The Trouble with Women Artists by Camille Vieville; Laure Adler
Call Number: N8354 .A3513 2019
Publication Date: 2019-09-03
Sixty-seven female artists and their work from the sixteenth century to the present demonstrate the evolution of art through a female-empowered lens. The history of art has been forever considered, written, published, and taught by men, primarily for a male audience. For women, the mere possibility of becoming an artist--to have access to the necessary materials, to produce, exhibit, and, against all odds, succeed and sustain the activity--has been an incessant, dangerous, and exhausting fight--physically, mentally, and psychologically. The time has come to reframe the history of art in the context of the brave women who had the courage to defy all rules in order to pursue their vocation and carve out their place in the art world. This book draws the portraits of sixty-seven fascinating women and their significant artistic achievements, from groundbreaking Renaissance painter Artemisia Gentileschi to the photography of Nan Goldin today. Tracing the painters, sculptors, photographers, and performance artists who shaped modern art, readers discover key figures and their signature works, including Mary Cassatt, Sonia Delaunay, Georgia O'Keeffe, Tamara de Lempicka, Frida Kahlo, Dorothea Tanning, Leonora Carrington, Yoko Ono, Eva Hesse, Marina Abramović, Carrie Mae Weems, and Cindy Sherman. Exploring the codes and archetypes of art history, this celebration of women in art analyzes their slow but steady achievement of artistic independence and the hard-won recognition for their creative work in a domain historically reserved for men.
Voyaging Out by Carolyn Trant; Anon; Joyce Townsend
Call Number: N8354 .T72 2019
Publication Date: 2019-10-08
In this revealing chronicle of a fascinating period of social change, artist Carolyn Trant examines the history of women artists in modern Britain, filling in the gaps in traditional art histories. Introducing the lives and works of a rich network of neglected women artists, Voyaging Out sets these alongside such renowned presences as Barbara Hepworth, Laura Knight, and Winifred Nicholson. In an era of radical activism and great social and political change, women forged new relationships with art and its institutions. Such change was not without its challenges, and with acerbic wit Trant delves into the gendered makeup of the avant-garde and the tyranny of artistic "isms."In Virginia Woolf's first novel The Voyage Out (1915) her female heroine strives toward a realization of her sense of self, asking what being a woman might mean. In the decades after women won the vote in Britain, the fortunes of women artists were shaped by war, domesticity, continued oppressions, and spirited resistance. Some succeeded in forging creative careers; others were thwarted by the odds stacked against them. Weaving devastating individual stories with spirited critique, Voyaging Out reveals this hidden history.
Junctures in Women's Leadership: the Arts by Judith K. Brodsky; Ferris Olin
Call Number: HQ1236 .B746 2018
Publication Date: 2018-09-20
In this third volume of the series Junctures: Case Studies in Women's Leadership, Judith K. Brodsky and Ferris Olin profile female leaders in music, theater, dance, and visual art. The diverse women included in Junctures in Women's Leadership: The Arts have made their mark by serving as executives or founders of art organizations, by working as activists to support the arts, or by challenging stereotypes about women in the arts. The contributors explore several important themes, such as the role of feminist leadership in changing cultural values regarding inclusivity and gender parity, as well as the feminization of the arts and the power of the arts as cultural institutions. Amongst the women discussed are Bertha Honoré Palmer, Louise Noun, Samella Lewis, Julia Miles, Miriam Colón, Jaune Quick-To-See Smith, Bernice Steinbaum, Anne d'Harnoncourt, Martha Wilson, Jawole Willa Jo Zollar, Kim Berman, Gilane Tawadros, Joanna Smith, and Veomanee Douangdala.
The Age of Undress by Amelia Rauser
Call Number: GT720 .R38 2020
Publication Date: 2020-03-17
Neoclassicism recast as a feminine, progressive movement through the lens of empire-style fashion, as well as related art and literature The Age of Undress explores the emergence and meaning of neoclassical dress in the 1790s, tracing its evolution from Naples to London and Paris over the course of a single decade. The neoclassical style of clothing--often referred to as robe à la grecque, empire style, or "undress"--is marked by a sheer, white, high-waisted muslin dress worn with minimal undergarments, often accessorized with a cashmere shawl. This style represented a dramatic departure from that of previous decades and was short lived: by the 1820s, corsets, silks, and hoop skirts were back in fashion. Amelia Rauser investigates this sudden transformation and argues that women styled themselves as living statues, artworks come to life, an aesthetic and philosophical choice intertwined with the experiments and innovations of artists working in other media during the same period. Although neoclassicism is often considered a cold, rational, and masculine movement, Rauser's analysis shows that it was actually deeply passionate, with women at its core--as ideals and allegories, as artistic agents, and as important patrons.
