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Animated by the medium’s unpredictable nature, Woodman’s oeuvre is characterized by a ceaseless experimentation with structure, functionality and archetype.",["null","__typename",981,"asset",982],"Image",["null","__typename",5,"url",983],"https://cdn.sanity.io/images/cpu8yypf/production-v4/98cf198d1ecc4df6d6c2b7be35ba390524372542-3300x1378.jpg",[985,1077,1157,1188,1232,1263],["null","__typename",986,"articleRaw",987,"author",1073,"link",1074,"pdf",10,"publicationDate",1075,"publisher",999,"title",1076],"Press",[988,1005,1035,1058],{"_key":989,"_type":600,"children":990,"markDefs":1004,"style":608},"656447b9aad6",[991,996,1000],{"_key":992,"_type":604,"marks":993,"text":995},"906e8380ea03",[994],"strong","A 1984 ",{"_key":997,"_type":604,"marks":998,"text":999},"397e6d6488ef",[619,994],"Metropolis",{"_key":1001,"_type":604,"marks":1002,"text":1003},"a3962e718817",[994]," article captures artists Betty and George Woodman’s nomadic lives. Nearly four decades later, The Woodman Family Foundation archives the architectural sources of Betty’s work.",[],{"_key":1006,"_type":1007,"image":1008,"size":1034},"e6aa5ce91dc8","imageBlock",{"_type":1009,"asset":1010,"caption":1013,"captionColor":311},"img",{"_ref":1011,"_type":1012},"image-251a4f34d1010e1b32c14a3fa90aa1f5926834f1-900x448-jpg","reference",[1014],{"_key":1015,"_type":600,"children":1016,"markDefs":1033,"style":608},"0f2339976543",[1017,1021,1025,1029],{"_key":1018,"_type":604,"marks":1019,"text":1020},"0489c065d253",[],"Betty Woodman. ",{"_key":1022,"_type":604,"marks":1023,"text":1024},"4c2f4d63e2b1",[619],"Il Giardino Dipinto",{"_key":1026,"_type":604,"marks":1027,"text":1028},"99b722e368ca",[],", 1993. 108 x 420 in. Glazed earthenware, epoxy resin, lacquer, paint. Installation view at the RISD Museum, RI. ",{"_key":1030,"_type":604,"marks":1031,"text":1032},"5655268a8d4f",[994],"Courtesy Woodman Family Foundation / Artists Rights Society (ARS), New York.",[],0.5,{"_key":1036,"_type":600,"children":1037,"markDefs":1057,"style":608},"2ccf6adbad29",[1038,1042,1045,1049,1053],{"_key":1039,"_type":604,"marks":1040,"text":1041},"4d471622a231",[],"In October 1984, ",{"_key":1043,"_type":604,"marks":1044,"text":999},"29ceaf1a3a74",[619],{"_key":1046,"_type":604,"marks":1047,"text":1048},"7b325d2bf351",[]," published a story titled ",{"_key":1050,"_type":604,"marks":1051,"text":1052},"96d85ab2cecd",[619],"Pattern and Place",{"_key":1054,"_type":604,"marks":1055,"text":1056},"c7434de6fb6e",[]," tracing the studio developments of American artist couple Betty and George Woodman during a career-defining transition from New York to Colorado. At the time, Betty had established a name in ceramics through her utilitarian vessels, reliefs, and installations. Her husband, a painter, was known for geometric abstraction. The Woodman Family Foundation’s recently released blog series, Plotlines, emphasizes under-explored aspects of the Woodmans’ work, and for Betty, it is her relationship to architecture.",[],{"_key":1059,"_type":600,"children":1060,"markDefs":1072,"style":608},"de6850da381c",[1061,1065,1068],{"_key":1062,"_type":604,"marks":1063,"text":1064},"a7ecf12c4bf80",[],"While trained as a production potter at the School for American Craftsman at Alfred University, Betty became known for pushing the boundaries of functionality toward sculptural abstraction and embodying a painterly perspective in her handling of glazed earthenware. “And she definitely wasn’t a type to look back,” Lissa McClure, director of the Woodman Family Foundation tells ",{"_key":1066,"_type":604,"marks":1067,"text":999},"a7ecf12c4bf81",[619],{"_key":1069,"_type":604,"marks":1070,"text":1071},"a7ecf12c4bf82",[]," today.",[],"Osman Can Yerebakan","https://metropolismag.com/profiles/betty-woodman-and-architecture/","2021-03-16","Ceramics and Architecture: The Legacy of Betty Woodman",["null","__typename",986,"articleRaw",1078,"author",1152,"link",1153,"pdf",10,"publicationDate",1154,"publisher",1155,"title",1156],[1079,1093,1116],{"_key":1080,"_type":1007,"image":1081,"size":1034},"7b25fae34070",{"_type":1009,"asset":1082,"caption":1084,"captionColor":311},{"_ref":1083,"_type":1012},"image-9bc850c3dfbf50793385dd23777274c38176d7a4-600x783-jpg",[1085],{"_key":1086,"_type":600,"children":1087,"markDefs":1092,"style":608},"1a0a11748425",[1088],{"_key":1089,"_type":604,"marks":1090,"text":1091},"2a4bf904c9d0",[],"Portrait of Betty Woodman. Pencil