“Iowa as book itself harbors this moored kingdom previously mentioned as a state of internal configuration and a series of fluid and potential possible memories prescribed for others. It is an evocation of sorts.”
Often blurred and seeming to blend into interiors, Woodman’s photographs evoke a haunting, haunted world wherein her own physical self appears to vanish—or emerge—before our eyes.
To interpret Woodman’s work entirely through her death is reductive and backwards-facing. It’s the stated goal of this monograph to set aside the dominant interpretation of Woodman’s work, which sees her photography as an anticipation of her suicide. Focus on the Feminine Self and Set Aside the Suicide of Francesca Woodman By Owen Campbell, ASX, […]
The work of late American photographer Francesca Woodman, produced from the mid- to late-1970s, displays a unique artistic displacement and transformation of ‘feminine’ identity.