Sarra Copia Sulam : a Jewish salonnière and the press in Counter-Reformation Venice by Lynn Lara Westwater
Call Number: PQ4634.S83 Z935 2020
Publication Date: 2020
"For nearly a decade at the height of the Counter-Reformation in Italy, the Jewish poet and polemicist Sarra Copia Sulam (ca. 1592-1641) held a literary salon at her house in the Venetian ghetto, providing one of the most public and enduring forums for Jewish-Christian interaction in early modern Venice. Though Copia Sulam gained fame for her erudition, built a powerful intellectual network, and published a work on the immortality of the soul, her career later foundered under the weight of slanderous charges against her sexual, professional, and religious integrity. This first biography of Copia Sulam examines the explosive relationship between gender, religion, and the press in seventeenth-century Venice through a study of her literary career. The backdrop to this inquiry is Venice's tumultuous religious, cultural, and political climate and the competitive world of its presses, where men and women, Christians and Jews, alternately collaborated and clashed as they sought to gain a foothold in the most prestigious publishing capital in Europe."-- Provided by publisher.
Sofonisba's Lesson: A Renaissance Artist and Her Work by Michael Cole
Call Number: ND623.A5395 C65 2019
Publication Date: 2020-02-11
The formation and career of the first major woman artist of the Renaissance Sofonisba Anguissola (ca. 1535-1625) was the daughter of minor Lombard aristocrats who made the unprecedented decision to have her trained as a painter outside the family house. She went on to serve as an instructor to Isabel of Valois, the young queen of Spain. Sofonisba's Lesson sheds new light on Sofonisba's work, offering a major reassessment of a Renaissance painter who changed the image of women's education in Europe--and who transformed Western attitudes about who could be an artist. In this book, Michael Cole demonstrates how teaching and learning were central themes of Sofonisba's art, which shows women learning to read, play chess, and paint. He looks at how her pictures challenged conventional ideas about the teaching of young girls, and he discusses her place in the history of the amateur, a new Renaissance type. The book examines Sofonisba's relationships with the group of people for whom her practice was important--her father Amilcare, her teacher Bernardino Campi, the men and women who sought to be associated with her, and her sisters and the other young women who followed her path. Sofonisba's Lesson concludes with a complete illustrated catalog of the more than two hundred known paintings and drawings that writers have associated with Sofonisba over the past 450 years, with a full accounting of modern scholarly opinion on each.
A tale of two women painters : Sofonisba Anguissola and Lavinia Fontana by edited by Leticia Ruiz Gómez ; translator, Jenny Dodman
Call Number: ND622 .T35 2019
Publication Date: 2019
A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana' is the first book to compare the works of two pioneering women in the history of painting. These artists represent two different models of creators whose personality, recognition, and life story played a decisive role in blazing new trails for subsequent female painters to follow. They were both born in Italy, an environment that was advantageous to women's art and where there was furthermore considerable concern throughout the sixteenth century with dignifying and educating women in settings other than convents, the main centres for their cultural enrichment and artistic development since the Middle Ages. Likewise, they both received essential encouragement from their fathers, who viewed their daughters' artistic talent as a source of family livelihood. This catalogue analyses the features common to both women as well as the differences stemming from their social backgrounds. The early fame achieved by the noble-born Sofonisba Anguissola as a painter infused women's practice of the art with dignity and led to her appointment as lady-in-waiting to Queen Isabel de Valois, though her post at the Spanish court conditioned and constrained her artistic career. Back in Italy, her long, eventful life was accompanied by a recognition that has lasted until the present, earning her mythical status. Lavinia Fontana's life story is more in keeping with that of other female artists: she trained with her father, a prominent painter, who helped her become the first professional woman artist with a workshop of her own. Exhibition: Museo Nacional del Prado, Madrid, Spain (22.10.2019-02.02.2020).
