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1958 Born in Denver, CO
1975–1979 Rhode Island School of Design, Providence, RI
1981 Died in East Village, NY
Francesca Woodman, Galerie Hubert Winter, Vienna, Austria
Feminist Avantgarde of the 1970s. Works from the collection SAMMLUNG VERBUND,
Vienna, ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, Deutschland
On Being an Angel, Finnish Museum of Photography, Helsinki, Finland
Francesca Woodman, Bernal Espacio, Madrid, Spain
Francesca Woodman: Obras de la Coleccion Verbund, Patio Herrerariano Museo de Arte Contemporaneo Espanol, Valladolid, Spain
Francesca Woodman: On Being an Angel…, Fondation Henri Cartier-Bresson, Paris, France
Francesca Woodman, Andréhn-Schiptjenko, Stockholm, Sweden
Francesca Woodman: The Second Space, Galerie Clara Maria Sels, Duesseldorf, Germany
Francesca Woodman: On Being anAngel, Moderna Museet, Stockholm, Sweden;
touring to Foam,Amsterdam, The Netherlands (2015–2016)
Francesca Woodman & Birgit Jürgenssen: Works from the Sammlung Verbund Collection, Vienna, Merano arte, Lauben, Germany
Francesca Woodman: I’m trying my hand at fashion photography, Marian Goodman, New York, USA
Francesca Woodman, Galerie Hubert Winter, Vienna, Austria
Francesca Woodman: Zigzag, Victoria Miro Gallery, London, UK
Francesca Woodman: Artist Rooms, Bodelwyddan Castle in Denbighshire (North Wales), UK
Francesca Woodman: Works from the Sammlung Verbundcollection, Sammlung Verbund, Vienna, Austria
Francesca Woodman, Mendes Wood, Sao Paulo, Brazil
Francesca Woodman, Galeria Clara Maria Sels, Dusseldorf, Germany
Francesca Woodman: The Blueprints, Marian Goodman Gallery, New York
Francesca Woodman, San Francisco Museum of Modern Art, San Francisco; traveled to Guggenheim Museum, New York, USA
Francesca Woodman: Unseen Photographs and Selected Works, La Fabrica Galeria, Madrid, Spain
Artist Rooms: Francesca Woodman, Ferens Art Gallery, Hull,UK
Francesca Woodman Photographs 1977-1981, Il Museo del Louvre, Rome, Italy
Francesca Woodman, Victoria Miro Gallery, London
Francesca Woodman, La Fabrica Galeria, Madrid, Spain (solo)
Francesca Woodman, Ingleby Gallery, Edinburgh, Scotland (solo)
Artist Rooms: Francesca Woodman, Scottish National Gallery of Modern Art, (solo)
Francesca Woodman, Espacio A.V., Murcia, Spain; SMS Contemporanea, Siena, Italy (exhibition catalog) (solo)
Angels of Anarchy: Women Artists and Surrealism, Manchester Art Gallery, Manchester, England (exhibition catalog)
Camouflage, La Casa Encendida, Madrid, Spain (exhibition catalog)
The Female Gaze: Women Look At Women, Cheim and Read, New York
This is Not a Fashion Photograph, International Center of Photography, New York
Diana and Actaion—The Forbidden Sight of Nudity, Düsseldorf Kunst Palast Museum, Dusseldorf, Germany (exhibition catalog)
Conversations, Kettle’s Yard, University of Cambridge, Cambridge, England
Darkside—Part One: Photographic Desire and Sexuality Photographed, Fotomuseum Winterhur, Winterhur, Switzerland (exhibition catalog) 2008 Implant, Horticultural Society of New York, UBS Art Gallery, New York
Female Trouble, Pinakothek der Moderne, Munich´(exhibition catalog)
Freeeway Balconies, Deutsche Guggenheim, Bertlin (exhibition catalog)
Lund Kontshall, Lund, Sweden, 9 February – 13 April
Dundee Contemporary Arts, Dundee, UK, 23 April – 22 June 2008 (exhibition catalog)
Francesca Woodman & Richard Serra, Ingleby Gallery, Edinburgh, 25 August – 6 September
Held together with Water: Art from the Sammlung Verbund, MAK, Vienna, 5 May – 16 September ; Istanbul Museum of Modern Art, Istanbul, 10 September 2008-11 January 2009 (exhibition catalog)
WACK! Art and the Feminist Revolution, The Geffen Contemporary at MOCA, Los Angeles, 4 March – 16 July; National Museum of Women in the Arts, Washington, DC, 21 September – 16 December; P.S.1, Long Island City, New York, 17 February – 12 May 2008, Vancouver Art Gallery, Vancouver, 4 October 2008 – 18 January 2009 (exhibition catalog)
Exposed: Defining Moments in Photography from the MCA Collection, Museum of Contemporary Art, Chicago, 25 February – July
Galerie Clara Maria Sels, Düsseldorf, 25 February – 20 April
American Academy in Rome, Rome, 7 February – 17 March.