on paper by Phong Bui. From a photo by Taylor Dafoe.",[],{"_key":1094,"_type":600,"children":1095,"markDefs":1115,"style":608},"30192266e9ad",[1096,1100,1104,1108,1111],{"_key":1097,"_type":604,"marks":1098,"text":1099},"06958e066864",[],"On the occasion of Betty Woodman’s two simultaneous exhibitions, ",{"_key":1101,"_type":604,"marks":1102,"text":1103},"220908197bf8",[619],"Breakfast at the Seashore Lunch in Antella",{"_key":1105,"_type":604,"marks":1106,"text":1107},"fe3471c59a37",[]," at Salon 94 (January 21 – February 26, 2016), and ",{"_key":1109,"_type":604,"marks":1110,"text":668},"0048e9c1a9b2",[619],{"_key":1112,"_type":604,"marks":1113,"text":1114},"6ec7c20f21f3",[]," (February 3 – April 10, 2016) at the Institute of Contemporary Art (ICA) in London (her first solo presentation in the U.K.), she spoke with Phong Bui before an audience at Salon 94. Following that cold, Valentine’s Day Sunday, the two spoke again back in New York, at Woodman’s Chelsea studio. The following is an edited version of their two conversations about her life, work, and evolving process.",[],{"_key":1117,"_type":600,"children":1118,"markDefs":1151,"style":608},"be5993bc9f08",[1119,1123,1127,1131,1135,1139,1143,1147],{"_key":1120,"_type":604,"marks":1121,"text":1122},"20b6a1187cd90",[994],"Phong Bui (Rail):",{"_key":1124,"_type":604,"marks":1125,"text":1126},"20b6a1187cd91",[]," The late Arthur Danto’s essay, “Communicating Vases,” in the catalogue for your 2006 retrospective at the Met, not only illuminated my understanding of your work, it imbued the objects you have made with dignity. To paraphrase Danto’s wonderful description, your works often consist of two or more vessels, unified by surface patterns and the implied gestures of their appendages, that are simultaneously juxtaposed, as if they were engaged in some kind of performance whose meaning is reflected in the way their shapes and sizes relate to one another. They’re ensembles of internally co-responsive parts—a duet or trio in music, or an intimate conversation between two people. Danto brought up Matisse’s great painting ",{"_key":1128,"_type":604,"marks":1129,"text":1130},"20b6a1187cd92",[619],"The Conversation",{"_key":1132,"_type":604,"marks":1133,"text":1134},"20b6a1187cd93",[]," (1908 – 12) which shows the painter standing in profile, like a Doric column, dressed in striped pajamas, talking to his wife, Amélie, in opposite profile sitting on an armchair, dressed in a ",{"_key":1136,"_type":604,"marks":1137,"text":1138},"20b6a1187cd94",[619],"robe de chambre",{"_key":1140,"_type":604,"marks":1141,"text":1142},"20b6a1187cd95",[],". It looks as though he were telling her, “I love you dear, but I love painting more.” That’s a good place to start. In other words—did such a conversation ever happen between you and George? [",{"_key":1144,"_type":604,"marks":1145,"text":1146},"20b6a1187cd96",[619],"Laughter",{"_key":1148,"_type":604,"marks":1149,"text":1150},"20b6a1187cd97",[],".]",[],"Phong Bui","https://brooklynrail.org/2016/04/art/betty-woodman-with-phong-bui","2016-04-01","The Brooklyn Rail","Betty Woodman with Phong Bui",["null","__typename",986,"articleRaw",1158,"author",1181,"link",10,"pdf",1182,"publicationDate",1185,"publisher",1186,"title",1187],[1159,1173],{"_key":1160,"_type":1007,"image":1161,"size":1034},"ff87572c62d0",{"_type":1009,"asset":1162,"caption":1164,"captionColor":311},{"_ref":1163,"_type":1012},"image-cef02016f21e6654dbe12a03afec64a88159f883-816x1216-png",[1165],{"_key":1166,"_type":600,"children":1167,"markDefs":1172,"style":608},"0b0e6d72b438",[1168],{"_key":1169,"_type":604,"marks":1170,"text":1171},"268574fa7ab9",[],"Courtesy of Frieze.",[],{"_key":1174,"_type":600,"children":1175,"markDefs":1180,"style":608},"c1f623c9e7d4",[1176],{"_key":1177,"_type":604,"marks":1178,"text":1179},"ea94272bf8c4",[],"I first learned about Betty Woodman when I was a 20-year-old student researching the photographic self-portraits of her daughter, Francesca. I was haunted by Francesca's stark, melancholic images and equally fascinated by Betty's exuberant, colorful and defiantly decorative ceramic objects, which were seducitve in an entirely different way. Yet, later, seeking out Betty's works among the bowls and vases in the ceramics galleries of the Victoria & Albert Museum, it struck me that, despite these differences, both artists were dealing with similar underlying questions about domestic spaces and how to exist with them as a