My Dearest Heart by Penny Hunting; Penelope Hunting
Publication Date: 2020-01-02
Mary Beale (1633-1699) was one of the earliest professional women artists in Britain. Her successful career was documented by her husband, Charles, whose almanacks provide a unique record of Mary's patrons, painting technique and family affairs. Her portraits of politicians, clergy, aristocracy and intellectuals reflect the vibrant literary, scientific and political scene of the seventeenth century. She has been seen as a feminist icon not only as a professional artist but also as a poet and the author of a 'Discourse on Friendship' (1667) which argued for the equality of husband and wife in marriage - a radical concept at that time.
In the Cut by Richard Meyer (Contribution by); Andrea Jahn (Editor); Amelia Jones (Text by); Rachel Middleman (Text by)
Call Number: N7572 .I58 2019
Publication Date: 2019-08-20
Sexuality as a central theme in art was, until the 1970s, dominated primarily by the male view of the female body.Feminist artists also concentrated on their own body, while a (hetero-)erotic view of men is still an exception today.When feminist artists cast their desiring gaze at the male body they consequently break various taboos.With their pictures of men, they assert a claim to sexual self-determination and artistic authority. They simultaneously call classical role attributions into question.The publication accompanying the exhibition at the Stadtgalerie Saarbrücken provides fascinating insights into this fresh point of view.Published after the exhibition, IN THE CUT: The Male Body in Feminist Art at Stadtgalerie Saarbrücken (18 May 2018 - 13 January 2019).English and German text.
Forever Seeing New Beauties by Eve M. Kahn
Call Number: ND237.W7144 K34 2019
Publication Date: 2019-09-03
Revolutionary artist Mary Rogers Williams (1857−1907), baker's daughter from Hartford, Connecticut, biked and hiked from the Arctic Circle to Naples, exhibited from Paris to Indianapolis, trained at the Art Students League, chafed against art world rules that favored men, wrote thousands of pages about her travels and work, taught at Smith College for nearly two decades, but sadly ended up almost totally obscure. In 2012, her confessional letters and hundreds of her paintings and sketches turned up in storage at a Connecticut family's home. Her first biography reveals her as feisty, funny, self-deprecating, caustically critical of mainstream art, and observant of everything from soldiers' epaulettes to colorful produce layered on delivery trucks. She was determined to paint portraits and landscapes in her distinctive style. The book reproduces her unpublished artworks.
Everything Is Alive by Michele Oka Doner; Judith Thurman (Contribution by); Joseph Giovannini (Contribution by); Gregory Volk (Contribution by); Cynthia Nadelman (Contribution by)
Call Number: NB237.O395 A4 2017
Publication Date: 2017-09-12
Michele Oka Doner is one of today's foremost artists. Her prodigious career spans five decades and numerous artistic media, including sculpture, works on paper, furniture, video, jewellery, and sets and costumes. In addition, she has created over forty iconic public and private permanent art installations. Everything is Alive offers a glimpse into the full breadth of Oka Doner's work. Above all, it shines a light on the continuing importance of art and the worldview that there is beauty to be found in all living things.
Equal under the Sky by Linda M. Grasso
Call Number: N6537.O39 G73 2019
Publication Date: 2019-03-15
2018 Choice Outstanding Academic Title Equal under the Sky is the first historical study of Georgia O'Keeffe's complex involvement with, and influence on, US feminism from the 1910s to the 1970s. Utilizing understudied sources such as fan letters, archives of women's organizations, transcripts of women's radio shows, and programs from women's colleges, Linda M. Grasso shows how and why feminism and O'Keeffe are inextricably connected in popular culture and scholarship. The women's movements that impacted the creation and reception of O'Keeffe's art, Grasso argues, explain why she is a national icon who is valued for more than her artistic practice.
Mary Cameron: Life in Paint by Helen E. Scott
Call Number: ND497.C362 A4 2019
Publication Date: 2019
Mary Cameron: Life in Paint' explores the fascinating story of Cameron?s life and career, charting her creative journey from elegant family portraits to breathtaking Spanish scenes. Mary Cameron (1865-1921) was an artist and woman ahead of her time. Born in Edinburgh, she began her career as a portraitist and genre painter in her native city, before venturing abroad to study in Paris. Foreign travel proved to be an enduring source of inspiration. In 1900 she visited Madrid for the first time, and was captivated by the Spanish culture, people and scenery. Establishing studios in Madrid and Seville, she executed large-scale compositions of traditional peasant life, dramatic bullfights and rural landscapes. Cameron exhibited widely, and her talents were recognised by contemporaries such as John Lavery and Alexander Roche. However, like many female artists of her generation, her name is now little-known. Exhibition: City Art Centre, Edinburgh, UK (02.11.2019-15.03.2020).
