Francesca Woodman (1958 - 1981)

Francesca Woodman (1958 - 1981)

This is the free photo or picture example named Francesca Woodman (1958 - 1981) for OffiDocs app Gimp, which can be considered as an online image editor or an online photo studio.

Front of dust jacket of 2006 book Francesca Woodman; photograph is Untitled, Providence, Rhode Island, 1976

Woodman had only a few exhibitions during her life, some of which have been described as "exhibitions in alternative spaces in New York and Rome."[41] There were no known group or solo exhibitions of her work between 1981 and 1985, but numerous exhibitions each year since then.[citation needed] Among her major solo exhibitions were:

Besides catalogues of the aforementioned traveling solo exhibitions and catalogues of solo exhibitions that did not travel, notable books by and about Woodman include:

  • A monograph published in 2006 by Phaidon Press.[4]
  • A 2010 book examining the relevance of Woodman's photography as a way of understanding Kant's theory of the sublime.[49]
  • Francesca Woodman's Notebook, which was released in 2011.[50] It contains a facsimile of an Italian school exercise book to which Woodman added photographs, as well as an afterword by Woodman's father.[51] This book, also known as Quaderno or Quaderno Rafaello, has been described as "both an urgent missive to a lover and a playful sexual summons."[52]
  • Francesca Woodman's diazotypes and other later works are examined in a 2016 book by Claire Raymond.[53]

The films The Fancy and The Woodmans[edit]

Poster for the 2011 film The Woodmans including part of "Polka Dots" photograph

In 2000, an experimental video The Fancy, by Elisabeth Subrin, examined Woodman's life and work, "pos[ing] questions about biographical form, history and fantasy, female subjectivity, and issues of authorship and intellectual property."[54][55] Reviewers noted that the video juxtaposes "formalism, biography, and psychoanalysis"[56] and "hints at conspiracy, calling attention to the Woodman family's unwillingness to make the bulk of her body of photography available\u2026."[57]

A feature-length documentary The Woodmans, was released theatrically by Lorber Films[58][59] on the thirtieth anniversary of her death, 18 January 2011. The director "had unrestricted access to all of Francesca\u2019s photographs, private diaries, and experimental videos".[60] Although the film won "Best New York Documentary" at the Tribeca Film Festival, Woodman's parents decided not to attend the premiere.[61] Reactions to the film have been largely favorable. On the film review site Rotten Tomatoes, 94% of 17 critics' reviews were positive, and 83% of 793 user ratings were positive.[62] It was broadcast on the PBS series Independent Lens on December 22, 2011.[60][63]

Popular opinion[edit]

Public opinion has generally been favorable towards Woodman's work. At the 1998 exhibition in Paris, many people had "strong reactions" to her "interesting" photographs.[16] A number of people have found Woodman's individual photos (for example "Self-portrait at 13"[64]) or her photography in general[65] inspirational.

Influences[edit]

Among other factors, critics and historians have written that Woodman was influenced by the following literary genre, myth, artistic movement, and photographers:

  • Gothic fiction. She is reported to have identified with Victorian heroines.[66] Many of the stories feature a female figure that is often forced into solitude, then they turn mad. The Gothic style is full of symbols of tombs, mirrors, demons and angels.[67]
  • The myth of Apollo and Daphne, as evidenced by photographs in which Woodman is entangled in tree roots or wears birch bark on her arms.[68]
  • Surrealism.[69][70][71] She studied surrealism immensely and studied the workings of Duane Michals.[67] For example, Woodman "followed the movement's tradition of not explaining work"[16] and demonstrated a "desire to crack the code of appearances."[72]
  • André Breton and in particular his Nadja of 1928. In a 1979 interview with Roberta Valtorta, Woodman is reported as saying "Vorrei che le parole avessero con le mie immagini lo stesso rapporto che le fotografie hanno con il testo in Nadja di André Breton" ("I would like words to have the same relationship with my images as the photographs have with the text in Nadja by André Breton".[73] Translated by Dunhill.[74])
  • Man Ray (e.g., a series of his photographs of Meret Oppenheim, and his surrealist works).[7][32]
  • Duane Michals.[75][7] Woodman's and Michal's work share features such as blurring, angels, and handwriting in common.[76]
  • Deborah Turbeville.[77][7] Woodman had "admired" Turbeville's work,[15] and had compiled an artist's book for Turbeville (Quaderno Rafaello) which contained a written request for the older photographer to telephone her.[78]
  • Woodman was exposed to the symbolic work of Max Klinger whilst studying in Rome from 1977 to 1978 and his influence can clearly be seen in many photographic series\u2019, such as Eel Series, Roma (1977\u201378) and Angel Series, Roma (1977). In combining performance, play and self-exposure, Woodman\u2019s photographs create extreme and often disturbing psychological states. In concealing or encrypting her subjects she reminds the viewer that photographs flatten and distort, never offering the whole truth about a subject.

Free picture Francesca Woodman (1958 - 1981) integrated with the OffiDocs web apps

LATEST WORD & EXCEL TEMPLATES