Francesca Woodman Born Boulder, Colorado, 1958. Died
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Valeska Soares B
National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work. -
KATHARINE CONLEY August 2020
KATHARINE CONLEY August 2020 Modern Languages & Literatures 21 Sussex Court William and Mary Williamsburg, VA 23188 PO Box 8795 (757) 645-3876 Williamsburg, VA 23187-8795 (603) 443-2462 (cell) [email protected] ACADEMIC AND ADMINISTRATIVE POSITIONS Professor of French and Francophone Studies, William and Mary, 7/12- Dean of the Faculty of Arts and Sciences, William and Mary 7/12-6/20 Edward Tuck Professor of French and Comparative Literature, Dartmouth, 7/10-6/12 Professor of French, Dartmouth College, 7/04-6/12, Emerita 7/12- Associate Professor of French, Dartmouth College, 7/98 - 6/04 Assistant Professor of French, Dartmouth College, 7/92 - 6/98 EDUCATION Virginia Women’s Senior Leadership Seminar 2015-16 Harvard Institute for Management and Leadership in Education, June 2014 PhD French, University of Pennsylvania, May 1992 Honorary MA, Dartmouth College, 2007 MA French, University of Pennsylvania, 1990; MA French, University of Colorado, 1988 BA cum laude, Harvard-Radcliffe University, 1979 (major: honors English) AWARDS, FELLOWSHIPS, AND INSTITUTES (since 1992) Phi Beta Kappa, Dartmouth College, June 2009 Jacobus Family Fellowship, Dartmouth College, 2004-2005 Senior Faculty Fellowship, Dartmouth College, Winter-Spring 2005 J. Kenneth Huntington Memorial Award, Dartmouth College, June 2004 Whiting Foundation Travel Grant: Summer 1996 Humanities Institute on Cultural Memory and the Present, Spring 1996 Junior Faculty Fellowship, Dartmouth College, Winter-Spring 1996 School of Criticism and Theory, June-July 1995 Burke Research Initiation Grant, Dartmouth College: 1992-1995 PUBLICATIONS AND PAPERS Books and Edited Volumes: Author: Surrealist Ghostliness. Lincoln: University of Nebraska Press, 2013. Katharine Conley / 2 Author: Robert Desnos, Surrealism, and the Marvelous in Everyday Life. -
On Photographer Francesca Woodman Los Angeles Review Of
MARIAN GOODMAN GALLE RY Los Angeles Review of Books An Hourglass Figure: On Photographer Francesca Woodman By: Ariana Reines April 4, 2013 1. PROBLEM SETS I WOULD PREFER to keep her as I wish to think of her, as an emigrant flitting between worlds, a kind of Franco-Italian woodsprite immured in the charismatic and frail perfection of her minority. But she is a problem. She and her figure, which is also her but is not, but which is also a she, and not an it. A problem as in, “How do you solve a problem like Maria,” and a problem as in a problem that is real. She is a problem because she is a seducer, and I — I mean we — love to be seduced, though we also resent it, and she is a problem because she is a suicide, and suicides are seductive because we all want to die sometimes, and dead young women artists and dead women artists of any age are a problem because it has always been easier for this culture to love their artworks when they, the women, are not alive to interfere with our relations with them, and her precocity was and remains a problem because of its completeness and because precocity is also always resented and dismissed, and she is a problem because it has historically been too easy to praise what is dead and too difficult to nurture what lives, and she is a problem because she is a martyr and ours is a culture addicted to martyrs and martyrology and powered by competition and self-loathing, which leads to the wrong kind of death, and she is a problem because the relation between life and nonlife or the animate and the inanimate -
Book XVIII Prizes and Organizations Editor: Ramon F
8 88 8 88 Organizations 8888on.com 8888 Basic Photography in 180 Days Book XVIII Prizes and Organizations Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Group f/64 ............................................... 1 1.1.1 Background .......................................... 2 1.1.2 Formation and participants .................................. 2 1.1.3 Name and purpose ...................................... 4 1.1.4 Manifesto ........................................... 4 1.1.5 Aesthetics ........................................... 5 1.1.6 History ............................................ 5 1.1.7 Notes ............................................. 5 1.1.8 Sources ............................................ 6 1.2 Magnum Photos ............................................ 6 1.2.1 Founding of agency ...................................... 