Radical Women: Jessica Dismorr and Her Contemporaries by Alicia Foster
Call Number: N6797.D57 A4 2019
Publication Date: 2019-12-27
Radical Women tells an original story of British modernism from the perspective of Jessica Dismorr's career, along with the women artists--some famous, some lesser known--she worked and exhibited with. The work of Jessica Dismorr (1885-1939) has been described as encapsulating 'the stylistic developments of twentieth-century British Art', and her oeuvre certainly encompasses some its most exciting moments--from Rhythm in the early 1910s, through Vorticism, towards post-war modernist figuration and finally into the abstraction she shared with radical political artists groups in the 1930s. Within this period of intense creativity, which extended beyond art to literary and design accomplishments too, Dismorr was privileged to work and exhibit alongside some of the most exciting female artists of the time, including Barbara Hepworth and Winifred Nicholson, to lesser-known figures such as Dorothy Shakespear, Anne Estelle Rice and Helen Saunders. Bringing a web of fascinating connections to light for the first time, this publication provides a fresh interpretation of a pioneering period and the role women played within it.
Unquiet Territories : Art by Cheryl Goldsleger by essays by Fran Kaufman, J.D. Talasek, and Lilly Wei
Call Number: N6537.G6158 A4 2017
Publication Date: 2017
"As she notes in her artist’s statement in this catalog, “My work attempts to reflect and synthesize the pervasive moods of unquiet and apprehension that permeate our lives and to offer a place of focus, a way to still the collective shudder, and a way to think about our own place in an increasingly global society.” What Goldsleger has accomplished in these new paintings is quite remarkable. While not a fantasist—these paintings could never be characterized as flights of fancy—she is not too tightly bound by the constraints of literal accuracy. Her
interpretations of maps and architectural plans are carefully observed, richly detailed depictions of the full range of possibilities that these maps and plans suggest. It is as if she has viewed them from the curving arc of heaven and then captured them to share with us. In the act of painting, she
has freed herself from the formal conventions of her source material, liberating herself and the viewer simultaneously. What we are seeing here is something wholly original and wholly new. And we should revel in that experience."-- from the Foreward by Kevin Grogan
Italian Women Artists of the Renaissance and Baroque by Doriana Comerlati (Editor); Claudio Strinati; Jordana Pomeroy
Call Number: N 6914 .I89 2007
Publication Date: 2007-05-29
Why are women artists of the Italian Renaissance and Baroque so relatively unknown today when, during their lifetimes, their artistic merits were celebrated by their foremost contemporaries? Italian Women Artists of the Renaissance and Baroque aims to provide the first survey of women professionally active as painters, engravers and sculptors in 16th and 17th century Italy, and to document the sociocultural context that contributed to shape their lives and oeuvres. This catalogue, published in association with the travelling exhibition which opens at the National Museum of Women in the Arts in Washington D. C., examines the artistic practices and achievements of these remarkable women who managed to gain public, if not international, acclaim. Featuring 60 outstanding works by a dozen of the foremost Italian female artists, this volume offers an unparalleled opportunity to understand their social, personal, and stylistic developments. This scholarly publication will undoubtedly make a significant contribution to the re-emergence of these women as artists of stature and thus constitute a new departure for historical investigations into the way gender has affected how we perceive works of art and into issues of attributions and art market economics.
