New Book | Interacting with Print

Posted in books by Editor on January 22, 2018

From The University of Chicago Press:

The Multigraph Collective, Interacting with Print: Elements of Reading in the Era of Print Saturation (Chicago: The University of Chicago Press, 2018), 416 pages, ISBN: 978  022646  9140, $45.

A thorough rethinking of a field deserves to take a shape that is in itself new. Interacting with Print delivers on this premise, reworking the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a ‘multigraph’, the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.

The Multigraph Collective, emanating from the Montreal-based Interacting with Print research group, comprises: Mark Algee-Hewitt, Angela Borchert, David Brewer, Thora Brylowe, Julia Carlson, Brian Cowan, Susan Dalton, Marie-Claude Felton, Michael Gamer, Paul Keen, Michelle Levy, Michael Macovski, Nicholas Mason, Nikola von Merveldt, Tom Mole, Andrew Piper, Dahlia Porter, Jonathan Sachs, Diana Solomon, Andrew Stauffer, Richard Taws, and Chad Wellmon.


List of Illustrations

Preface; or, What Is a Multigraph?
1 Advertising
2 Anthologies
3 Binding
4 Catalogs
5 Conversations
6 Disruptions
7 Engraving
8 Ephemerality
9 Frontispieces
10 Index
11 Letters
12 Manuscript
13 Marking
14 Paper
15 Proliferation
16 Spacing
17 Stages
18 Thickening

Works Cited
About the Multigraph Collective

Zeitschrift für Kunstgeschichte 80.4 (2017), Penser le rococo

Posted in books, journal articles, reviews by Editor on January 22, 2018

The current issue of Zeitschrift für Kunstgeschichte focuses on the theme ‘Reconsidering the Rococo’, the subject of a November 2015 conference at the University of Lausanne. Abstracts (in English) are available as a PDF file here.

Zeitschrift für Kunstgeschichte 80.4 (2017), Penser le rococo
Guest edited by Carl Magnusson and Marie-Pauline Martin


• Carl Magnusson, “Le rococo, une construction historiographique: introduction”
• Marie-Pauline Martin, “‹Rococo›: du jargon à la catégorie de style”
• Catherine Thomas-Ripault, “Evasion temporelle et fantaisie créatrice: usage des peintures du xviiie siècle dans les fictions romantiques”
• Etienne Tornier , “‹This new-born word is rococo›: Généalogie et fortune du rococo aux États-Unis”
• Jean-François Bédard, “La vitalité du décor : Fiske Kimball, du rococo au Colonial Revival”
• Carl Magnusson, “Le rococo est-il décoratif ?”
• David Pullins, “‹Quelques misérables places à remplir›: Locating Shaped Painting in ­Eighteenth-Century France
• Bérangère Poulain, “Rococo et fugacité du regard: émergence et modifications de la notion de ‹papillotage›”


• Paul Williamson, Review of Laurence Terrier Aliferis, L’imitation de l’Antiquité dans l’art médiéval, 1180–1230 (Répertoire iconographique de la littérature du Moyen Âge, Études du RILMA, vol. 7, 2016).
• Christoph Martin Vogtherr, Review of Jérôme Delaplanche, Un tableau n’est pas qu’une image: La reconnaissance de la matière de la peinture en France au XVIIIe siècle (2016).
• Martin Dönike, Review of Johann Joachim Winckelmann, Monumenti antichi inediti spiegati ed illustrati, Roma 1767, edited by Adolf H. Borbein and Max Kunze (2011) | Johann Joachim Winckelmann, Monumenti antichi inediti spiegati ed illustrati, Roma 1767, edited by Adolf H. Borbein, Max Kunze, and Axel Rügler (2015).
• Anna Degler, Review of Guillaume Cassegrain, La coulure: Histoire(s) de la peinture en mouvement, XIe–XXIe siècles (2015).

Call for Papers | Sequitur, Issue 4 (Spring 2018): Extra

Posted in Calls for Papers, graduate students by Editor on January 22, 2018

Sequitur 4.2 (Spring 2018): Extra
Submissions and Proposals due by 12 February 2018

The editors of Sequitur, a graduate student journal published by the Department of History of Art & Architecture at Boston University, invite current graduate students in art history, architecture, fine arts, and related fields to submit content on the theme of Extra for the Spring 2018 issue.

The concept of Extra can positively or negatively imply an unexpected leftover surprise or the added necessary ingredient after a deadline, limit, quality, or quantity has been reached. In the context of art making, the extra, the extraneous, and the accessory can provide much-needed solutions, present unanticipated problems, or symbolize intentional gestures meant to charm, endear, appease, or potentially destroy. As a frame for art historical inquiry, lastly, the concept of ‘extra’ might shed light on the eccentricities of artists, architects, subjects, patrons, collectors, or institutions—whether reflected in the style and content of art and architecture or their display and reception.

