In October, Ashgate will publish Francesca Woodman and the Kantian Sublime, by Claire Raymond. Also, an exhibition of Woodman’s work is on view in Milan until October 24th (reviewed by Rachel Spence). A catalog published by Silvana, with contributions from Isabel Tejeda, Marco Pierini and Lorenzo Fusi, accompanies the Milan exhibition, also on view in Murcia and Siena (Amazon).
A volume by Christopher Townsend for Phaidon appeared in 2006. Townsend was reviewed by Harriet Riches in “Clues to a Lost Artist,” Oxford Art Journal 30:3 (October 2007), pp. 515-521, and by Jovana Stokic in Woman’s Art Journal 30:1 (spring/summer 2009), pp. 47-50.
In 2004, there were articles by Riches, “A Disappearing Act: Francesca Woodman’s Portrait of a Reputation“ in Oxford Art Journal 27:1, pp. 97-113, and Jui-Ch’i Liu, “Francesca Woodman’s Self-Images: Transforming Bodies in the Space of Femininity,” Woman’s Art Journal 25:1 (spring-summer 2004), pp. 26-31.
Peggy Phelan published “Francesca Woodman’s Photography: Death and the Image One More Time,” in Signs 27:4 (summer 2002), pp. 979-1004, and in 2003, George Baker, Ann Daly, Nancy Davenport, Laura Larson, and Margaret Sundell participated in “Francesca Woodman Reconsidered: A Conversation”, Art Journal, 62:2 (Summer, 2003), pp. 53-67, online at American Suburb X.
Woodman is mentioned in Carol Armstrong, “This Photography Which Is Not One: In the Gray Zone with Tina Modotti,” October 101 (summer 2002), pp. 40-41. Rosalind Krauss, “Francesca Woodman: Problem Sets,” appeared as chapter 6 of Bachelors (MIT Press, 2000). A 1998 catalog for the Fondation Cartier, edited by Hervé Chandès with contributions from Philippe Sollers, David Levi Strauss, Elizabeth Janus and Sloan Rankin, was reviewed by Jeanne Schinto in “Vanishing Acts,” The Women’s Review of Books 16:4 (Jan. 1999), pp. 19-20.