Women Artists in Early Modern Italy: Careers, Fame, and Collectors by Sheila Barker (Editor)
Call Number: NX552 .B37 2016
Publication Date: 2016-12-20
In ten chapters spanning two centuries, this collection of essays examines the relationships between women artists and their publics, both in early modern Italy as well as across Europe. Drawing upon archival evidence, these essays afford abundant documentary evidence about the diverse strategies that women utilized in order to carry out artistic careers, from Sofonisba Anguissola's role as a lady-in-waiting at the court of Philip II of Spain, to Lucrezia Quistelli's avoidance of the Florentine market in favor of upholding the prestige of her family, to Costanza Francini's preference for the steady but humble work of candle painting for a Florentine confraternity. Their unusual life stories along with their outstanding talents brought fame to a number of women artists even in their own lifetimes - so much fame, in fact, that Giorgio Vasari included several women artists in his 1568 edition of artists' biographies. Notably, this visibility also subjected women artists to moral scrutiny, with consequences for their patronage opportunities. Because of their fame and their extraordinary (and often exemplary) lives, works made by women artists held a special allure for early generations of Italian collectors, including Grand Duke Cosimo III de' Medici, who made a point of collecting women's self-portraits. In the eighteenth century, British collectors wishing to model themselves after the Italian virtuosi exhibited an undeniable penchant for the Italian women artists of a bygone era, even though they largely ignored the contemporary women artists in their midst.
Defining the Renaissance 'Virtuosa': women artists and the language of art history and criticism by Fredrika H. Jacobs
Call Number: N 72 .F45 J33 1997
Publication Date: 1999-08-13
Leonardo, Raphael and Michelangelo are familiar names that are often closely associated with the concepts of genius and masterpiece. But what about Sofonisba Anguissola, Lavinia Fontana, and Irene di Spilimbengo? Their names are unfamiliar and their works are literally unknown. Why? Defining the Renaissance 'Virtuosa' considers the language of art in relationship to the issues of gender difference through an examination of art criticism written between 1550 and 1800 on approximately forty women artists who were active in Renaissance Italy. Fredrika Jacobs demonstrates how these theoretical writings defined women artists, by linking artistic creation and biological procreation. She also examines the ambiguity of these women as both beautiful object and creator of beautiful object. Jacobs' study shows how deeply the biases of these early critics have inflected both subsequent reception of these Renaissance virtuose, as well as modern scholarship.
The Reckoning: women artists of the new millennium by Eleanor Heartney; Helaine Posner; Nancy Princenthal; Sue Scott
Call Number: N8354.H43 R43 2013
Publication Date: 2013-09-23
In "After the Revolution", the authors concluded that 'The battles may not all have been won . . . but barricades are gradually coming down, and work proceeds on all fronts in glorious profusion.' Now, with "The Reckoning", authors Heartney, Posner, Princenthal, and Scott bring into focus the accomplishments of 24 acclaimed international women artists born since 1960 who have benefited from the groundbreaking efforts of their predecessors. The book is organised in four thematic sections: 'Bad Girls' profiles artists whose work represents an assault on conventional notions of gender and racial difference. 'History Lessons' offers reflections on the self in the context of history and globalization. 'Spellbound' focuses on women's embrace of the irrational, subjective, and surreal, while 'Domestic Disturbances' takes on women's conflicted relationship to home, family, and security. Written in lively prose and fully illustrated throughout, this book gives an informed account of the wonderful diversity of recent contemporary art by women.
Women Artists at the Millennium by Carol Armstrong (Editor); Catherine de Zegher (Editor); Linda Nochlin; Griselda Pollock; Yvonne Rainer
Call Number: NX 180 .F4 W655 2006
Publication Date: 2006-08-25
Artists, art historians, and critics look at the legacies of feminism and critical theory in the work of women artists, more than thirty years after the beginning of the modern women's movement and Linda Nochlin's landmark essay "Why Have There Been No Great Women Artists?" More than thirty years after the birth of the modern women's movement and the beginnings of feminist art-making and art history, the time is ripe to examine the legacies of those revolutions. In Women Artists at the Millennium, artists, art historians, and critics examine the differences that feminist art practice and critical theory have made in late twentieth-century art and the discourses surrounding it. In 1971, when Linda Nochlin published her essay "Why Have There Been No Great Women Artists?" in a special issue of Art News, there were no women's studies, no feminist theory, no such thing as feminist art criticism; there was instead a focus on the mythic figure of the great (male) artist through history. Since then, the "woman artist" has not simply been assimilated into the canon of "greatness" but has expanded art-making into a multiplicity of practices with new parameters and perspectives. In Women Artists at the Millennium artists including Martha Rosler and Yvonne Rainer reflect upon their own varied practices and art historians discuss the innovative work of such figures as Louise Bourgeois, Lygia Clark, Mona Hatoum, and Carrie Mae Weems. And Linda Nochlin considers changes since her landmark essay and looks to the future, writing, "We will need all our wit and courage to make sure that women's voices are heard, their work seen and written about."