6 1.2.2 Elections of new members .................................. 6 1.2.3 Photographic collection .................................... 8 1.2.4 Graduate Photographers Award ................................ 8 1.2.5 Member list .......................................... 8 1.2.6 Books ............................................. 8 1.2.7 See also ............................................ 9 1.2.8 References .......................................... 9 1.2.9 External links ......................................... 12 1.3 International Center of Photography ................................. 12 1.3.1 History ............................................ 12 1.3.2 School at ICP ........................................ -
Be Y Woodman My Work for the Past 50 Years Or So Has Been
Bey Woodman My work for the past 50 years or so has been involved with a sort of “seng the stage” for a performance. At mes the theatrics happened at breakfast, dinner or tea; at mes the scenery has included flowers in vases in architectural sengs. References to other works of art have also always been present as a constant in my pracce. Such work is intended to be read with the inclusion of our knowledge of other works of art. These have ranged from Korean folk art painng to Masse and Bonnard to Classic Greek and Roman vases. Recently, I have been looking at Roman Frescos and various other wall painngs where images of architecture are painted on the actual walls. These give the illusion, with their columns and windows, of architecture within architecture. I have also observed how oen these frescos include images of vase…There are a series of cross-references in ceramic, wood, glaze and paint which return us to the “theatrical” domain of the wall pieces. We go to the theater to see plays and “play” is fundamental to the spirit of my recent work. Character, mise en scene, costume, plot and denouement are all important here. I am playing with play. Bey Woodman, 2010 Betty Woodman (1930 - 2018) began her nearly seventy-year engagement with clay in the 1950s as a functional potter with the aim of creating beautiful objects to enhance everyday life. In the 1960s, the vase form became Woodman’s subject, product, and muse. In deconstructing and reconstructing its form, she created an exuberant and complex body of ceramic sculpture. -
Self-Portraits and Gravity Bodies
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-13-2019 Self-Portraits and Gravity Bodies Tim Foley CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/489 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Self-Portraits and Gravity Bodies by Tim Foley Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Photography, Hunter College The City University of New York 2019 Thesis Sponsor: May 13, 2019 Susan Crile Date Signature May 13, 2019 Joel Carreiro Date Signature of Second Reader 2 Table of Contents I. List of Illustrations 3 II. Abstract 4 III. Thesis i. Introduction 5 ii. Section 1 6 iii. Section 2 10 iv. Section 3 12 v. Section 4 16 vi. Section 5 20 vii. Conclusion 25 IV. Bibliography 27 V. Thesis exhibition work list 28 VI. Thesis exhibition images 29 3 List of Illustrations Figure 1, “Untitled (Gravity Act #2)” (video stills), 2019, multichannel video, 8 min 40 sec 6 Figure 2, “I AM A FAGGOT” (video stills), 2018, digital video, 11 min 31 sec 8 Figure 3, Francesca Woodman, “House 3, Providence, Rhode Island,” 1976, 12 gelatin silver print on paper, 5.67 x 5.67 in Figure 4, Francesca Woodman, “Untitled, Providence, Rhode Island,” 1976, 12 gelatin silver print on paper, 5.67 x 5.67 in Figure 5, Ana Mendieta, -
Francesca Woodman: Becoming-Woman, Becoming-Imperceptible, Becoming-A-Subject-In-Wonder
Francesca Woodman: becoming-woman, becoming-imperceptible, becoming-a-subject-in-wonder Lone Bertelsen ‘Luminous Shadows’ and Photographic ‘Air’ (Fig. 1) Francesca Woodman, Untitled, Rome, Italy, 1977-78. Courtesy George and Betty Woodman. The figures in Francesca Woodman’s photographs often leave the ground, and the photographs themselves seem strangely ungrounded. Both the figures and the photographs themselves are mobilised: they become ‘trans- situational’ (Massumi, 2002: 217) and open up towards ‘a new space-time’ (Irigaray, 1993a: 75). As part of this mobilised opening, Woodman often camouflages the body and/or moves it in front of the lens during exposure. Chris Townsend points out that the effect of Woodman’s ‘movement’/‘camouflage’ is neither to make “woman” invisible nor to make the female body disappear (Townsend, 1999: 34 and 