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Francesca Woodman: Works from the Sammlung Verbund, by Betsy Berne, Johannes Binotto
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This volume--the most comprehensive monograph published on Francesca Woodman to date--considers her enigmatic photography in the light of the tradition of the tableau vivant and also explores for the first time her poetic use of props (mirror, gloves, wallpaper, etc.) as well as her unusual staging of space. Featuring 80 photographs and 20 previously unpublished works from the collection Sammlung Verbund in Vienna, it is the first publication ever to reproduce all of Woodman’s photographs in their original sizes, authentically reconstructing her idiosyncratic technique of placing the image on the photographic paper. Woodman’s stark, black-and-white photographs explore an intense curiosity and ambivalence toward the feminine self, but her often playful, surreal and symbolic gestures also demonstrate her ability to incorporate elements of humor into her otherwise sober iconography. This volume unifies all of these themes in her work under the broad concept of tableau vivant, showing how Woodman radically reimagined that tradition. It also includes the first detailed and illustrated biography of her life.
Francesca Woodman (1958–1981) was born into an artistic family and began to develop her interest and skill in photography during her early teenage years. She produced a distinct and original body of work in under a decade. Woodman committed suicide in 1981 at the age of 22. In the years following her death, Woodman’s work has achieved widespread critical acclaim.
- Sales Rank: #217950 in Books
- Published on: 2014-06-30
- Original language: English
- Number of items: 1
- Dimensions: 11.90" h x 1.30" w x 9.80" l, 4.15 pounds
- Binding: Hardcover
- 304 pages
Review
How many books devoted to Francesca Woodman do we need? Francesca Woodman: Works from the Sammlung Verbund closely follows the organization by periods and places employed by the 2012 Museum of Modern Art (San Francisco) exhibition catalogue, and its plate section repeats much of that book, with the addition of some pictures by the artist as a teenager. One nude-self portrait shows Woodman entwined with the roots of a tree, eerily evoking Ana Mendieta crossed with Ophelia. But a decision to print the reproductions in four-colour black and white, instead of the finer-resolution black and white of teh earlier book, leaves the images here less crisp and lacking the spooky dark glamour captured by SF MOMA'S catalogue. Because the new volume reproduces mostly posthumour prints we dont get tho see the idiosyncratic and revealing captions Woodman wrote on some of her photos, like the scrawled title appearing under the cockeyed print of the iconic 'On being and angel #1, 1977.' And since she became an angel, and has subsequently become a saint, it makes a difference whether she touched these relics. (Christopher Lyon Bookforum)
In the wake of her death, Woodman’s photographs ― haunting black-and-white images, which examine her own body and ambivalence toward it ― have received much critical acclaim. Yet a new exhibit, currently on display at Vienna’s Sammlung Verbund gallery, and corresponding book (out next month) argues against popular interpretations of Woodman’s images that foreshadow her premature demise. In an introductory essay, the critic Elisabeth Bronfen disputes Peggy Phelan’s suggestion that Woodman’s obsession with blurred renditions of her own figure are “understood as a way to rehearse her own death,” asserting instead: “By resolutely dedicating herself to the fragility of her own appearance as a photographic rendition, Woodman highlights the very inexorable inconsistency that ties the vitality of artistic work to the transience of life.” (Erica Schwiegershausen New York Magazine)
About the Author
Elisabeth Bronfen is professor of English and American studies at the University of Zurich and the Global Distinguished Professor of German at New York University. She is the author of several books, including, most recently, "Night Passages: Philosophy, Literature, and Film."
Most helpful customer reviews
82 of 84 people found the following review helpful.
Compares Favorably with 2006 Phaidon Book in Five Ways, But Unfavorably in Nine Ways
By ReviewerWhoPrefersToBeAnonymous
Francesca Woodman was a photographer who committed suicide in 1981 at the age of 22. The dust jacket blurb of this book says in part "Produced in conjunction with the first major American exhibition of the artist's work in more than two decades [at the San Francisco Museum of Modern Art and at New York's Guggenheim Museum], this catalog is a landmark reconsideration of Woodman for the twenty-first century." I'll compare it with the 2006 book published by Phaidon that is also titled "Francesca Woodman".