woman. ",[],"Amy Sherlock",["null","__typename",735,"asset",1183],["null","__typename",737,"url",1184],"https://cdn.sanity.io/files/cpu8yypf/production-v4/ad19a4c916f045d427c898800cd65798ad04d5f2.pdf","2016-03-01","Frieze","Feel More",["null","__typename",986,"articleRaw",1189,"author",1227,"link",1228,"pdf",10,"publicationDate",1229,"publisher",1230,"title",1231],[1190,1204,1219],{"_key":1191,"_type":1007,"image":1192,"size":1034},"1e053802963a",{"_type":1009,"asset":1193,"caption":1195,"captionColor":311},{"_ref":1194,"_type":1012},"image-7b684124d6c4de9e205650bd87077ef4b6bea07f-1050x700-jpg",[1196],{"_key":1197,"_type":600,"children":1198,"markDefs":1203,"style":608},"7b696394dc6d",[1199],{"_key":1200,"_type":604,"marks":1201,"text":1202},"b25e3a3fcf01",[],"Betty Woodman: Theatre of the Domestic at the ICA. Photography by Mark Blower.",[],{"_key":1205,"_type":600,"children":1206,"markDefs":1218,"style":608},"9a3465352fb5",[1207,1211,1214],{"_key":1208,"_type":604,"marks":1209,"text":1210},"803a0f26a187",[],"To say that ",{"_key":1212,"_type":604,"marks":1213,"text":676},"89a020114726",[994],{"_key":1215,"_type":604,"marks":1216,"text":1217},"568bbb913ae4",[]," is a prolific artist is an understatement. At 85, only somewhat diminished in physical strength since she first used a kiln as a teenager, she remains completely committed to her work, a ravishing array of paintings and sculptures in exuberant colours that more often than not incorporate clay. \"I think that making art is simply for me where the passion lies, looking at it, thinking about it, making it,\" she says, on the eve of her first major solo exhibition in London, at the ICA. \"I like to do other things, but that's the most important thing.\"",[],{"_key":1220,"_type":600,"children":1221,"markDefs":1226,"style":608},"ad64719de8ce",[1222],{"_key":1223,"_type":604,"marks":1224,"text":1225},"65cf16c5b8550",[],"In the last ten years, after decades as a working potter and artist, she is finally getting the attention her work so deserves. But Woodman has always followed her own path. She and her husband, fellow artist George Woodman, first met in a pottery class she was teaching in Boston in 1950, marrying not long after against the wishes of his family and settling in Colorado. As her husband worked on his paintings, Betty became a production potter, making beautiful, artfully strange versions of traditional domestic vessels, from a row of joined-up vases to a pouring jug shaped like a pillow and painted in abstract expressionist style. Later in life, she abandoned her production work to focus on her art, moving with George to New York in their 50s to take on the city's famously chilly art world, a gamble which paid off handsomely — in 2006, she commanded a solo show at the Metropolitan Museum and now shows at Jeanne Greenberg Rohatyn's Salon 94.",[],"Laura Allsop","https://www.anothermag.com/art-photography/8290/talking-pottery-and-magic-with-betty-woodman","2016-02-04","AnOther","Talking Pottery and Magic with Betty Woodman",["null","__typename",986,"articleRaw",1233,"author",1258,"link",1259,"pdf",10,"publicationDate",1260,"publisher",1261,"title",1262],[1234,1242],{"_key":1235,"_type":600,"children":1236,"markDefs":1241,"style":608},"32a98955752f",[1237],{"_key":1238,"_type":604,"marks":1239,"text":1240},"973cfa0c8398",[],"“Too Matissey,” a woman complained while viewing the spectacular Betty Woodman retrospective at the Metropolitan Museum, a show that, on the day that I saw it, piqued a good deal of chat among strangers. The profusion of ceramic vessels and abstracted images of vessels, ranging from teacups to vast installations, shocks with aggressive forms and blazing colors, and its obvious, hellbent determination to please solicits opinion. None of the work is too Matisse-like. Though the master of color is very much evoked, nothing could less reflect his ideal that art should be like a good armchair than Woodman’s rough-and-tumble theatricality. The show can put you in mind, too, of Picasso, Miró, and Joan Mitchell, and of Cubism, Surrealism, and Abstract Expressionism—elements of modernity that, over a half-century career, Woodman has thoroughly rethought in low-fired clay. At the age of seventy-six, she is beyond original, all the way to sui generis. She has been well known in art circles since the nineteen-seventies, when her work was associated (incorrectly but advantageously, given the art world’s chronic disdain for