amysutton's review
4.0
Woodman's work features a combination of the physical form with contrasting environments like dilapidated buildings or personal living spaces. They're dark and segmented and her composition is great.
This book features her photographs and series divided into four different locations: Rhode Island (75-78), Italy (77-78), New Hampshire (80), and New York (80-81). Since this book was published in conjunction with a newly curated show in SF MOMA, there is a feature in the back of all of the pieces in the show. I was actually surprised that some of the pictures that were included in the show (and some of my favorites of hers) weren't actually put in the book except for those small thumbnails. For this reason, I think the selection of photographs could have been better and more selective to show her "best work" but overall this was a good collection.
This book features her photographs and series divided into four different locations: Rhode Island (75-78), Italy (77-78), New Hampshire (80), and New York (80-81). Since this book was published in conjunction with a newly curated show in SF MOMA, there is a feature in the back of all of the pieces in the show. I was actually surprised that some of the pictures that were included in the show (and some of my favorites of hers) weren't actually put in the book except for those small thumbnails. For this reason, I think the selection of photographs could have been better and more selective to show her "best work" but overall this was a good collection.
katecthompson's review
4.0
My interest was piqued by the fascinating documentary, The Woodmans, which focuses on both Woodman's work and that of her artistic parents. Clearly, she had a wonderful eye and intuitive sense of imagery, but being cut off so early in her career some of the photos are a bit juevenile.
It's hard to separate her sad end from the imagery that is common to adolescence - death, the female body splayed out as an angel, the sadness of empty rooms, etc. What I find ironic about trying to view her work as foreshadowing of her suicide is that (as is often the case with depression) she wasn't working during her last months. The creative impulse, even when it's a dark creative impulse, is one that is about life and energy, not about destruction.
It's hard to separate her sad end from the imagery that is common to adolescence - death, the female body splayed out as an angel, the sadness of empty rooms, etc. What I find ironic about trying to view her work as foreshadowing of her suicide is that (as is often the case with depression) she wasn't working during her last months. The creative impulse, even when it's a dark creative impulse, is one that is about life and energy, not about destruction.
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