Here is a list of five ways in which this book compares favorably with the Phaidon book: (1) The inside of the dust jacket has a cool reproduction of the right part of the diazotype entitled "Caryatid, New York, 1980." See Customer Image. (2) The paper is an elegant off-white color, instead of the harsh white of Phaidon. (3) The reproductions of the prints are at the original size whenever possible, as opposed to Phaidon which reproduces some photos larger and some photos smaller than the originals. See Customer Image. (4) The four essays on pages 166-213 are together better than the Phaidon book's 66-page essay "Scattered in Space and Time" by Chris Townsend which rambles considerably. For me, the most interesting essay (because it didn't overlap much with essays in other books on Woodman) was "The Geometry of Time: Some Notes on Francesca Woodman's Video" on pages 196-203. (5) I didn't do an exact count, but approximately one-third of this book's 180 photos are not found in the Phaidon book. (In fact, the dust jacket blurb says that this book has "many previously unpublished photographs," although inside the book one cannot tell which photos have or have not been published before.) Some of the not-in-Phaidon photos grab your attention, like the one on page 101 showing the back of a woman with a brooch somehow attached to her palm (which is reproduced on the back of the dust jacket), or like the one on pages 162-163 in which Woodman poses nude in front of her birth certificate.
Here is a list of nine ways in which this book compares unfavorably with the Phaidon book: (1) This book has only four mostly-small images from Woodman's early work (1972-1975, such as "Self-Portrait at Thirteen"). The Phaidon book has early work on pages 23 and 75-83. (2) The reader cannot appreciate the sequencing of the pages in the two artists' books "Portrait of a Reputation" and "Some Disordered Interior Geometries." The 2006 Phaidon book contained thumbnail images of the entire two books on pages 236-239. (3) The photos on pages 69 and 100 are clearly related to each other, having been shot against the same wall, and involving dirt on the model's body. It is unclear why they are not on the same page spread. Same goes for the photos on pages 68 and 86, and on pages 78 and 98 (both from "Several Cloudy Days"). (4) Some of the 180 thumbnail-size photos in the "Catalogue of the Exhibition" on pages 204-219 are not reproduced at a larger size elsewhere in the book. (5) Some of the 180 photos in the "Catalogue of the Exhibition" are reproduced at a larger size in the "Essays" section, but the catalogue does not specify the pages. For example, a larger version of #2 is found on page 178, #24 ("Polka Dots") on p.168, #14 on p.189, #46 ("Directing Lightning #1") on p.176, #71 on p.186, and #176 on p.177. See Customer Image. (6) The Phaidon book has some memorable photos not found in this book, for example the one in which Woodman is holding the object that looks like a fish skeleton behind her back (Phaidon p.194). (7) The Phaidon book's postcards, studies (sketches), extracts from Woodman's journal, and "To Tell The Truth" essay by Woodman's friend give interesting insights into Woodman's methods. (8) Although the bibliography contains more recent articles than the Phaidon book, it also excludes some older articles that the Phaidon book has. (9) There is no index.
In summary, if you want to learn about this fascinating photographer, buy both this book and the Phaidon book from Amazon.com!
8 of 9 people found the following review helpful.
Inside a Darkened Mind
By Grady Harp
Francesca Woodman (1958 - 1981) is one of those artists whose potential was never realized fully - she died, the result of suicide, in 1981 at the age of 22. But the images she created with the camera continue to haunt the viewer and this portfolio puts it all together very well. Woodman's small photographs deal with the feminine mystique, an acceptable way of describing the strange poses she created with women models - including herself. There is a flavor here of surrealism (especially in the image f a seated girl with a handing mirage of a feminine body nearby.
It is difficult to grasp the degree of creativity necessary to create some 800 images in the course of the nine years during which she embraced her art. These images are not suggestive of Dorothea Lange or Diane Arbus, but they tend to have the same sort of response from the viewer - intense reality that becomes surreal in the context in which the statement is made. Her language is definitely her own, a mixture of dark motifs, sinister atmospheres, the use of 'sets' that are well worn interiors with the accompanying used and abused accouterments, and a sense of alienation, likely not dissimilar form the fragile mind state at her demise.
The book is a well-designed catalogue with sensitive essays and the largest collection of the works of this fascinating photographer artist that has been published. Highly Recommended. Grady Harp, February 12
3 of 3 people found the following review helpful.
Extraordinary Book
By Tomas Dittborn Barros
This is again a very psychological photographic book of francesca woodman. she was a young gifted photographer and her work is amazingly good. the books is a piece of art.
definitly a must have book.
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