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L to R: 1: “Untitled,” c. 1970-71, 66 3/8 x 66 3/8 in. | 2: “Untitled,” c. 1971, 52 x 52 in. | 3: “7 Colors in 4’s,” 1966, 67 x 67 in. | 4: “Untitled,” 1968, 63 x 98 1/4 in. | 5: “Untitled,” 1975, 60 x 60 in. | 6: “Untitled,” 1978, 49 x 49 in. All acrylic on canvas. All artworks by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York

OPENING April 3: "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York, 2025

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.

L to R: 1, 15: George Woodman, installation view of "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado | 2, 6, 10, 12-13: Installation view of "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado | 3: “End of the Alphabet,” c. 1963, 52 x 52 in. | 4: “The Magic Box,” c. 1963, 55 x 45 in. | 5: “Landscape (After the Death of Adonis),” 1963, 72 x 72 in. | 7: “Untitled,” c. 1962-63, dimensions unknown. | 8: “Cleopatra (With Asp),” c. 1963, 48 x 51 in. | 9: “April Cool” or “Buddhist Shrine” or “Diamond Gestalt,” 1963, 70 x 70 in. | 11: “Love is a Bridge,” c. 1963, 52 x 52 in. | 14: “Mid-West Landscape (With Fallout)," 1963, 48 x 80 in. All oil on canvas. All artworks by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archives.

George Woodman, installation view of "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado. Woodman Family Foundation Archives.

George Woodman in "George Woodman: Paintings 1962-1963," Henderson Gallery, University of Colorado, Boulder, Colorado

In December of 1963, George Woodman opened an exhibition of his recent paintings at the Henderson Gallery at University of Colorado, Boulder, where he also taught painting and philosophy of art. These paintings—made in 1962 and 1963—moved away from the loose abstraction he had previously applied to painting the landscape and towards an approach that recalled maps and aerial views.

L to R: George Woodman. “285” or “Bari” or “Winterreise”, 1975, 65 x 65 in. Acrylic on canvas | Francesca Woodman. “Untitled”, c. 1975-78, 6 5/8 x 6 9/16 in. Gelatin silver print | Betty Woodman. “Joined Vases”, 1972, 11 1/2 x 23 x 10 in. Porcelain | Francesca Woodman. “Untitled”, c. 1979-80, 11 x 14 in. Gelatin silver print | George Woodman. “Study in White: Marble from Michelangelo’s Quarry”, 2004, 16 x 20 in. Gelatin silver print | Betty Woodman. “Boys”, 2013, 28 x 28 x 7 in. Glazed earthenware | George Woodman. “Untitled”, 1974, 84 x 84 in. Acrylic on canvas | Detail from Betty Woodman. “Aeolian Pyramid”, 2001/2006, approx. 150 x 168 x 100 in. Glazed earthenware, epoxy resin, lacquer, paint | George Woodman. “Tessellation Sky”, 1975, 54 1/2 x 54 1/2 in. Acrylic on canvas | Betty Woodman. “Nina’s Room”, 2012, 86 x 107 x 12 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas | Francesca Woodman. “Untitled”, c. 1977-78, 3 13/16 x 3 7/8 in. Gelatin silver print | Betty Woodman. “Judith’s Window”, 2012, 59 1/2 x 43 1/2 x 10 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood | Francesca Woodman. “Untitled”, 1980, 8 1/2 x 8 1/2 in. Gelatin silver print | Betty Woodman. “Divided Vases: Window”, 2012, 33 1/4 x 42 x 7 1/2 in. Glazed earthenware, epoxy resin, lacquer, paint | Francesca Woodman. “Untitled”, 1976, 5 1/8 x 5 1/8 in. Gelatin silver print | George Woodman. “Untitled”, c. 1980, dimensions unknown. Acrylic on canvas | Francesca Woodman. “Untitled”, c. 1979-80, 3 7/8 x 5 5/8 in. Gelatin silver print | Francesca Woodman. “Untitled,” c. 1979-80, 5 1/2 x 5 5/8 in. Gelatin silver print | George Woodman. “Christening Dress and Roman Sculpture (A Roman Fragment with a Christening Dress)”, 2011, 42 x 38 1/2 in. Oil on gelatin silver print | Betty Woodman. “White Amphoras”, 2004, 33 x 57 x 12 in. Glazed earthenware. All artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York

George Woodman. “285” or “Bari” or “Winterreise”, 1975, 65 x 65 in. Acrylic on canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York

The Woodmans and the use of white

Betty Woodman and George Woodman are often celebrated for their exuberant use of color, while Francesca Woodman is best known for her dramatic black-and-white photographs, filled with shades of grey. Working across different mediums and methods, the Woodman artists used white—and the absence of color—to fascinating effects.