Galerie Marian Goodman, Paris, 29 October – 3 December.
Galleria Davide Di Maggio, Berlin, 19 March – 10 May.
Francesca Woodman: Photographs 1975-1980. Marian Goodman Gallery, New York, 13 October – 13 November (exhibition catalog).
Francesca Woodman: Photographs. Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, 12 July – 26 October (exhibition catalog).
Galerie Drantmann, Brussels, 23 May-12 July.
Galerie Clara Marie Sels, Düsseldorf, 21 February - 30 April.
Kamel Mennour, Paris, 1-23 February.
Galerie Drantmann, Brussels, 17 March-19 May.
Francesca Woodman: Providence, Roma, New York. Palazzo delle Esposizioni, Rome, 2 February-27 March (exhibition catalog).
Victoria Miro Gallery, London, 28 June-28 July.
Marian Goodman Gallery, New York, 28 May-August 31.
Bernard Toale Gallery, Boston, 2 February-10 March.
Studio Guenzani, Milan, Italy, 5 February-14 March.
Galleria Dryphoto, Prato, Italy, 4 April-16 May.
Francesca Woodman, Fondation Cartier pour l'art contemporain, Paris, France, 11 April-31 May
Kunsthal, Rotterdam, The Netherlands, 12 September-15 November
Centro Cultural de Belém, Lisbon, Portugal, 22 January 1999-15 April 1999
The Photographers' Gallery, London, United Kingdom, 6 August-18 September 1999
Centro Cultural TeclaSala, L'Hospitalet, Barcelona, Spain, 11 November-30 March 2000
Carla Sozzani Gallery, Milan, Italy, 10 January-25 February 2001
The Douglas Hyde Gallery, Dublin, Ireland, 18 May-21 July 2001
PhotoEspana, Centro Cultural Conde Duque, Madrid, Spain, 12 June - 14 July, 2002 (exhibition catalog).
Recontres Internationales de la Photographie, Arles, France, 6 July-16 August (exhibition catalog).
Galleria Civica, Modena, Italy, 24 November 1996 - 9 February 1997 (exhibition catalog).
Casetti Galleria Libreria, Rome, Italy, 6 December 1995-30 June 1996.
PaceWildensteinMacGill, New York, 2 December 1994-13 January 1995.
Francesca Woodman, Photographic Arbeiten, exhibition tour: Shedhalle, Zürich, Switzerland, 31 May-26 July
Westfälischer Kunstverein, Münster, Germany, 18 September-25 October
Kulturhuset, Stockholm, Sweden, 4 December 1992- 7 February 1993
Suomen Valokuvataiteen Museo SÄÄTIÖ, Helsinki, Finland, 26 March-28 April 1993
DAAD Galerie, Berlin, Germany, 8 May-13 June 1993
Galleri F15 Alby, Moss, Norway, 7 August - 3 October 1993 (exhibition catalog).
Francesca Woodman, Photographic Work, Institute of Contemporary Art, Philadelphia, PA, 14 December 1989-28 January 1990.
Francesca Woodman, Photographic Work, Exhibition tour:
Hunter College Art Gallery, New York, 13 February-14 March
Wellesley College Museum, Wellesley, MA, 9 April-8 June
University of Colorado Fine Arts Gallery, Boulder, CO, 2 February-15 March 1987
UCI Fine Arts Gallery, University of California, Irvine, CA, 2 April-2 May 1987
Krannet Art Museum, Champaign, IL, 25 January-6 March 1988 (exhibition catalog).
Swan Song, Woods-Gerry Gallery, Rhode Island School of Design, Providence, RI, 16-22 November.
