Exhibition

Curated by Glenn Adamson and Severin Delfs, “Drop, Cloth” traces a 50-year lineage of draping in contemporary art. As Delfs explains, drapery is presented here "as a flexible visual language that connects perception to material form,” explored through approaches that are “diaphanous and ephemeral," "material and sculptural," and "pictorial and painterly.”

Curated by Alison M. Gingeras, this exhibition brings together nearly 200 works that defy the myth of women’s absence from art history. Spanning 500 years—from the Renaissance and Baroque to the 20th century—it offers a powerful visual history of women’s centuries-long "emancipation."

Curated by Anne O’Hehir, Magdalene Keaney, and Shaune Lakin, this exhibition explores how women have reshaped the photographic landscape through works spanning more than 160 years.

Curated by potter, interior designer, and author Jonathan Adler, this vibrant exhibition at MAD brings together over 60 works from the museum’s permanent collection, juxtaposed with Adler’s own iconic designs.

This September marks the final opportunity to view Places to Dream, an exhibition featuring photographs by Francesca Woodman alongside works by Cindy Sherman, Ana Mendieta, Birgit Jürgenssen, and Nan Goldin, among others.

This Art Basel, visit the Kunstmuseum Basel to see Francesca Woodman’s photographs featured in "Medardo Rosso: Inventing Modern Sculpture."

Watch the exhibition video to listen to Rebecca Lowery, Curator of Exhibitions at the Wexner Center for the Arts at The Ohio State University, discusses George Woodman's evolving use of tessellations and color.

Works by Francesca Woodman are currently on view in two museum exhibitions about Surrealism and photography's relationship with truth at the Moderna Museet and Norton Museum of Art, respectively.

In honor of International Museum Day this past week, our Collections Coordinator Celia Lê visited AMOCA, where Betty Woodman’s "Pillow Pitcher" is on view alongside works by Ron Nagle, Paul Soldner, Peter Voulkos, among others in "Hot! & Ready to Serve."

Pattern paintings made up of repeating forms can tend towards uniformity or sameness, but not so for George Woodman. Instead, he integrated color into his pattern systems as an equal to form rather than a subordinate, constructing compositions in which color steers and complicates the viewer’s perception.

In her essay for the exhibition’s catalogue—“The Mind as it Measures: George Woodman’s Patterns”—curator Rebecca Skafsgaard Lowery discusses Woodman’s approach to pattern and color in the context of his contemporaries.

Focusing on geometric abstractions from a significant period within the artist's six-decade career, this exhibition traces the development of George Woodman's singular approach to pattern.