Betty Woodman

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.

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.

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

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.

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.

We are pleased to share “Betty Woodman: Images of Function” by Layaan Roufai, who was our Library & Archives intern this summer through the Studio Institute Arts Intern program.

Happy 71st anniversary to Betty Woodman and George Woodman, who were married on this day in 1953.

As the solstice today marks the official beginning of summer, we are reminded of the Woodmans’ extensive travels around the world and their months immersed in global artistic influences.

Happy birthday to Betty Woodman—a garden enthusiast and artist who ingeniously experimented with her lifelong muse, the vase, and its multitude of sculptural possibilities.

Around 1952, a young George Woodman in Cambridge, Massachusetts, penned his devotion on a USPS customs form: “Little box with littler box inside” and “1 engagement ring of Navajo silver with turquoises.” The precious 4-ounce package was destined for the hands of Elizabeth Abrahams (later to be known as Betty Woodman) across the ocean in Fiesole, Italy, where she had been living and working for the past year.

Betty Woodman’s numerous glazes, paints, and the varied configurations of brushes—sometimes mixed or assembled by the artist herself to achieve desired color swatches, brushy marks, and parallel stripes—reflect her continuously innovative work with ceramic forms.

Over the course of a year from 1965-66, the Woodman family lived and worked in Italy, just outside of Florence. During that time, Betty and George became close friends with the artists and then-couple Nancy Graves and Richard Serra, who, like Betty, was there for the year on a Fulbright-Hays scholarship. They spent many hours together around the table, sharing meals, funny hats and conversations about art.