Libreria Maldoror, Rome, Italy, 20-30 March.
Addison Gallery of American Art, Andover, MA, March.
Convulsive Beauty, Edward ressle Gallery, New York, New York
The Quest for Meaning Bureau, Kunstaele Berlin, Germany
Women look at Women, Richard Saltoun Gallery, London, United Kingdom
Les Visitants, Guillermo Kuitca and the Fondation Cartier Collection, CCK, Buenos Aires, Argentina
Women House, Monnaie de Paris, Paris, France
Room, Sadie Coles, London, England
From Selfie to Self-Expression, Saatchi Gallery, London, England
Gravity and Grace, Aspen Art Museum, Aspen, CO
L'arte del femminile: Julia Margaret Cameron, Florence Henri, Francesca Woodman, Museo Villa Pignatelli, Napoli, Italy
Performing For the Camera, Tate Modern, London, UK
PRIERE DE TOUCHER - The Touch of Art, Museum Tinguely Basel, Switzerland
WOMAN: The Feminist Avant-Garde from the 1970s, Works from the Sammlung Verbund, Vienna, The Photographers´ Gallery, London, England
In A Dream You Saw A Way To Survive and You Were Full of Joy (curated by Elizabeth Price), Whitworth Museum, Manchester
Birgit Jürgenssen, Cindy Sherman, Katharina Sieverding, Francesca Woodman: Die zu sein scheint, die bin ich, Galerie Thomas Schulte, Berlin, Germany
Behold the Man, Museum de Fundatie, Zwolle, Netherlands
Francesca Woodman: Resistance and Persistence, Ingleby Gallery, Edinburgh, Scotland
The Self: Portraits of the Artists in Their Absence, The National Academy Museum, New York, NY
Absence, David Risley Gallery, Copenhagen, Denmark
Pliure, prologue (la part du feu), Fondation Calouste Gulbenkian, Paris, France
Sleepless: The Bed in History and Contemporary Art, 21er Haus, Vienna, Austria
The Feminist Avant-Garde of the 1970s, Hamburg Kunsthalle, Hamburg, Germany
Self-Timer Stories, MUSAC Museo de Arte Contemporáneo de Castilla y León, León, Spain
Artist Rooms, Bodelwyddan Castle in Denbighshire, North Wales, United Kingdom
Woman: The Feminist Avant-Garde of the 1970s Works from the Sammlung Verbund, Vienna, BOZAR Center for Fine Arts, Brussels
Feito por Brasileiros, Cidade Matarazzo, Sao Paulo, Brazil
Self-Timer, Museum der Moderne, Salzburg, Austria
The Four Woodmans, Nina Freudenheim Gallery, Buffalo, New York; Callicoon Fine Arts
Paul Klee: Angels, Hamburger Kunsthalle, Hamburg, Germany
Alice Im Wunderland Der Kunst, Hamburger Kunsthalle, Hamburg, Germany
Spies in the House of Art: Photography, Film, and Video, Metropolitan Museum of Art, New York
Mindscapes, Centrale for Contemporary Art, Brussels, Belgium
Pink Caviar, Louisiana Museum of Modern Art, Humlebaek, Denmark
A Rebours, Venus Over Manhattan Art, New York, USA
Femmescapes, Mills College Art Museum, Oakland, California
In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the
United States, Los Angeles Country Museum of Art, Los Angeles, California
Off the Wall, Fora da Parede, Serralves Museum, Porto, Portugal
Frames and Documents: Conceptualist Practices. Selections from the Ella Fontanals-Cisneros Collection, Cisneros Fontanals Art Foundation, Miami, Florida
Barely There Part II, Museum of Contemporary Art Detroit, Detroit, Michigan
Donna: Feminist Avant-Garde of the 1970s, Works from the Sammlung Verbund, Vienna, Galleria Nazionale d’Arte Moderna, Rome, Italy
Off the Wall Part 1: Thirty Performative Actions, Whitney Museum of American Art, New York, New York
Camuflajes, Museo del Patrimonio Municipal de Malaga, Malaga, Spain
Sous la dictée de l’image. Um novo percurso pela Colecção Berardo, Berardo Museum, Collection of Modern and Contemporary Art, Lisbon, Portugal
Betty, Charlie, Francesca & George, Samson Projects, Boston, Massachusetts
Female Self Portraits, Sala delle Reali Poste, Galleria degli Uffizi, Florence, Italy
Inside Out, Photography After Form: Selections from the Ella Fontanals-Cisneros Collection, Cisneros Fontanals Art Foundation, Miami, Florida
Justine Kurland and Francesca Woodman, BravinLee Programs, New York, New York
This is Not a Fashion Photograph: Selections from the ICP Collection, International Center for Photography (ICP), New York
Subversive Spaces: Surrealism and Contemporary Art, The Whitworth Art Gallery, University of Manchester, Manchester, England
Conversations, Kettle's Yard, University of Cambridge, Cambridge, England
Darkside—Part One: Photographic Desire and Sexuality Photographed, Fotomuseum Winterhur, Winterhur
4th Berlin Biennial for Contemporary Art, KW Institute of Contemporary Art, Berlin, 25 March – 28 May. (exhibition catalog).
