Dimensions: image: 109 x 109 mm
Copyright: © Courtesy of George and Betty Woodman | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: This is an untitled photograph by Francesca Woodman, part of the Tate collection. It presents a figure reflected in a mirror, the composition appearing quite intimate. Editor: Yes, the first thing I notice is the vulnerability conveyed, the almost claustrophobic framing hints at larger questions around the female gaze and self-representation. Curator: I agree. And consider the materiality – it's a relatively small-scale gelatin silver print, allowing for a very tactile engagement. The handwritten text below the image adds another layer. How do you read that? Editor: It personalizes the piece, moving beyond purely formal concerns. We see phrases like "See you Sunday," suggesting connection, but then "Bow Wow," potentially hinting at objectification. The contrast is striking. Curator: It reminds us that Woodman was working within a specific art-making community, using readily available materials. Also, think about the labor, the darkroom processes, the hand-printing, making each image unique... Editor: Absolutely, it's a potent blend. Thinking about the broader context, Woodman’s exploration of the body in relation to space challenges traditional power dynamics inherent in photography. It opens up complex dialogues. Curator: Indeed. The processes of making and the social implications are inextricably linked here. Editor: It certainly offers a lasting impact, urging us to look beyond the surface.
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This square black and white photograph is attached to an off-white paper mount. Shot from above, the photograph shows the American artist Francesca Woodman crouched on her hands and knees on top of the reflective glass of a rectangular mirror, which lies flat on the floor. The mirror is bordered by a dark carved frame and fills most of the image at an oblique angle to the edges of the picture. Occupying the top left corner of the image and covering nearly half of the mirror’s surface is a small woven rectangular rug. Woodman, who wears a sweater but apparently nothing else, is positioned diagonally across the mirror so that her head is framed by the corner of the rug to the left of the image, while her naked backside arches up towards the top right corner. She leans down low towards the mirror with bent arms but turns her head, which is slightly blurred, to look up at the camera. Below the photograph, on the off-white paper mount, Woodman has written in red ink, ‘See you Sunday Bow Wow love Spot’.
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