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Betty Woodman and George Woodman

Celebrating the life and impact of Agnes Gund

Tireless advocate and patron saint of art and social justice. Devoted friend and supporter to so many artists, curators, and institutions, including Betty Woodman and George Woodman and many of our Board members. Equity-focused creator of Studio in a School and the Studio Institute, whose summer interns we've been fortunate to host for many years.

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L to R: 1: George Woodman. “Paper Tilings,” 1981. Installation view, Wright State University, Dayton, OH, 1981 | 2, 3: Correspondence from Betty to George, 1952. Woodman Family Foundation Archives | 4: Detail from “Paper Tilings,” 1981, Wright State University | 5: Henri Matisse. “La Vierge et l’Enfant,” 1950. From “Matisse: From Color to Architecture” | 6: George Woodman. Paper tiles, 1980. Installation view, Denver Art Museum, Denver, CO, 1980 | 7: Henri Matisse. “L’Oiseau,” 1946. From “Matisse: From Color to Architecture” | 8: Spread from “Matisse: From Color to Architecture” | 9: Chapelle du Rosaire, Vence, France. Photo © David Huguenin | 10: George Woodman. “Sentimental Geometry,” 1981, 120 x 252 in. Hand-painted paper tiles. Installation view, Yellowstone Art Center, Billings, MT, 1981 | 11: Chapelle du Rosaire, Vence, France. Photo © Musée Matisse de Nice | 12: Betty Woodman. “The Chapel,” 2011, 105 x 86 x 13 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, wood, canvas | 13: Henri Matisse. “L’Arbre de Vie,” 1949. From “Matisse: From Color to Architecture” | 14: Betty Woodman. “Windows of Matisse,” 2005, 37 x 44 1/2 x 7 1/2 in. Glazed earthenware, epoxy resin, lacquer, paint | 15: Page from “Paper Tilings by George Woodman,” 1981 | 16: “Matisse: From Color to Architecture” by René Percheron and Christian Brouder, 2004. Works by Matisse © Succession H. Matisse / Artists Rights Society (ARS), New York. Works by Betty Woodman and George Woodman © Woodman Family Foundation / ARS, New York
George Woodman. “Paper Tilings,” 1981. Installation view, Wright State University, Dayton, OH, 1981 © Woodman Family Foundation / ARS, New York
Matisse’s influence on the Woodman family: La Chapelle du Rosaire

Matisse’s influence on the Woodman family is evident not only in the joie de vivre and cut-out forms of Betty Woodman’s ceramic sculptures, but also in the architectural sensibilities that inform both her and George Woodman’s work. George’s site-specific paper tile installations, in particular, invite comparison to Matisse’s Chapelle du Rosaire—not through direct lineage, but through a shared devotion to formal clarity, and the transformative potential of scale and repetition.

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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

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.

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Detail: Betty Woodman walking under torii gates, Japan, 1990 / Pair: Details of Betty Woodman and George Woodman in a traditional ryokan inn, Japan, 1990 / Betty Woodman, Japan, 1990 / George Woodman, Japan, 1990 / George Woodman, Shinto shrine, Japan, 1990 / Hōryū-ji Temple, Nara, Japan, 1990 / Buddhist Guardian statue, Hōryū-ji Temple, Nara, Japan, 1990 / Pillars, Hōryū-ji Temple, Nara, Japan, 1990 / Shave ice stall, Japan, 1990. Woodman Family Foundation Archives.
Detail: Betty Woodman walking under torii gates, Japan, 1990. Woodman Family Foundation Archives.
Betty Woodman and George Woodman in Japan, 1990

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.

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Still from exhibition video for “Betty Woodman and George Woodman,” Charleston, East Sussex, UK, March 25–September 10, 2023. Exhibition video Charleston Trust. All video interviews Woodman Family Foundation Archives.
Exhibition video for "Betty Woodman and George Woodman," Charleston, East Sussex, England, 2023

Catch a glimpse of Betty and George Woodman's Italian studios and home and hear them speak about the importance of Italy to their work in this exhibition video, assembled from interviews in the Woodman Family Foundation archives.