Masquerade: Representation and the Self in Contemporary Art, Museum of Contemporary Art, Sydney, Australia, 23 March – 21 May (exhibition catalog).
Screened and Selected: Recent Photography, Film, and Video Acquisitions, 1999-2000, Middlebury College Museum of Art, Middlebury, VT, 19 January – 4 June (exhibition catalog.)
Taking Place: Photographs from the Prentice and Paul Sack Collection, San Francisco Museum of Modern Art, San Francisco, 2 June – 5 September (exhibition catalog).
Shirley/Jones Gallery, Yellow Springs, OH, 6 May – 18 June.
Fashion and Photography, Megaron, Athens Concert Hall, Athens, Greece, 17 March – May (exhibition catalog).
How do we want to be governed?, Miami Art Central, Miami, Florida, 29 November, 2004 – 30 January, 2005 (exhibition catalog); The Secession, Vienna, 24 February – 24 April 2005; Witte de With Center for Contemporary Art, Rotterdam, 28 April – 19 June 2005.
Reflecting the Mirror, Marian Goodman Gallery, New York, 14 June – 27 August.
That bodies speak has been known for a long time, Generali Foundation, Vienna, 22 January– 25 April (exhibition catalog).
Ideal and Reality: A History of the Nude, Galleria d’Arte Moderna, Bologna, Italy, 20 January – 9 May.
The Disembodied Spirit, Bowdoin College Art Museum, Brunswick, Maine, 25 September-7 December
Kemper Museum of Contemporary Art, Kansas City, Missouri, 5 March-23 May, 2004
Austin Museum of Art, Austin, Texas, 11 September-28 November, 2004 (exhibition catalog).
Incommunicado, Sainsbury Centre for Visual Arts, Norwich, England, 30 September – 14 December
City Art Centre, Edinburgh, 20 March – 9 May, 2004
Cornerhouse, Manchester, England, 22 May – 11 July (exhibition catalog).
After Image, The Fruitmarket Gallery, Edinburgh, 2 August – 2 September
Helsinki City Art Museum, Helsinki, 24 February – 23 May, 2004
Victoria Miro Gallery, London, 22 June – August 2004.
Claude Cahun, Francesca Woodman, and Justine Kurland, Susanne Hilberry Gallery, Ferndale, Michigan, 11 July – 13 September.
Hexenwahn, Deutsches Historisches Museum, Berlin, 2 May - 6 August.
Camera Women, Princeton University Art Museum, Princeton, NJ, 6 October - 6 January 2002
The Frances Lehman Loeb Art Center, Vassar College, 25 January - 6 March 2002, (exhibition catalog).
Relative Positions, Contemporary Arts Museum, Houston, TX, 19 October- 9 December (exhibition catalog).
The Big Id, James Cohan Gallery, New York, 21 February-24 March.
The Wounded Diva: Hysteria, Body, Technology in 20th Century Art, Galerie im Taxispalais, Insbruck, 3 March-7May
Staatliche Kunsthalle, Baden, Baden, 25 June-27 August (exhibition catalog).
Victoria Miro Gallery, London, May-June.
The American Century: Art & Culture, 1950-2000, The Whitney Museum of American Art, New York, 23 September 1999-27 February 2000 (exhibition catalog).
Galerie Lelong, New York, 20 January-20 February.
Space/Sight/Self, The University of Chicago David and Alfred Smart Museum of Art, Chicago, IL, 19 November-10 January 1999 (exhibition catalog).