Augusta Savage: Renaissance Woman by Augusta Savage; Jeffreen M. Hayes; Kirsten Pai Buick (Contribution by); Bridget R. Cooks (Contribution by); Howard Dodson (Introduction by); Cummer Museum of Art and Gardens Staff (Contribution by); New-York Historical Society Staff (Contribution by); Palmer Museum of Art (Pennsylvania State University) Staff (Contribution by); Dixon Gallery and Gardens Staff (Contribution by)
Call Number: N6538.N5 H39 2018
Publication Date: 2018-01-01
This is a timely, visual, exploration of the fascinating life and lasting legacy of sculptor Augusta Savage (1892-1962), who overcame poverty, racism, and sexual discrimination to become one of America's most influential twentieth-century artists. Her story is one of community-building, activism, and art education. Born just outside Jacksonville, Florida, Savage left the South to pursue new opportunities and opened a studio in Harlem, New York City, offering free art classes. She co-founded the Harlem Artists' Guild in 1935 and became the first director of the federally-supported Harlem Community Art Center. Through her leadership there, Savage played an instrumental role in the development of many artists: William Artis, Gwendolyn Knight, Gwendolyn Bennett, Norman Lewis, Jacob Lawrence, Robert Blackburn, Romare Bearden, among many others.
Posing Modernity: the black model from Manet and Matisse to today by Denise Murrell
Call Number: N8217.A67 M87 2018
Publication Date: 2018-11-27
An ambitious and revelatory investigation of the black female figure in modern art, tracing the legacy of Manet through to contemporary art This revelatory study investigates how changing modes of representing the black female figure were foundational to the development of modern art. Posing Modernity examines the legacy of Édouard Manet's Olympia (1863), arguing that this radical painting marked a fitfully evolving shift toward modernist portrayals of the black figure as an active participant in everyday life rather than as an exotic "other." Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. She traces the impact of Manet's reconsideration of the black model into the twentieth century and across the Atlantic, where Henri Matisse visited Harlem jazz clubs and later produced transformative portraits of black dancers as icons of modern beauty. These and other works by the artist are set in dialogue with the urbane "New Negro" portraiture style with which Harlem Renaissance artists including Charles Alston and Laura Wheeler Waring defied racial stereotypes. The book concludes with a look at how Manet's and Matisse's depictions influenced Romare Bearden and continue to reverberate in the work of such global contemporary artists as Faith Ringgold, Aimé Mpane, Maud Sulter, and Mickalene Thomas, who draw on art history to explore its multiple voices. Featuring over 175 illustrations and profiles of several models, Posing Modernity illuminates long-obscured figures and proposes that a history of modernism cannot be complete until it examines the vital role of the black female muse within it.
The Female Gaze: women artists making their world by Robert Cozzolino (Editor); Glenn Adamson (Text by); Anna C. Chave (Text by)
Call Number: N 8354 .P46 2012
Publication Date: 2013-01-16
The Linda Lee Alter Collection of Art by Women is a collection at the Pennsylvania Academy of the Fine Arts (PAFA) of approximately 400 works of art including paintings, photographs, drawings, watercolours, pastels, collage, prints, fabric pieces, ceramics, bronze, wood, and sculpture in other media by over 150 artists. The collection includes works by artists such as Louise Bourgeois, Joan Brown, Viola Frey, Ana Mendieta, Alice Neel, Louise Nevelson, Christina Ramberg, Betye Saar, Kiki Smith, Nancy Spero, and Beatrice Wood among many others. This accessibly written, fully illustrated publication includes ten new essays on women artists since the 1920s. The chief aim is to document and celebrate this unprecedented gift in PAFA's history. The book breaks new ground in scholarship on its topics, takes risks with interpretation, and uses the broad themes and wide array of artists represented in the collection as a starting point for reflections on the history of the feminist movement, individual artists, and regional identities. Artists from the collection have a strong voice throughout the publication through interviews, writings, and the incorporation of archival materials. The Linda Lee Alter Collection catalogue will be the lasting document of the collection and will accompany the travelling version of the exhibition, which is projected to travel to four US venues in 2013 and 2014.