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L to R: Betty Woodman. "Balustrade Relief Vase 00-5," 2000. 81 x 67 x 8 in. Glazed earthenware, epoxy resin, lacquer, and paint / Detail: George Woodman. "Low Balustrade Screen" or "Garden Balustrade Screen," 1981 / George Woodman. "Low Balustrade Screen" or "Garden Balustrade Screen," 1981 42 x 151 ½ in. Each panel 42 x 30 in. Acrylic on canvas.
Betty Woodman. "Balustrade Relief Vase 00-5," 2000 / Detail: George Woodman. "Low Balustrade Screen" or "Garden Balustrade Screen"," 1981 © Woodman Family Foundation / DACS, London
PREVIEW: "Betty Woodman and George Woodman" in "Financial Times," February 2023

Read Ajesh Patalay's preview of "Betty Woodman and George Woodman" on view now through September 10, 2023 at Charleston, East Sussex, UK.

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Video interviews from the Woodman Family Foundation archives included in the exhibition video for “Betty Woodman and George Woodman,” Charleston, East Sussex, UK, March 25–September 10, 2023. Exhibition video Charleston Trust. All video interviews Woodman Family Foundation Archives. All artworks © Woodman Family Foundation / DACS, London.
Still from exhibition video for “Betty Woodman and George Woodman,” Charleston, East Sussex, UK, March 25–September 10, 2023. Exhibition video Charleston Trust. All video interviews Woodman Family Foundation Archives. All artworks © Woodman Family Foundation / DACS, London.
ON VIEW: "Betty Woodman and George Woodman," Charleston, East Sussex, England, 2023

Last chance to see this unique exhibition, the first two-person presentation of Betty Woodman’s and George Woodman’s work in the UK.

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L to R: Pair: George Woodman. “Piazza San Francesco di Paola,” 1965. 32 x 32 in. Oil on canvas / Betty Woodman. “Aztec Vase and Carpet: April,” 2016. 38 1/2 x 58 x 43 in. Glazed earthenware, epoxy resin, lacquer, paint, and canvas / Installation view: George Woodman. “Piazza San Francesco di Paola,” 1965 / Betty Woodman. “Aztec Vase and Carpet: April,” 2016 / Betty Woodman. “Wallpaper 19,” 2017 / Pair: Betty Woodman. “Wallpaper 19,” 2017. 65 x 59 in. Glazed earthenware, epoxy resin, lacquer, and acrylic paint / George Woodman. Paper Tile Installation, 1982. Dimensions variable / Installation view: Betty Woodman. “Aztec Vase and Carpet: April,” 2016 / Betty Woodman. “Wallpaper 19,” 2017 / George Woodman. Paper Tile Installation, 1982 / Betty Woodman. “My House,” 2014. 80 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, and wood / George Woodman. “Pitti, Medea, Roses,” c. 1988. 41 1/4 x 72 in. Gelatin silver print / Betty Woodman. “Santa Barbara,” 2005. Glazed earthenware, epoxy resin, lacquer, paint, and canvas / George Woodman. “Cosmati,” 1966. 60 x 60 in. Oil on canvas / Installation view: George Woodman, "The Rochester Carpet," 1984, Bevier Gallery, RIT, Rochester, New York. Woodman Family Foundation Archives / Betty Woodman. “Aztec Vase and Carpet #3,” 2012. 35 x 85 x 43 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas. All Charleston installation views: "Betty Woodman and George Woodman" at Charleston 2023. © The Charleston Trust; photograph: James Bellorini.
Pair: George Woodman. “Piazza San Francesco di Paola,” 1965 / Betty Woodman. “Aztec Vase and Carpet: April,” 2016 / DACS, London
Frescos, patterns, and mosaics: "Betty Woodman and George Woodman," Charleston, East Sussex, England, 2023

Fragmented frescos glimpsed in Italian churches and Roman ruins, geometry noticed in Cosmati floor mosaics, and patterns seen on tile walls in Spain, Turkey, Morocco, Mexico and Portugal provided decades-worth of ideas for both artists, realized on the floor and on the wall.

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