F-Comme Photographie, Fri-Art Centre D'art Contemporain Kunsthalle, Fribourg, Switzerland, 1 November-20 December.
The Skopelos Center, Skopelos, Greece. 4 July-August.
From the Heart: The Power of Photography- A Collector's Choice, The Sondra Gilman Collection, South Texas Institute of the Arts, Corpus Christi, TX, March (exhibition catalog).
Mirror Images: Women, Surrealism and Self-Representations, exhibition tour USA: MIT, List Visual Arts Center, Cambridge. 10 April-28 June 1998; Miami Art Museum, Miami, September-December 1998; San Francisco Museum of Modern Art, San Francisco. February-March 1999 (exhibition catalog).
Recent Acquisitions, Museum of Modern Art, New York, 20 February-15 April
Objectif corps, The Montreal Museum of Fine Arts, Montreal, Canada. 6 March-1 June
Amours, Fondation Cartier pour l'art contemporain, Paris, France. 3 June-2 November (exhibition catalog).
Im Reich der Phantome, Stadtisches Museum Abteiberg Monchengladbach, 12 October 1997-4 January 1998
Kunsthalle Krems, 21 February-1 June 1998
Fotomuseum Winterthur, 13 June-16 August 1998 (exhibition catalog).
Engel, Engel, Kunsthalle Wien, Vienna, Austria, 11 June-7 September (exhibition catalog).
Inside the Visible, exhibition tour: Institute of Contemporary Art, Boston, 31 January- 12 May; National Museum of Women in the Arts, Washington, June-September; Whitechapel, London, United Kingdom, October-December (exhibition catalog).
Current 92: The Absent Body, Institute of Contemporary Art, Boston, MA, 22 January-22 March.
Sprung in die Zeit, Museum für Moderne Kunst, Photographie und Architektur, Berlin, Germany, 20 November 1992-17 January 1993 (exhibition catalog).
Vanishing Presence, exhibition tour: Walker Art Center, Minneapolis, MN, 29 January-16 April 1989; The Detroit Institute of Art, Detroit, MI, 9 May-2 July 1989; Winnipeg Art Center, Winnipeg, Canada, 27 August-22 October 1989; High Museum of Art, Atlanta, GA, 14 November 1989-7 January 1990; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, 30 January-27 March 1990; Virginia Museum of Fine Arts, Richmond, 22 April-17 June 1990 (exhibition catalog).
Identity: Representation of the Self, Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, 14 December 1988-10 February 1989.
Sexual Difference: Both Sides of the Camera, Wallach Art Gallery, Columbia University, New York, 29 March-7 May.
Memento Mori, Centro Cultural de Arte Contemporáneo, Mexico City, Mexico, November 1986-January 1987.
Pictorialism, Daniel Wolf, Inc., New York, April. Beyond Photography 80, The Alternative Museum, New York, 19 April-17 May (exhibition catalog).
Friends of the Gallery, Daniel Wolf, Inc., New York, 15 July-15 August.
Group Show, Rhode Island School of Design Gallery in Palazzo Cenci, Rome, Italy, May.
Cinque Giovani Artisti, Galleria Ugo Ferranti, Rome, Italy. 14 June-31 July.
Juried Competition, Woods-Gerry Gallery, Rhode Island School of Design, Providence, RI, March.
Photographs and Portraiture, Womanspace, Boulder, CO, April.
Juried Competition, Woods-Gerry Gallery, Rhode Island School of Design, Providence, RI, March.
Museum and Public Collections
The Metropolitan Museum of Art
The Whitney Museum of American Art
The Museum of Modern Art
Contemporary Arts Museum, Houston
Addison Gallery of American Art, Phillips Academy
The Art Museum, Princeton University
Middlebury College Museum of Art
The William Benton Museum of Art, University of Connecticut
The Herbert F. Johnson Museum of Art, Cornell University
Detriot Institute of Arts
Musee de Elysee Lausanne
The Photographer’s Gallery
Fondation Cartier pour l’art contemporain
Kunsthalle Bibliothek, Berlin
National Gallery of Scotland
Columbus Museum of Art
If Francesca Woodman had been a poet, she would have been Sylvia Plath. Not the grotesque, determined suicide of "Lady Lazarus" (although Woodman did die by her own hand), nor the raging harridan of "Daddy," but the mysterious, sprite-like Plath of "Ariel," the one who marveled that she was on the earth at all, let alone in female form. Like Plath, Woodman devoted herself to the exploration of the visible landscape of her body and its invisible counterpart, her psyche. And like Plath, Woodman seems to have been born with perfect pitch in her chosen medium. Unlike Plath, however, Woodman has remained relatively unknown to the general public.
