Exhibition

By 1977, George Woodman’s tessellation paintings became non-periodic or aperiodic, consisting of a set of shapes which tiled the canvas but did not necessarily repeat.

By the mid-70s, George Woodman’s singular approach to pattern painting—as harmony between color and form—was well established and recognized among artists and critics alike. Woodman’s canvases were part of the larger zeitgeist around pattern in the art of this period.

George Woodman’s tessellated pattern paintings built upon observations made in the three-dimensional realm of architecture, specifically in the tiled surfaces that covered walls and floors as they emerged from and receded into space.

Tessellations are a type of pattern in which one or more geometric shapes are repeated—and often rotated and reflected—to seamlessly cover a surface. In George Woodman’s case, that surface was a canvas.

From the fall of 1965 through the summer of 1966, George Woodman spent the year living and working near Florence, Italy. It was in this year that the presence of pattern and attention to color that characterized his earlier paintings took a definitive turn.

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.