Italy, May 1977 - August 1978 by Francesca Woodman

Italy, May 1977 - August 1978 1977 - 1978

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Dimensions: image: 143 x 158 mm

Copyright: © Courtesy of George and Betty Woodman | CC-BY-NC-ND 4.0 DEED, Photo: Tate

Curator: This gelatin silver print, "Italy, May 1977 - August 1978," was produced by Francesca Woodman during her time in Italy. The scale is quite intimate, just 143 by 158 millimeters. Editor: The contrast is striking—a man in a tank top, half his face in shadow, standing next to a woman with haunting eyes. It feels heavy with unspoken narrative. Curator: Woodman’s process involved a lot of experimentation with darkroom techniques, often using herself as the subject. Think about her social context; she was a young woman grappling with representation and self-image. Editor: True, and the way the light falls, creating stark divisions, speaks volumes about the push and pull within relationships, or perhaps within one's own identity. The materiality of the photograph itself—the grain, the tonality—adds to this effect. Curator: Exactly. Considering the limitations of analogue photography at the time, the labor involved in creating these images was significant, a deliberate act against the grain of disposable image culture. Editor: Yes, it's a powerful, carefully constructed image that resonates far beyond its simple composition. Curator: It really makes you consider the circumstances under which she was working. Editor: Indeed, this has been a fascinating closer look.

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tate 10 days ago

http://www.tate.org.uk/art/artworks/woodman-italy-may-1977-august-1978-ar00353

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tate's Profile Picture
tate 10 days ago

This black and white square-format portrait depicts the artist Francesca Woodman and her boyfriend, Benjamin P. Moore. The couple sit in front of a wall in shadow, with only their head and shoulders in the frame. Moore is positioned to the left of the composition, leaving a narrow empty space at the side of the image, while Woodman is positioned slightly behind his shoulder to the right with her left shoulder cut out of the frame. Moore wears a sleeveless white vest and his dark hair is slicked back. The artist’s hair is loosely piled on her head and she wears a patterned shirt, or possibly dress, with a V-shaped neckline. Both Woodman’s and Moore’s faces are bathed in light on their right, and obscured by dark shadow on the left. The image has a rough white border which is particularly distressed along the bottom of the image.