That could -and should - change with the publication of Francesca Woodman. Although portions of her work have appeared in several exhibition catalogues, Francesca Woodman is the first book to trace the entire arc of the artist's career. Opening with an eerie self-portrait made when she was 13 and closing with the wildly inventive portrait sequences she made in 1980, the year before she died at the age of 22, the book reveals what the earlier selections could only hint at: that over time, Woodman, like Plath, pared the music in her art down toward a single, haunting tone.
Even as the range of her photographic techniques increased, the emotional range of her images contracted in ever tightening circles. A sense of loss and longing inhabited her earliest work, but by the end, it came to define it. Still, with Woodman, as with Plath, we need to resist the temptation to define the art by the artist's suicide.
Woodman's images are sometimes bleak, but they're often curious and playful as well. This is especially true of the work she did in Providence, Rhode Island. A student at the Rhode Island School of Design from 1975 to 1979, Woodman lived above the Pilgrim Mills dry-goods store and haunted the city's abandoned factories and Victorian manses. One afternoon, she borrowed Charlie, a famous (and famously fat) RISD model, stripped him naked, and set him to playing with various mirrors and windows in a rundown loft. Eventually Woodman took off her own clothes and joined him.
The images of the two of them laughing and posing are hilarious, but as David Levi Strauss points out in his accompanying essay, Woodman's occasional captions remind us of a more serious intent. "Charlie has been a model at RISD for 19 years," she writes (under an image sadly not included here). "I guess he knows a lot about being flattened to fit paper."
Flattened to fit paper? How could anyone this funny, Woodman seems to be asking, ever be transformed into charcoal on paper? And within that question, Woodman asks others: What are the boundaries between our bodies and our images of bodies? Between our selves and our reflections? How could a man this alive ever disappear?"
Suddenly, what first appeared to be simply a series of cheerful snapshots becomes a row of gray windows, each granting a vertiginous glimpse into the canyons of life and death. Or perhaps I should say life-in-death, since in Woodman's work, the two realms are constantly intruding on one another. Even in her earliest images, Woodman was fascinated with the ways in which the human body could be made to seem an apparition. As a young teenager, for instance, she photographed a naked person crawling through a large, cross-shaped gap in a tombstone. By using a slow exposure speed, she turned that person's body into a blur, even as she rendered the world around it crisp and clear.
Woodman went on to use this technique throughout her life, photographing herself jumping, bending, waving, and stretching, usually in near-empty rooms. Clustered into small, thematic groups, these photographs make up a diary of a woman who would have us see her (and who would perhaps see herself?) as some Shakespearean nymph, always about to dart back into the wall.
Such imagery is not entirely without precedent or subsequent influence. As several critics notedin the late 1980s, Woodman learned a great deal from the narrative portraits of Duane Michaels. In retrospect, one can also see her work presaging the theatrical self-portraits of Cindy Sherman, or even the juvenile dramas Sally Mann composed of her children. Unfortunately, the essays that accompany Woodman's photographs leave these connections underexplored.
Woodman's friend and sometime collaborator Sloan Rankin offers a brief set of personal reminiscences, while French novelist Philippe Sollers records his own, idiosyncratic impressions of Woodman's work. Elizabeth Janus describes a year that Woodman lived in Rome and the various artists she encountered there, and David Levi Strauss examines Woodman's debt to surrealism. Despite their occasionally critical intent, these essays ultimately grant more weight to Woodman's biography than to her artistic heritage, and to that extent they underestimate her achievement. When Woodman leaped from the window of a building on the Lower East Side of Manhattan in 1981, she left behind the makings of a myth. But she also left behind images of an extraordinary internal life.
Ultimately, it is the quality of that internal life, rather than the manner in which it ended, that illuminates Woodman's work. Fred Turner is the author of Echoes of Combat: The Vietnam War in American Memory, published by Anchor Books.