L to R: "Hymn to Classicism," 1993, 20 x 24 in. Gelatin silver print - "Psyche and Amor," 1993, 20 x 16 in. Gelatin silver print | "Psyche and Amor in the Wisteria," 1988, 20 x 16 in. Gelatin silver print | "Psyche, Amor and Iris," 1988, 20 x 16 in. Gelatin silver print | "Psyche, Amor and Sara," 2010, 16 5/16 x 22 5/8 in. Oil on gelatin silver print | "Canova Museum," 2010, 42 x 36 in. Oil on gelatin silver print. All artworks by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York

George Woodman. "Hymn to Classicism," 1993, 20 x 24 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York

Cupid and Psyche's divine love in George Woodman's photographs

Neoclassical beauty, particularly as depicted through sculptures of embracing lovers, is a recurring theme in George Woodman’s photographs—especially the myth of Psyche and Cupid’s divine love.

Photos, L to R: Betty Woodman in her New York studio, c. 1983 | Francesca Woodman, c. 1979-80. Photo: George Woodman | George Woodman in front of his paper tile installation, 1979 Woodman Family Foundation Archives. Artwork and photo by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York

Graphic with text: "WFF Housing Stability Grant for Artists / 3-year rent subsidies for 5 visual artists in NYC"

Announcing the WFF Housing Stability Grant for NYC-based visual artists

Thrilled to announce our partnership with NYFA on the inaugural WOODMAN FAMILY FOUNDATION HOUSING STABILITY GRANT for ARTISTS (WFF HSG). In recognition of the increasing unaffordability of rental housing in New York City and the housing insecurity it creates for artists, we will award grants of $30,000—distributed over three years—to five visual artists with the goal of improving their housing stability.

L to R: Group, T to B: Betty Woodman, “Athens,” 1991, 35 1/2 x 68 5/8 x 10 1/4 in. Glazed earthenware, epoxy resin, lacquer, and paint / George Woodman, “Untitled,” c. 1966-68, 39 1/2 x 39 1/2 in. Acrylic on canvas / Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/4 in. Gelatin silver print | Betty Woodman, “Athens,” 1991, 35 1/2 x 68 5/8 x 10 1/4 in. Glazed earthenware, epoxy resin, lacquer, and paint | George Woodman, “Untitled,” c. 1966-68, 39 1/2 x 39 1/2 in. Acrylic on canvas | Francesca Woodman, “After My Grandmother's Funeral” series, 1977. Gelatin silver prints | Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/4 in. Gelatin silver print | Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/8 in. Gelatin silver print | Francesca Woodman, “Untitled,” 1977, from the “After My Grandmother's Funeral” series, 5 5/16 x 5 1/4 in. Gelatin silver print | Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 x 5 1/8 in. Gelatin silver print | Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/8 in. Gelatin silver print | Francesca Woodman, “2,” 1977, from the “After My Grandmother's Funeral” series, 5 1/4 x 5 1/4 in. Gelatin silver print All artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York.

Group, T to B: Betty Woodman, “Athens,” 1991, 35 1/2 x 68 5/8 x 10 1/4 in. Glazed earthenware, epoxy resin, lacquer, and paint / George Woodman, “Untitled,” c. 1966-68, 39 1/2 x 39 1/2 in. Acrylic on canvas / Francesca Woodman, “After My Grandmother's Funeral,” 1977, from the “After My Grandmother's Funeral” series, 5 1/8 x 5 1/4 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York.

Acquisition by the Currier Museum of Art, Manchester, New Hampshire, 2024

We are very pleased to announce the acquisition of a group of important works by Betty Woodman, Francesca Woodman, and George Woodman from the Foundation’s holdings by the Currier Museum of Art in Manchester, New Hampshire.

L to R: 1981 New York Magazine feature | 1977 Rocky Mountain News | 1981 Rocky Mountain News | Betty Woodman’s pottery at WFF. Woodman Family Foundation Archives.

1981 New York Magazine feature. Woodman Family Foundation Archives.

Betty Woodman's and George Woodman's press clippings: FROM THE ARCHIVES

Archives Intern Shauna Fitzgerald shares some thoughts on her experience in the WFF Archives in the Fall of 2024.