anything that smacks of “craft”) with a briefly fashionable movement called Pattern and Decoration. A dearth of wider fame is due to the strangeness of her project, which entails a simultaneous emphasis on painting and sculpture in a disrespected medium, with references to arcane Mediterranean and Asian decorative traditions. An approving critic, on this occasion, is tasked with discovering significant questions to which Woodman’s art is the right answer. How can something be important that seems, at first blush, so capricious?",[],{"_key":1243,"_type":600,"children":1244,"markDefs":1257,"style":608},"9a4bb597deb5",[1245,1249,1253],{"_key":1246,"_type":604,"marks":1247,"text":1248},"1366846dca5f0",[],"Start in the Met’s entrance hall, where the massive, banal urns that are routinely filled with bouquets of fresh flowers have been replaced, for now, with Woodmans: cylindrical vases fronted with flat, jaggedly cut out slabs bearing glazed and painted, shattered representations of vase forms. When I was there (the arrangements change, week to week), masses of cherry blossoms, lilies, and subtly accenting blue-green eucalyptus complemented such opulent hues as, in a vase titled “Portugal,” an indigo like an organ chord, at once rumbling and clarion. It’s only décor, but what décor! I found myself reflecting, glumly, on the timid or arch character of most decoration today. Since decoration is art that is meant not to be looked at directly but to be taken in peripherally, Woodman’s work may seem overqualified, in its peremptory splendors. But, in effect, the work dreams of a world in which beautiful invention is to be expected, as an aesthetic civil right. It’s not Woodman’s fault that the rest of the culture won’t perform at her level—though the rest of the Met certainly does. Leaving the show, I wandered into the museum’s collections of Italian Renaissance and ancient Greek pottery with eyes pried open. Those pieces were made not to be pedestalled, as treasures, but to enhance lived protocols of perception and feeling. I also checked in with Matisse. Woodman is indeed a comparable colorist. Her conjunctions of high-keyed and earthen shades, often with swift black lines and chalk-white grounds, first startle, then gladden. She lacks Matisse’s Arcadian harmony—her color jangles—but this is not a failure so much as an authentic note of an American sensibility too restless and pragmatic to dawdle in regions of ",{"_key":1250,"_type":604,"marks":1251,"text":1252},"1366846dca5f1",[619],"calme, luxe, et volupté",{"_key":1254,"_type":604,"marks":1255,"text":1256},"1366846dca5f2",[],".",[],"Peter Schjeldahl","https://www.newyorker.com/magazine/2006/05/15/decoration-myths","2006-05-08","The New Yorker","Decoration Myths",["null","__typename",986,"articleRaw",1264,"author",1289,"link",1290,"pdf",10,"publicationDate",1291,"publisher",1292,"title",1293],[1265,1273,1281],{"_key":1266,"_type":600,"children":1267,"markDefs":1272,"style":608},"e7f4e960c412",[1268],{"_key":1269,"_type":604,"marks":1270,"text":1271},"5909955beca7",[],"IN 1988, the artist Betty Woodman had an idea: wouldn't it be wonderful to replace the traditional urns in the Great Hall of the Metropolitan Museum of Art, the ones that hold enormous flower arrangements, with vases of her own design?",[],{"_key":1274,"_type":600,"children":1275,"markDefs":1280,"style":608},"922660f810e5",[1276],{"_key":1277,"_type":604,"marks":1278,"text":1279},"e2a74f2cc1030",[],"Ms. Woodman, now 75, makes exuberantly painted clay vessels, often referring to art of the past, from ancient Roman pottery to paintings by Bonnard. Working with the Public Art Fund, Ms. Woodman came up with a proposal to transform the museum's lobby. The Met's answer was firm.",[],{"_key":1282,"_type":600,"children":1283,"markDefs":1288,"style":608},"e8072e2fcc1f",[1284],{"_key":1285,"_type":604,"marks":1286,"text":1287},"8693458f1a010",[],"\"They said, 'Don't be silly,' \" she recalled the other day, seated in her light-filled studio, part of the large Chelsea loft she shares with her husband, George. Ms. Woodman, who is five feet tall, was wearing hip Camper shoes and a bright yellow corduroy dress that telegraphed her passion for color.",[],"Ted Loos","https://www.nytimes.com/2006/04/23/arts/design/yes-theyre-clay-but-dont-dare-call-them-ceramics.html","2006-04-23","The New York Times","Yes, They’re Clay, but Don’t Dare Call Them Ceramics","The Estate of Betty Woodman",{},{},1793398082216]