2006: 8 and 43). Woodman’s photographs are much more creative than that. I would suggest that many of Woodman’s photographs make visible her ‘luminous shadow’ (Barthes, 1982: 110). In doing so, they ‘render visible’ a woman of the future – a ‘becoming-woman’ (Deleuze and Guattari, 1987: 342 and 275). [1] In Camera Lucida, Roland Barthes stresses the importance of the body’s ‘luminous shadow’. He relates this shadow to a photographic ‘air’. This ‘air’ is necessary to the ‘life’ of the photograph: ...the air is the luminous shadow which accompanies the body; and if the photographer fails to show this air, then the body moves without a shadow, and once this shadow is severed, as in the myth of the Woman without a Shadow, there remains no more than a sterile body. -
Fall 2019 Rizzoli Fall 2019
I SBN 978-0-8478-6740-0 9 780847 867400 FALL 2019 RIZZOLI FALL 2019 Smith Street Books FA19 cover INSIDE LEFT_FULL SIZE_REV Yeezy.qxp_Layout 1 2/27/19 3:25 PM Page 1 TABLE OF CONTENTS RIZZOLI Marie-Hélène de Taillac . .48 5D . .65 100 Dream Cars . .31 Minä Perhonen . .61 Achille Salvagni . .55 Missoni . .49 Adrian: Hollywood Designer . .37 Morphosis . .52 Aēsop . .39 Musings on Fashion & Style . .35 Alexander Ponomarev . .68 The New Elegance . .47 America’s Great Mountain Trails . .24 No Place Like Home . .21 Arakawa: Diagrams for the Imagination . .58 Nyoman Masriadi . .69 The Art of the Host . .17 On Style . .7 Ashley Longshore . .43 Parfums Schiaparelli . .36 Asian Bohemian Chic . .66 Pecans . .40 Bejeweled . .50 Persona . .22 The Bisazza Foundation . .64 Phoenix . .42 A Book Lover’s Guide to New York . .101 Pierre Yovanovitch . .53 Bricks and Brownstone . .20 Portraits of a Master’s Heart For a Silent Dreamland . .69 Broken Nature . .88 Renewing Tradition . .46 Bvlgari . .70 Richard Diebenkorn . .14 California Romantica . .20 Rick Owens Fashion . .8 Climbing Rock . .30 Rooms with a History . .16 Craig McDean: Manual . .18 Sailing America . .25 David Yarrow Photography . .5 Shio Kusaka . .59 Def Jam . .101 Skrebneski Documented . .36 The Dior Sessions . .50 Southern Hospitality at Home . .28 DJ Khaled . .9 The Style of Movement . .23 Eataly: All About Dolci . .40 Team Penske . .60 Eden Revisited . .56 Together Forever . .32 Elemental: The Interior Designs of Fiona Barratt Campbell .26 Travel with Me Forever . .38 English Gardens . .13 Ultimate Cars . .71 English House Style from the Archives of Country Life . -
2001-The-1St-Auckland-Triennial-Bright-Paradise-Catalogue.Pdf
THE 1st AUCKLAND TRIENNIAL ASHLEy BICKERTON MLADEN BIZUMIC ADAM CHODZKO GREGORY CREWDSON U S A CROWLEY BILL CULBERT TONY D£ LAUTOUR STAN DOUGLAS BILL HAMMOND KENDAL HEYES GAVIN HIPKINS RONI HORN DAVID KORTY JUSTINE KURLAND SASKIA LEEK JOHN LYALL IAN MACDONALD JAMES MORRISON PAUL MORRISON MARIELE NEUDECKER ANI O’ NEILL SABINA OTT MICHAEL PAREKOWHAI SERAPHINE PICK PATRICK POUND HARU SAMESHIMA ANN SHELTON MICHAEL SHEPHERD PAUL SIETSEMA RONNIE VAN HOUT RUTH WATSON BRENDON WILKINSON ALLAN SMITH EXHIBITION CURATOR THE 1st AUCKLAND TRIENNIAL M a rc h — A p r il 2 0 0 1 Auckland Art Gallery Toi o Tamaki W ITH ARTSPACE AND THE UNIVERSITY OF AUCKLAND Published by Auckland Art Gallery Toi o Tamaki. PO Box 5449, Auckland 1, New Zealand. Copyright © 2001 Auckland Art Gallery Toi o Tamaki, Allan Smith, the artists and authors. ISBN 0-86463-241-X. This book is copy right. Except for reasonable purposes of fair review, no part may be stored or transmitted in any form or by any means, electronic or mechanical, including recording or storage in any information retrieval systems, without permission in writing from the publishers. No reproductions may be made, whether by photocopying or by any other means, unless a licence has been obtained from the publishers or their agent. Editors: Allan Smith and Robert Leonard. Design: Inhouse Design Group. Printed in Auckland by Pan Print. Photography: Auckland Art Gallery, Jennifer French p49, 60, 61, 64, 73, 75, 100, 112, 113, 114, 115; Michael Roth p 14, 53, 79; Govett-Brewster Art Gallery, Bryan James p57. Museum reference numbers p40 B.38508, p47 BHC1906, p89 BHC2370. -
Headed for Pdfs
