | 5: Detail from Betty Woodman, “After the Bath” | 6: Ishikawa Toyonobu, “After the Bath,” page from “Japanese Prints” by Gabriele Fahr-Becker | 8: Spread from “Edo Chiyogami” by Hirose Tatsugoro, Seigensha, 2002 | 9: “Fashion of Edo: Women's Dress in Ukiyo-e Paintings 1989." Japan Institute of Arts and Crafts, 1989, with torn page | 10: Selected publications on Japanese art from Betty Woodman’s collection All Betty Woodman artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York.

Betty Woodman’s books on Japanese textiles and woodblock prints

Over the past few months, the Foundation delved into Betty Woodman's and George Woodman’s personal library as part of our ongoing work to build a study center. Betty Woodman’s books on Japanese textiles and woodblock prints, in particular, are extensively bookmarked, with pages cut and ripped away by the artist. She often amassed many of these books on her travels regardless of whether she could read the language, choosing instead to let the images weave themselves into her visual lexicon.

L to R: Pair: “Athens,” 1991 / “Massenet,” ed. 8/8, 2010 | “Athens,” 1991, Glazed earthenware, epoxy resin, lacquer, and paint. 35 1/2 x 68 5/8 x 10 1/4 in. | “Massenet,” ed. 8/8, 2010, Soft-paste porcelain biscuit. © Sèvres - Manufacture et musée nationaux, 2013.D.8587.1 / 20013.D.8587.2. Photographer: Gerard Jonca. All works by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York

New Betty Woodman exhibitions, September 2024

This month, explore two group exhibitions in New York showcasing diverse works by Betty Woodman from the 1990s and 2000s.

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.

Betty, Charles, and Francesca Woodman in front of the New York World's Fair Unisphere, 1964. Woodman Family Foundation Archives.

The Woodmans at the 1964 New York World's Fair: FROM THE ARCHIVES...

Sixty years ago, before they had traveled much of the world together, the Woodman family visited the 1964-1965 New York World’s Fair in Flushing Meadows-Corona Park.

L to R: “July 1, 2016,” 2016, India ink, 16 ½ x 11 ¾ in. Acrylic paint on sketch paper. / “Karen’s Room,” 2015, 63 x 36 ¼ x 8 ¾ in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood. / “Nov 19, 2016,” 2016, 16 ½ x 23 ¼ in. India ink, acrylic paint on sketch paper. / “July Table and Grey Carpet,” 2016, 63 x 94 ½ x 11 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood. / “March 9, 2015,” 2015, 14 ¾ x 17 in. India ink, acrylic paint on sketch paper. / “The Dining Room #2,” 2014, 60 x 83 ½ x 10 ½ in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood. All works by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York.

Jennifer DiCocco, The Woodman Family Foundation's Registrar: STAFF PICKS

As the Foundation’s registrar, I have the privilege of managing Betty, George, and Francesca Woodman’s artwork inventories. Though impossible to select a favorite object from such a prolific inventory, one of my favorite groups of works are Betty’s paintings on sketch paper.

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