Possible subjects may include (but are not limited to): architectural additions; eccentric subject matter or makers; modifications to structures or works of art; accessories in fashion and design; outsider art, the avant-garde; the cult of personality; the additive, the accumulative, augmentation, the overdone, and the sensational; the sequential and/ or its disruption; and temporality studies. We welcome submissions addressing art, architecture, visual culture, or material culture from all time periods (ancient to contemporary) and geographical areas (including Asia, the Americas, and Africa). We encourage submissions that take advantage of the online format of the journal. Previous issues can be found here.

Founded in 2014, SEQUITUR is an online biannual scholarly journal dedicated to addressing events, issues, and personalities in art and architectural history. SEQUITUR engages with and expands current conversations in the field by promoting the perspectives of graduate students from around the world. It seeks to contribute to existing scholarship by focusing on valuable but oft-overlooked parts of art and architectural history.

We invite full submissions for the following pieces:
• Featured essays (1500 words) — Essays must be submitted in full by the deadline below to be considered for publication. Content is open and at the discretion of the author, but should present original material that is suitable to the stipulated word limit. Please adhere to the formatting guidelines available here.
• Visual essays — An opportunity for M.Arch. or M.F.A. students to showcase a selection of original work. The work must be reproducible in a digital format. Submissions should include jpegs of up to ten works, and must be prefaced by an introduction or artist’s statement of 250 words or less. All images must be captioned and should be at least 500 DPI.

We invite proposals (200 words max) for the following pieces :
• Exhibition reviews (500 words) — Exhibitions currently on display or very recently closed are especially sought.
• Book or exhibition catalogue reviews (500 words) — Reviews of recently published books and catalogues are especially sought.
• Interviews (750 words) — Preference may be given to those who can provide audio or video recordings of the interview.
• Field reports/Research spotlights (500 words) — This is an opportunity for students conducting research to summarize and share their findings and experiences in a more casual format than a formal paper.

All submissions and proposals are due February 12.
• Please direct all materials to sequitur@bu.edu.
• Text must be in the form of a Word document, and images should be sent as jpeg files.
• Please provide a recent CV.
• Please include ‘SEQUITUR Spring 2018’ and type of submission/proposal in the subject line, and your name, institution and program, year in program, and contact information in the body of the email.

Authors will be notified of the acceptance of their submission or proposal no later than February 23 for May 1 publication. Please note that authors are responsible for obtaining all image copyright releases prior to publication. If you have any questions, please do not hesitate to contact the SEQUITUR editors at sequitur@bu.edu. We look forward to receiving your proposals.

The SEQUITUR Editorial Team
Joseph, Alison, Kimber, Lauren, & Kelsey

New Book | Jean–Bernard Restout (1732–1796)

Posted in books by Editor on January 21, 2018

From Arthena:

Nicole Willk-Brocard, Jean–Bernard Restout (1732–1796) (Paris: Arthena, 2018), 240 pages, ISBN: 978-2903239596, 86€.

Fils de Jean II Restout, grand peintre religieux du xviiie siècle, apparenté à Noël Hallé et à Jean Jouvenet, Jean-Bernard Restout reçoit une solide formation artistique et littéraire. Pensionnaire à l’Académie de France à Rome, il exprime d’emblée un talent novateur, sobre et vigoureux.

Agréé à l’Académie royale comme peintre d’histoire en 1765, il connaît ses premiers succès. Il s’insurge contre le refus du jury d’exposer une de ses oeuvres au Salon de 1769 ; son ressentiment envers l’Académie et les institutions ne fera que croître. Il peint peu, tarde à honorer ses commandes, mais ses oeuvres de la maturité confirment les exceptionnelles qualités de l’artiste, également subtil et intelligent portraitiste. La Révolution à laquelle il adhère avec enthousiasme lui permet, aux côtés de David, d’assouvir sa vengeance contre l’Académie. Il côtoie Robespierre et Fabre d’Églantine mais signe ainsi sa perte : nommé inspecteur général du Garde-Meuble, il est injustement impliqué dans le vol des bijoux de la Couronne et incarcéré avant d’être libéré après le 9 Thermidor. La redécouverte de son oeuvre—largement inédit—fait regretter son choix de la politique au détriment de la peinture.

