The American photographer Francesca Woodman (1958–1981) created a body of fascinating photographic works in a few intense years before her premature death. Her oeuvre has been the object of numerous in-depth studies and major exhibitions in recent years, and her photographs have inspired artists all over the world. Woodman’s photographs explore gender, representation, sexuality and body. Her production includes several self-portraits, using herself and her friends as models. The figures are often placed behind furniture and other interior elements; occasionally, the images are blurred in such a way that their identity is hidden from the viewer. The intimate nature of the subject matter is enhanced by the small formats. Woodman worked in unusual settings such as derelict buildings, using mirrors and glass to evoke surrealist and occasionally claustrophobic moods. Moderna Museet will present some hundred photographs by Francesca Woodman, with a selection from the series and themes she explored. The exhibition is produced by Moderna Museet in association with Betty and George Woodman and the Estate of Francesca Woodman. Alongside this exhibition, Moderna Museet will present a compilation of photography from the same period from its collection, to show Francesca Woodman in context and expand the perspective on her oeuvre to the public.

Timeless, evocative and hauntingly beautiful: a retrospective monograph by a truly innovative image maker whose female gaze transformed fashion photography. American photographer Deborah Turbeville defies classification. She belongs to no school or movement. Her unique visual signature has been recognizable since her emergence as a major talent in the 1970s. Her images are evocative, difficult to date at first glance, and seem dreamlike to our 21st-century eyes. Turbeville stands apart from her male contemporaries, whose hard-edged, highly sexualized photographs of women now seem to be of their time in comparison with Turbeville’s very different representation of beauty. This book focuses on the area of Turbeville’s practice where her genius as an artist can be found: photocollage. In contrast to her contemporaries in fashion photography, she was deliberately playful with her images: xeroxing, cutting, scraping and pinning prints together, writing in the margins and creating narrative sequences. Her work is located far from single, glossy images. It inhabits a liminal zone between art and commerce. Built upon extensive research in the Deborah Turbeville archive, the work shown spans commercial and personal projects, with many images published for the first time. With texts by Vince Aletti, Anna Tellgren and Felix Hoffmann, this book brings into the spotlight the ways in which Turbeville redefined fashion photography, moving away from the sexual provocation and stereotypes assigned by male photographers to an idea of femininity on her terms. Deborah Turbeville: Photocollage will be an essential publication with modern relevance for all with a passion for fashion photography.