A 2012 travelling retrospective reviewed , as installed at the Guggenheim ably provided a framework for understanding her approach to photography and the important development milestones in her work, and a 2015 gallery show reviewed followed that up with a foray into her little known efforts in fashion photography.
The start of the second half proved to go in favor of Notre Dame as they quickly knotted the score at 48 apiece after a made basket from Lilee Carson.
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Threats of harming another person will not be tolerated.
The results are slightly more staged and mannered than before, from posing herself with cases of anatomical wax bodies in a museum exhibit in Florence to setting up a psychologically-charged two-person interchange in a cafe.
Only one is fully visible: a beach scene, white shells meandering toward a foot poking out of the sand and, beyond it, Woodman's blurry torso.
But as an estate inherently empties out over time with many notable works long ago skimmed and sold off, leaving behind more secondary, tertiary, and lesser known works , galleries are forced into being more thoughtful and creative.
What emerges is something far better than a limp gathering of outtakes, variants, and leftovers; set into small clusters of two, three, or four prints, the show allows us to follow along as Woodman works through approaches to a given subject.