Staff Picks

Summer with the Woodman family, 1959-1964: STAFF PICKS

Emma Horning is a Library and Information Science graduate student at University of Wisconsin Milwaukee. As the Foundation’s Archives Intern, she has been digitizing photographic slides and prints in the collection and building a database to manage these archival materials: Summer brings us bountiful sun-drenched days. As a family, the Woodmans spent the summer months soaking in the potential the season brings.

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George Woodman's screenprints, c. 1960s-70s: STAFF PICKS

Lissa McClure, The Woodman Family Foundation’s Executive Director: When I began at the Foundation three years ago, after knowing Betty and George for over a decade, I thought I knew most of the work each of the Woodmans had made. I soon realized how wrong I was! One of the biggest surprises, and a pure delight, was encountering George Woodman’s early prints from the ‘60s and ‘70s.

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L to R: All artworks by Betty Woodman. “Ladies Engaged in Unnecessary Activities,” 2017. 36 x 180 x 72 in / “Jules & Jim,” 2016. 9 x 36 x 15 in. All glazed earthenware, epoxy resin, lacquer, paint, fabric.
Betty Woodman. “Ladies Engaged in Unnecessary Activities,” 2017. 36 x 180 x 72 in. Glazed earthenware, epoxy resin, lacquer, paint, fabric.
Betty Woodman, "Fabric Girls," 2002-2017: STAFF PICKS

Hafsa Habib, The Woodman Family Foundation’s Archive & Library Intern through the Studio Institute’s Summer Arts Intern program: When I came across Betty Woodman's "Fabric Girls" series, I immediately was drawn to the colorful sculptures that were each meticulously adorned in fabric. The dynamic poses of the figures give them each a life of their own.

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Betty Woodman, "Wallpaper 16," 2017: STAFF PICKS

Ryan Brady, Collections Manager: Betty Woodman was an artist whose pragmatism seemingly stood in contrast to the loose comfort of her artistic style, but those of us who knew her well understood this sensibility as an asset to her prolific output. She kept things. Her Wallpaper pieces, which I had the privilege of closely working with her on during my time as her studio assistant from 2011 until her passing in 2018, resulted from her instinct to put all her materials to use.

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L to R: Francesca Woodman. “Untitled,” Providence, Rhode Island, 1976. 5 1/4 x 5 3/16 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York / Claude Cahun. “Self-Portrait (in a cupboard),” 1932. Gelatin silver print. © Estate of Claude Cahun / Kirsten Justesen. “Portræt i arkiv med samling (Portrait in cabinet with collection),” 2013. 58 1/4 x 39 1/2 x 1 in. Chromogenic print mounted on Dibond with matte acrylic. © Kirsten Justesen.
Francesca Woodman. “Untitled,” Providence, Rhode Island, 1976. 5 1/4 x 5 3/16 in. Gelatin silver print.
Francesca Woodman, "Untitled," Providence, Rhode Island, 1976: STAFF PICKS

Hi, Celia Lê here! I am the Woodman Family Foundation’s Research Intern and my main responsibility is exhibition and provenance research for Francesca Woodman. Personally, I love how Francesca often investigates the relationship between the body and space, from the various textures created by the wall to the extension of her legs outside of the cupboard in this work.

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George Woodman, "Rachel's Gesture of Refusal," 1995: STAFF PICKS

Hi there, Eliza Little here. I am the Woodman Family Foundation’s Collections Assistant. While I now wear many hats in my job that involves helping to manage the artworks and archives of all three of our artists, my main responsibility when I first started in February 2018 was cataloguing the photographic works by George Woodman in our collection. During that time I became very familiar with George’s photographs, and coming from a background in photography myself, I felt an affinity with certain aspects of his work.

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