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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 Woodman. “Courtyard: Pontormo,” 2016. 110 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas / Images 2-3: Spreads from “Betty Woodman: New York/Florence.” Purple Magazine, Fall/Winter, 2017 / Betty Woodman. “Courtyard: Van Gogh,” 2016. 96 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas.

Betty Woodman. “Courtyard: Pontormo,” 2016. 110 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas.

Betty Woodman interview with Selva Barni, "Purple Magazine," Fall/Winter, 2017: READING ROOM

READING ROOM highlights past essays, reviews and interviews about Betty Woodman, Francesca Woodman, and George Woodman that provided new insights and lenses through which to understand their work. In this interview with Selva Barni, published in "Purple Magazine" in 2017, Betty Woodman talks about taking chances in her work and life, her relationship to feminism, her shift from potter to sculptor, and much more.

L to R: All artworks by George Woodman. “Untitled,” 1980. 85 x 84 in / “Untitled,” c. 1980-81. 75 x 110 in / “Untitled,” c. 1980-84. 44 x 32 in. Oil paint on canvas / “Iris,” 1991. 48 x 37 1/2 in. Collection of Denver Art Museum, Denver, Colorado / “Daphne,” 1982. 78 x 60 in / Detail of "Low Balustrade Screen (Garden Balustrade Screen),” 1981 / “Low Balustrade Screen (Garden Balustrade Screen),” 1981. 42 x 151 1/2 in. Each panel 42 x 30 in. Photo: John Berens / Irene Clurman. “George Woodman.” Arts Magazine, April 1982 / Installation view, “Paper Tilings,” 1982. Acrylic paint on paper. University Galleries, Wright State University, Dayton, Ohio. Woodman Family Foundation Archive. All artworks acrylic paint on canvas unless otherwise noted.

George Woodman. “Untitled,” 1980. 85 x 84 in. Acrylic paint on canvas.

Irene Clurman on George Woodman, "Arts Magazine," April 1982: READING ROOM

READING ROOM highlights past essays, reviews and interviews about Betty Woodman, Francesca Woodman, and George Woodman that provided new insights and lenses through which to understand their work. In her essay for "Arts Magazine” related to George Woodman’s 1982 solo exhibition at Haber-Theodore Gallery in New York, Irene Clurman discusses the transformation of Woodman’s patterns and palette into more representational forms.

L to R: Images 1-8: Stills from Francesca Woodman, "Selected Video Works," Providence, Rhode Island, 1976-78. Half-inch black-and-white open reel video with sound, transferred to DVD, 11:43 minutes / Pages from "Francesca Woodman." San Francisco: SFMOMA in association with DAP, New York, 2011.

Still from Francesca Woodman, "Selected Video Works," Providence, Rhode Island, 1976-78. Half-inch black-and-white open reel video with sound, transferred to DVD, 11:43 minutes.

Jennifer Blessing on Francesca Woodman's work in video: READING ROOM

READING ROOM highlights past essays, reviews and interviews about Betty Woodman, Francesca Woodman, and George Woodman that provided new insights and lenses through which to understand their work. In the catalogue that accompanied the exhibition Francesca Woodman, presented at SFMOMA, San Francisco in 2011 and the Guggenheim Museum, New York, in 2012, Guggenheim Senior Curator of Photography Jennifer Blessing writes about the primacy of process in Francesca Woodman’s work in video

L to R: All artworks by Betty Woodman. “The Summer House,” 2015. 338 1/2 x 94 1/2 x 12 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, and wood. Photo: Bruno Bruchi / Images 2-3: Details of “The Summer House,” 2015 / “Vase Upon Vase: Orfeo,” 2013. 66 1/2 x 23 x 16 1/4 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and wood. Photo: Brian Forrest / “Cherry Blossom Time,” 2005. 65 x 27 1/2 x 9 3/4 in. Photo: Christopher Burke / Installation view of “Portugal” (2005), The Great Hall, The Metropolitan Museum of Art, 2006. 34 1/4 x 29 1/2 x 18 in. Photo: Peter Harkawik / “Rose et Noir,” 1989. 21 x 26 x 22 in. Photo: Christopher Burke / Images 5-7: All glazed earthenware, epoxy resin, lacquer, and acrylic paint / Cover of “Frieze," No. 177, March, 2016.

Betty Woodman. “The Summer House,” 2015. 338 1/2 x 94 1/2 x 12 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, and wood.

Betty Woodman interview with Amy Sherlock, "Feel More," "Frieze," No. 177, March 2016: READING ROOM

READING ROOM highlights past essays, reviews and interviews about Betty Woodman, Francesca Woodman, and George Woodman that provided new insights and lenses through which to understand their work. “FEEL MORE: Ahead of her solo exhibition at the Institute of Contemporary Arts, London, Betty Woodman talks to Amy Sherlock about ceramic histories and modern painting.”

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