‘What do I do now?’ the late Betty Woodman – who passed away last year – wondered, at 75, when her 2006 retrospective at the Metropolitan Museum of Art had closed. Quietly and consistently influential, the artist practiced her craft steadily over 50 years and held a teaching post at the University of Colorado for more than thirty. She had been working with clay since she was 16: it was through her pottery that she met her husband of five decades, George, and it was clay that helped her deal with the tragic death of her daughter, Francesca, in 1981.
This long-term dedication to her medium didn’t mean Woodman was stuck – if anything, her legacy is her inventiveness. She was the Madonna of ceramics; endlessly curious about the different techniques and approaches used by ceramic artists, she never stopped pushing her art in new directions right up to the last years of her life as a new exhibition at David Kordansky Gallery in Los Angeles proves.
An unseen work on paper by Betty Woodman, dated October 15, 2017, India ink, acrylic paint on sketch paper. Courtesy of Charles Woodman / The Estate of Betty Woodman and David Kordansky Gallery, Los Angeles
‘Shadows and Silhouettes’ is the first posthumous gallery exhibition on Woodman and brings together sculptures from 2008 to 2016, while a series of never-before-seen works on paper reveals more about the role of the pictorial in her sculptural spaces. Often combining the two, paintings started to play an increasingly important role in this last period of Woodman’s work, arising from a desire to give context to her clay after the Met.
One of the major themes in Woodman’s oeuvre was her constant fascination with vases and vessels, returning to the most revered shapes of the oldest art form, and yet finding new things to do with them. She took unexpected materials, like lacquer paint, and applied it to earthenware; she transformed an ancient slip gaze, terra sigillata, by using it on paper.
RELATED STORY
Her practice was rife with experimentation, mixing the old and the new, and drawing on diverse cultural references, from Matisse’s cut-outs to Minoan art, the capitals of Roman columns or Tang Dynasty tomb figurines. Woodman always simultaneously embraced the perfunctory and domestic nature of ceramics while being unafraid to make connections between clay and art history, design and architecture.
Il Giardino di Pinto, 1993, at European Ceramic Workcentre, ‘s-Hertogenbosch, the Netherlands, Los Angeles
On show at David Kordansky are works so exuberant they seem to dance: the gingham tablecloth and meta-ceramics in Summer Tea Party (2015-16); the reclining nude figures of Hers Vases: Life Drawing (2008); or the motifs of Aztec Vase & Carpet: Mariana (2015). Colour, shape, pattern and texture are all staged to kindle narratives of their own.
Woodman never lived in LA – she was part of the potter community in Colorado and divided her time between New York and Tuscany, where she had a second home, working while the California Clay Movement was kicking off, all surfer dudes and psychedelia. As Woodman herself said, ‘ceramics was always macho world’. Yet her uninhibited experimentation, the freedom and lustrous joy of her work, seem perfectly at home here.
Red Pitcher Yellow Flowers, 2012, by Betty Woodman, glazed earthenware, epoxy resin, lacquer, and acrylic paint. Courtesy of Charles Woodman / The Estate of Betty Woodman and David Kordansky Gallery, Los Angeles
October 23, 2017, by Betty Woodman, India ink, acrylic paint on sketch paper. Courtesy of Charles Woodman / The Estate of Betty Woodman and David Kordansky Gallery, Los Angeles
‘Shadows and Silhouettes’ at David Kordansky, Los Angeles. Courtesy of Charles Woodman / The Estate of Betty Woodman and David Kordansky Gallery, Los Angeles
Detail of Summer Tea Party, 2015 – 2016, by Betty Woodman, glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas. Courtesy of Charles Woodman / The Estate of Betty Woodman and David Kordansky Gallery, Los Angeles
From left, Aztec Vase and Carpet #7, 2014 glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas; and Bedroom with Lattice, 2009, glazed earthenware, paint, and canvas, by Betty Woodman. Courtesy of Charles Woodman / The Estate of Betty Woodman and David Kordansky Gallery, Los Angeles
Detail of Bedroom with Lattice, 2009, by Betty Woodman, glazed earthenware, paint, and canvas. Courtesy of Charles Woodman / The Estate of Betty Woodman and David Kordansky Gallery, Los Angeles
INFORMATION
‘Shadows and Silhouettes’, 27 June – 24 August, David Kordansky Gallery. davidkordanskygallery.com
ADDRESS
David Kordansky Gallery
5130 W Edgewood Place
Los Angeles
-
Let there be light: a closer look at Prada’s stripped-back S/S 2026 show set‘This is the first time the Fondazione is completely bare, with the light coming in,’ said Raf Simons backstage at Prada’s ‘light, fresh, colourful’ and ‘human’ S/S 2026 men’s show in Milan
-
A Swedish scooter blends Teenage Engineering’s aesthetic with accessible electric mobilityThe EPA1 Scooter is the first product from mobility start-up Vässla, an assured and flexible design shaped in conjunction with TE to assist everyday urban mobility
-
Discover Canadian modernist Daniel Evan White’s pitch-perfect homesCanadian architect Daniel Evan White (1933-2012) had a gift for using the landscape to create extraordinary homes; revisit his story in an article from the Wallpaper* archives (first published in 2011)
-
Mystic, feminine and erotic: the power of Penny Slinger’s bodies as landscapeArtist Penny Slinger continues her exploration of the sacred, surreal feminine in a Santa Monica exhibition, ‘Meeting at the Horizon’
-
Photographer Geordie Wood takes a leap of faith with first film, DiversGeordie Wood delved into the world of professional diving in Fort Lauderdale for his first film
-
New book celebrates 100 years of New York City landmarks where LGBTQ+ history took placeMarc Zinaman’s ‘Queer Happened Here: 100 Years of NYC’s Landmark LGBTQ+ Places’ is a vital tribute to queer culture
-
A major Takashi Murakami exhibition sees the world in kaleidoscopic colourThe Cleveland Art Museum presents 'Takashi Murakami 'Stepping on the Tail of a Rainbow', exploring outrage and escapist fantasy
-
Ai Weiwei’s new public installation is coming soon to Four Freedoms State Park‘Camouflage’ by Ai Weiwei will launch the inaugural Art X Freedom project in September 2025, a new programme to investigate social justice and freedom
-
Leonard Baby's paintings reflect on his fundamentalist upbringing, a decade after he left the churchThe American artist considers depression and the suppressed queerness of his childhood in a series of intensely personal paintings, on show at Half Gallery, New York
-
Desert X 2025 review: a new American dream grows in the Coachella ValleyWill Jennings reports from the epic California art festival. Here are the highlights
-
'We need to be constantly reminded of our similarities' – Jonathan Baldock challenges the patriarchal roots of a former Roman temple in LondonThrough use of ceramics and textiles, British artist Jonathan Baldock creates a magical and immersive exhibition at ‘0.1%’ at London's Mithraum Bloomberg Space