FRANCESCA WOODMAN Biography 1958 Born Denver, Colorado 1979-81 Lived and worked in New York City 1981 Died Solo Exhibitions 2011 SF MoMA, San Francisco, USA (touring to Solomon R. Guggenheim Museum, New York in 2012) 2010 Francesca Woodman, Victoria Miro Gallery, London, UK Francesca Woodman: Self-portrayals between Providence, Rome and New York, Palazzo Della Ragione, Milan, Italy 2009 Francesca Woodman, La Fabrica Galeria, Madrid, Spain Francesca Woodman, Ingleby Gallery, Edinburgh, UK Artist Rooms: Francesca Woodman, Scottish National Gallery of Modern Art, Edinburgh, UK Francesca Woodman, Espacio A.V., Murcia, Spain (touring to SMS Contemporanea, Siena, Italy) 2007 Francesca Woodman, Marian Goodman Gallery, New York, USA Francesca Woodman, Victoria Miro Gallery, London, UK Poetry and Dream Collection Display: Francesca Woodman, Tate Modern, London, UK 2006 Galleria Il Capricorno, Venice, Italy Francesca Woodman, George Woodman, Galerie Clara Maria Sels, Düsseldorf, Germany American Academy Rome, Rome, Italy 2005 Galerie Marian Goodman, Paris, France Galleria Davide Di Maggio, Berlin, Germany 2004 Francesca Woodman: Photographs 1975-1980. Marian Goodman Gallery, New York, USA 2003 Francesca Woodman: Photographs. Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, USA Galerie Drantmann, Brussels, Belgium Galerie Clara Marie Sels, Düsseldorf, Germany Kamel Mennour, Paris, France 2001 Galerie Drantmann, Brussels, Belgium 2000 Francesca Woodman: Providence, Roma, New York. Palazzo delle Esposizioni, Rome, Italy Victoria -
The Woodmans, the Haunting Story of Late Photographer Francesca Woodman and Her Family, Premieres on Pbs’S Independent Lens on Thursday, December 22, 2011
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit http://pressroom.pbs.org THE WOODMANS, THE HAUNTING STORY OF LATE PHOTOGRAPHER FRANCESCA WOODMAN AND HER FAMILY, PREMIERES ON PBS’S INDEPENDENT LENS ON THURSDAY, DECEMBER 22, 2011 (San Francisco, CA) — The Woodmans is a fascinating, unflinching portrait of the late photographer Francesca Woodman, told through the young artist’s provocative work and remarkably candid interviews with her parents, who have continued their own artistic careers while watching Francesca’s professional reputation eclipse their own. With unrestricted access to all of Francesca’s photographs, private diaries, and experimental videos, The Woodmans traces the story of an unforgettable family broken and then healed by their art. Produced and directed by C. Scott Willis, The Woodmans will premiere on the Emmy® Award-winning PBS series Independent Lens on Thursday, December 22, 2011 at 10 PM (check local listings). Francesca Woodman, born in 1958, was the daughter of artists George and Betty Woodman. She and her brother Charles grew up psychically and physically immersed in art, eating from plates that Betty made and surrounded by George’s paintings. In the Woodman household, art was life’s guiding principle and something that required constant, committed work. Inevitably, the children began to create art of their own. Precocious and uncommonly determined, Francesca left home on her own initiative for boarding school, where she discovered and fell in love with photography. -
FRANCESCA WOODMAN: All She’S Got
MARIAN GOODMAN GALLERY FRANCESCA WOODMAN: All She’s Got By Lana J. Lee (May 19, 2015) (April 3, 1958 – January 19, 1981) Born in Boulder, Colorado, Francesca Woodman was a young Ameri- can photographer whose death was marked with rumors about the romantic and professional chagrins that drove her to fatally jump out of a loft window when she was just 22 years old. The substantial body of work left behind by Woodman includes self portraits and female nudes (most-ly medium format), a few videos, and several artist’s books, with surrealist and gothic influences seen throughout. Distortion and gradation of movement are captured on film, with slow shutter speeds and long exposure times. Silence echoes from one empty, deteriorating room to the next in Woodman’s photos , amplifying her subjects’ often subtle, poetic movements: ephemeral figures that suggest es- cape from the burdens of physical being. A wideeyedyoung artist seeking heights, Woodman moved to New York after graduating from the Rhode Island School of Design in 1978, with ambitions of meeting and apprenticing with one of her greatest influences, DeborahTurbeville, whose eerie, romantic work easily made her one of Woodman’s idols; Turbeville was also among the few photographers who were able to establish their identities in the fine art world while dominating the mid-seventies fashion scene, striking the difficult balance between both. In her essay, Francesca Woodman: Another Almost Square, A Fashion Photograph, Alison M. ©Francesca Woodman (Untitled, New York, 1979-1980). Gingeras looks at a portfolio of images found after Woodman’s death. Inside thecover of this portfolio, “Francesca Woodman for Deborah Turbeville” is etched in pencil.