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Books on the topic 'Woodman, Francesca'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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1

Woodman, Francesca. Francesca Woodman. Arles: Actes Sud, 1998.

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2

Marco, Pierini, SMS contemporanea, and Complesso museale Santa Maria della Scala (Siena, Italy), eds. Francesca Woodman. Cinisello Balsamo, Milano: Silvana, 2009.

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3

Francesca, Woodman, and Woodman George, eds. Francesca Woodman. London: Phaidon, 2006.

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4

Woodman, Francesca. Francesca Woodman. Cinisello Balsamo, Milano: Silvana, 2009.

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5

Woodman, Francesca. Francesca Woodman. Zurich: Scalo, 1998.

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6

Corey, Keller, Blessing Jennifer, Bryan-Wilson Julia, San Francisco Museum of Modern Art, and Solomon R. Guggenheim Museum, eds. Francesca Woodman. New York: San Francisco Museum of Modern Art in association with D.A.P./Distributed Art Publishers, 2011.

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7

Woodman, Francesca. Francesca Woodman: Photographic work. [U.S.]: [Wellesley College Museum and Hunter College Art Gallery], 1986.

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8

Woodman, Francesca. Francesca Woodman, photographs, 1975-1980. New York: Marian Goodman Gallery, 2004.

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9

Ciancetta, Federica. Francesca Woodman: Desire and its discontents. London: LCP, 2003.

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10

Francesca Woodman and the Kantian sublime. Burlington, VT: Ashgate, 2009.

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11

Woodman, Francesca. Francesca Woodman: Photographische Arbeiten = photographic works. Zürich: Shedhalle, 1992.

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12

Woodman, Francesca. Francesca Woodman: Photographische Arbeiten = Photographic works. 2nd ed. Zürich: Shedhalle, 1993.

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13

Townsend, Chris. Francesca Woodman. Phaidon Press, 2005.

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14

Townsend, Chris. Francesca Woodman. Phaidon Press Limited, 2016.

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15

Lux, Harm, and Kathryn Hizson. Francesca Woodman: Photography. Power House Books, 1994.

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16

Woodman, Francesca, Harm Lux, Philip Ursprung, and Hans J. Rindisbacher. Francesca Woodman: Photographic Works. Distributed Art Pub Inc (Dap), 1993.

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17

Francesca Woodman: Photographic Work. University of Pennsylvania Press, 1991.

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18

Raymond, Claire. Francesca Woodman and the Kantian Sublime. Taylor & Francis Group, 2016.

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19

editor, Tellgren Anna 1964, Vogel Saskia translator, Moderna museet (Stockholm Sweden), Foam Fotografiemuseum (Amsterdam Netherlands), Fondation Henri Cartier-Bresson, and Moderna Museet Malmö (Sweden), eds. Francesca Woodman: On Being An Angel. Koenig Books, 2015.

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20

Julia Margaret Cameron, Florence Henri, Francesca Woodman. Silvana, 2017.

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21

Francesca Woodman: Works from the Sammlung Verbund. D.A.P./Distributed Art Publishers, 2014.

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22

Francesca Woodman: The Roman Years - Between Flesh and Films. Contrasto DUE, 2012.

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23

Adler, Amy. Relative positions: Amy Adler, Liza May Post, Francesca Woodman (Perspectives). Contemporary Arts Museum, 2001.

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24

David, Hopkins, and Fruit Market Gallery, eds. After Image: Simryn Gill - Ana Mendieta - Cindy Sherman - Francesca Woodman. Edinburgh: Fruitmarket Gallery, 2003.

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25

Francesca Woodmans Notebook. Silvana Editoriale, 2011.

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26

Barbour, Charles. Conclusion: Secretions. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424998.003.0006.

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The image is Francesca Woodman’s, a New York artist who worked in the 1970s and early 1980s, until she killed herself at the age of twenty-two. It is a photographic self-portrait. She is a woman holding a mirror up to her face – a fairly common trope in our artistic tradition, and one with which Woodman often engaged and manipulated throughout her tragically brief career. But the reflective side of the mirror is not directed at her, as we often see in such pictures. Rather, it is directed at us, or whoever happens to be looking at the image. In the mirror, we should see our face, or us looking back at ourselves, narcissistically, no doubt, or confidently self-aware. But we do not see ourselves. Rather, we see her back and the back of her head. In other words, and paradoxically, she faces us with her back turned towards us. She looks out at us looking at her refusing to look at us. Or is that the best and most felicitous interpretation? I am not sure. For, obviously, with the back of the mirror pressed up against her nose, she cannot see us either. We look at her not looking at us, facing forward, with her back to us. Or, perhaps, we somehow occupy her position, turning her back on herself, even as she, or we, are still able to watch her do so. We watch her ...
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27

Francesca Woodmans Dark Gaze the Diazotypes and Other Late Work. Taylor & Francis Group, 2016.

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