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ON VIEW: Francesca Woodman in "Feminist Avant-Garde of the 1970s," Museum of Contemporary Art of Vojvodina, Novi Sad, Serbia, 2022

As part of an extensive international exhibition tour, “Feminist Avant-Garde of the 1970s” opens today at the Museum of Contemporary Art of Vojvodina in Novi Sad, Serbia. Organized by the Sammlung Verbund and drawing on works from their in-depth collections, the exhibition presents photography, video, film and performance by seventy-eight pioneering female artists of the 1970s, including photographs by Francesca Woodman. On view through June 24th.

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ON VIEW: Francesca Woodman in "Women and Change," Arken Museum of Modern Art, Denmark, 2022

“Women and Change” at the Arken Museum of Modern Art in Denmark considers unfolding depictions of women in Western art history over the past 150 years, a period that roughly parallels the history of the women’s rights movement. The exhibition presents works by 64 international artists that challenge ideas about the body, gender, identity and history, including Francesca Woodman’s “Untitled” (1980).

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ON VIEW: Francesca Woodman in "girls girls girls," Lismore Castle Arts, Lismore, Ireland, 2022

Francesca Woodman in “girls girls girls” at Lismore Castle Arts, Lismore, Ireland. On view April 2 through October 30, 2022. Curated by Simone Rocha.

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L to R: “Untitled,” 1979. 3 5/16 x 3 7/16 in. Digital chromogenic print / "1" or "A Woman is a Mirror for a Man #1," 1976, from the "A Woman is a Mirror for a Man" series. Gelatin silver print © Woodman Family Foundation / DACS, London
Francesca Woodman. “Untitled,” 1979. 3 5/16 x 3 7/16 in. Digital chromogenic print © Woodman Family Foundation / DACS, London
ON VIEW: Francesca Woodman in "A Century of the Artist's Studio: 1920-2020," Whitechapel Gallery, London, England, 2022

Francesca Woodman in “A Century of the Artist’s Studio: 1920-2020.” Whitechapel Gallery, London. February 24 through June 5, 2022.

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L to R: 1-6: Spreads from "Some Disordered Interior Geometries,” c. 1980-81. From original artist book, 24 pages + cover | "Almost a Square," 1977, 4 7/16 x 4 9/16 in. | "Angels," c. 1977-78, 3 13/16 x 3 3/4 in. | "Untitled," c. 1977-78, 4 9/16 x 4 11/16 in. | All gelatin silver prints. Artist's book images courtesy MACK. All works by Francesca Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
Francesca Woodman. Spread from "Some Disordered Interior Geometries,” c. 1980-81. Image courtesy MACK. Artwork © Woodman Family Foundation / Artists Rights Society (ARS), New York
"Some Disordered Interior Geometries," Rome, Italy: "Francesca Woodman: Alternate Stories," Marian Goodman Gallery, New York

Francesca Woodman was a frequent visitor to the Maldoror bookshop during the year she spent studying in Rome. In the hours she spent rooting through the stacks there, she began to collect old notebooks filled with elaborate handwriting exercises and objective mathematical lessons, all in Italian.

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"Francesca Woodman: Alternate Stories" at Marian Goodman Gallery, New York, New York, 2021

This solo exhibition of vintage photographs by Francesca Woodman includes more than twenty previously unseen works and draws on the artist's writings about her practice in newly available archival material from the Foundation's holdings. The show presents thematic threads and groupings of images in relational contexts, offering a fresh perspective on Woodman's work.

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ON VIEW: Betty Woodman in "The Flames: The Age of Ceramics" at Musee d'Art Moderne de Paris, Paris, France, 2021

"The Flames" takes a transhistorical approach to ceramics to assert the critical relationship of clay to both art and humankind. The exhibition combines ancient objects dating back to the Neolithic with those made by contemporary artists—including Betty Woodman—and everything in between.

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ON VIEW: Francesca Woodman in “New Time: Art and Feminisms in the 21st Century” at BAMPFA, Berkeley, California, 2021

This ambitious survey of recent feminist practices in contemporary art begins with Lucy Lippard’s observation that feminist art is “a value system, a revolutionary strategy, a way of life.” While the majority of works on view were made in the first two decades of this century, highlighting the wide-ranging concerns and multiple perspectives of contemporary artists, influential works made by artists of earlier generations are also featured, including three photographs by Francesca Woodman.

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Betty Woodman, Francesca Woodman, and George Woodman in “Interior Scroll or What I Did on My Vacation” at S&S Corner Shop, The Art Building, Springs, New York, 2021

We are pleased to announce that this exhibition includes a selection of correspondence written between Betty, Francesca and George Woodman in 1978, as well as Francesca Woodman’s “Selected Video Works,” 1976-1978.

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L to R: Installation view, “Rincontrarsi a Venezia,” Spazio Berlendis, Venice, Italy, 2021, including “Untitled,” 1980. 101.93 x 36.62 in. Diazotype / "Self-Deceit #2,” 1978, from the "Self-Deceit" series, 3 9/16 x 3 1/4 in. / “Self-Deceit #7,” 1978, from the "Self-Deceit" series. 3 5/8 x 3 9/16 in. All gelatin silver prints. All works by Francesca Woodman © Woodman Family Foundation / SIAE, Rome
Installation view, “Rincontrarsi a Venezia,” Spazio Berlendis, Venice, Italy, 2021. Artwork by Francesca Woodman © Woodman Family Foundation / SIAE, Rome
Francesca Woodman in “Rincontrarsi a Venezia” at Spazio Berlendis, Venice, Italy, 2021

LAST CHANCE TO SEE Francesca Woodman in Rincontrarsi a Venezia at Spazio Berlendis, Venice, Italy. On view through July 17, 2021.

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Betty Woodman in “With Pleasure: Pattern and Decoration in American Art 1972-1985” at Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, 2021

This ambitious exhibition, curated by Anna Katz, brings together American artists, including Betty Woodman, associated with the Pattern and Decoration movement in the first such comprehensive and scholarly survey. The exhibition showcases painting, sculpture, collage, ceramics, installation and performance which embraced craft-based and decorative traditions and approached art-making from a sometimes dizzying appreciation of historic sources and feminist aesthetics.

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