L to R: Micaela shows the Pratt class a magazine article on George Woodman and Betty Woodman. Photo by Cristina Pattuelli. | Detail of a drawing done by Francesca Woodman with a note to Betty Woodman and George Woodman. The drawing includes a sofa Francesca used as a prop in photographs and teacups likely depict Betty Woodman’s ceramics. Flight information in the note may help us establish timelines for all three artists in the future. | Photo boxes owned by George Woodman. While the boxes are not “archival” (acid free), the information written on them by the artist makes them valuable in establishing provenance of final artworks. | The archive interior. Simple industrial rolling racks are utilized to hold archival assets.

Micaela shows the Pratt class a magazine article on George Woodman and Betty Woodman. Photo by Cristina Pattuelli.

Visit to WFF Archive from the Pratt School of Information’s MSLIS program, November 18, 2024

The Woodman Family Foundation archive was delighted to host students from the Art Documentation class in the Pratt School of Information’s MSLIS program on November 18. Professor Cristina Pattuelli, consulting archivist Sewon Kang, and the students joined us to survey of some of the archives highlights and have an engaging discussion on the unique opportunities and challenges the Woodman Family archives have.

L to R: “Self-Portrait at Thirteen," c. 1972, 6 3/4 x 6 11/16 in. Gelatin silver print | 2 & 3: Francesca Woodman's Yashica Mat-124G camera | “Untitled," 1979, 3 5/16 x 3 1/2 in. Chromogenic print. All artworks by Francesca Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archives.

Francesca Woodman's first camera: FROM THE ARCHIVES

In 1972, Francesca Woodman received her first camera, a 6x6 twin-lens reflex Yashica Mat-124G, from her father, George Woodman.

Image details: 1. Betty Woodman at work in her studio in Antella, Italy, 1996. Photograph by George Woodman | 2. An assemblage of Betty Woodman’s studio materials. Clockwise from bottom left: Rocket Expansion cement, broken ceramic pieces, measuring cup, sponges, Orton standard pyrometric cones (open box) Orton small pyrometric cones, fork, toothbrush, kitchen knife | 3. George Woodman in his New York City studio c. 1980s | 4. An assemblage of George Woodman’s studio materials. Clockwise from bottom left: Gorton vapor equalizing valve, Bessey vise clamp, Xcemite screw driver, rubber hook tool, Dap silicone, GE silicone, Stanley level, Conair hair dryer, Wiss pliers, Great Neck wood chisel, Maimeri set of paints

Betty Woodman at work in her studio in Antella, Italy, 1996. Photograph by George Woodman. Woodman Family Foundation Archives.

Tools used by Betty Woodman and George Woodman: FROM THE ARCHIVES

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.

L to R: Pair: Dodd, Wayne (Ed.) The Ohio Review, No. 60. Athens, OH: The Ohio University, 1999. / “A Classical Mystery,” 1996 | Quote from “Some Photographs of Photographs” by George Woodman in The Ohio Review, No. 60, 1999. | “A Classical Mystery,” 1996, 20 x 16 in. | “Apollo and Psyche” or “Pysche et Amour,” 1997, 20 x 16 in. | “Still Life with Rachel” or “Childhood Memories,” c. 1997-98, 20 x 16 in. | “French Fashion in Madison Square” or “M. Vionnet in Madison Square,” 1999, 24 x 20 in. | Woodman, George. “Some Photographs of Photographs,” in The Ohio Review, No. 60, 1999. All gelatin silver prints. All works by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York.

Pair: Dodd, Wayne (Ed.) The Ohio Review, No. 60. Athens, OH: The Ohio University, 1999. / George Woodman. “A Classical Mystery,” 1996, gelatin silver print, 20 x 16 in. © Woodman Family Foundation / Artists Rights Society (ARS), New York

George Woodman's essay and photographs in The Ohio Review, No. 60, 1999: READING ROOM

In 1999, The Ohio Review—a long-running literary journal published by the English Department at Ohio University—included a portfolio of thirteen photographs and an accompanying essay by George Woodman, appearing among pages of poetry, prose and fiction.

L to R: Betty, Charles, and Francesca Woodman in front of the New York World's Fair Unisphere, 1964 / Charles and Francesca Woodman in front of Thailand's pavilion, 1964 / Bird's eye view of the New York World's Fair, 1964. Woodman Family Foundation Archives.

Betty, Charles, and Francesca Woodman in front of the New York World's Fair Unisphere, 1964. Woodman Family Foundation Archives.

The Woodmans at the 1964 New York World's Fair: FROM THE ARCHIVES...

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.

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