Docteur ès lettres, membre du conseil d’administration de la Société des Amis du Louvre, ancienne chargée de mission au département des Peintures du musée du Louvre, Nicole Willk-Brocard est spécialiste de la peinture française du XVIIIe siècle. Elle a publié deux monographies de référence : François-Guillaume Ménageot (Arthena, 1978) couronnée par le prix de la Fondation Paul Cailleux, et Une dynastie. Les Hallé (Arthena, 1992) ainsi que de nombreux articles dans des revues scientifiques (Revue des musées de France, Bulletin de la Société de l’Histoire de l’art français, Gazette des Beaux-Arts).

New Book | Joseph-Benoît Suvée (1743–1807)

Posted in books by Editor on January 21, 2018

From Arthena:

Sophie Join-Lambert and Anne Leclair, Joseph-Benoît Suvée (1743–1807) (Paris: Arthena, 2017), 440 pages, ISBN : 978 2903239 602, 129€.

Formé à Bruges, Suvée se perfectionne à Paris dans l’atelier de Bachelier. En 1771, il est lauréat du Grand Prix de l’Académie, devançant David qui lui en gardera une rancune tenace. À Rome, le pensionnaire de l’Académie de France montre une vive curiosité pour les sites antiques. Il réalise de très nombreux dessins dont certains, admirables, révèlent un des dessinateurs les plus doués de sa génération. En 1779, de retour à Paris, il est reçu à l’Académie royale. Il jouera désormais un rôle de premier plan. Les tableaux qu’il expose régulièrement au Salon de 1779 à 1796 témoignent d’une adhésion sans réserve au néoclassicisme. Certaines oeuvres remportent un vif succès, qu’il s’agisse de tableaux d’histoire nationale, d’histoire antique ou de tableaux religieux. Parallèlement, il peint de nombreux portraits avec un réalisme émouvant, les plus célèbres étant ceux de ses compagnons d’infortune détenus avec lui pendant la Terreur dans la prison Saint-Lazare, en particulier celui du poète André Chénier. En 1801, Suvée prend la direction de l’Académie de France à Rome. C’est sous sa houlette qu’une nouvelle génération d’artistes, parmi lesquels Ingres, complète sa formation. Dessinateur hors pair, peintre délicat et novateur, pédagogue reconnu, Suvée, artiste européen entre Bruges, Paris et Rome, appartient pleinement au monde des Lumières.

Docteur en histoire de l’art, conservateur en chef, directrice du musée des Beaux-Arts de Tours, Sophie Join-Lambert a été commissaire de nombreuses expositions en particulier Les peintres du Roi (2000) et L’Apothéose du geste, l’esquisse peinte au siècle de Boucher et Fragonard (2003–2004). Travaillant plus particulièrement sur le xviiie siècle français, elle a publié le catalogue raisonné des Peintures françaises xviiie siècle, du musée des Beaux-arts de Tours et du château d’Azay-le-Ferron (2008). Elle a réalisé en 2017 la première exposition consacrée à Joseph-Benoît Suvée.
Spécialiste de la peinture française du xviiie siècle, Anne Leclair a publié une monographie sur le peintre Louis-Jacques Durameau (Arthena, 2001), couronnée par la Fondation del Duca. Ses recherches ont notamment porté sur la peinture d’histoire (cycle de la Vie de saint Louis à l’École militaire) et sur les décors peints de la Chancellerie d’Orléans; elle a écrit des articles remarqués sur le marché de l’art et sur les cabinets d’amateurs au siècle des Lumières (Mariette, Choiseul et Voyer d’Argenson).

New Book | The Painter’s Touch

Posted in books by internjmb on January 20, 2018

From Princeton UP:

Ewa Lajer-Burcharth, The Painter’s Touch: Boucher, Chardin, Fragonard (Princeton: Princeton University Press, 2018), 336 pages, ISBN 978 06911 70121, $65 / £55.

A new interpretation of the development of artistic modernity in eighteenth-century France.

What can be gained from considering a painting not only as an image but also a material object? How does the painter’s own experience of the process of making matter for our understanding of both the painting and its maker? The Painter’s Touch addresses these questions to offer a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of François Boucher, Jean-Siméon Chardin, and Jean-Honoré Fragonard, entirely recasting our understanding of these painters’ practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment.

Lajer-Burcharth traces how the distinct logic of these painters’ work—the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard—contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher’s commercial tact, Chardin’s interiorized craft, and Fragonard’s materialization of eros. Foregrounding the question of experience—that of the painters and of the people they represent—she shows how painting as a medium contributed to the Enlightenment’s discourse on the self in both its individual and social functions.

By examining what paintings actually ‘say’ in brushstrokes, texture, and paint, The Painter’s Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.

Ewa Lajer-Burcharth is the William Dorr Boardman Professor of Fine Arts at Harvard University. Her books include Chardin Material and Necklines: The Art of Jacques-Louis David after the Terror.



1  Boucher’s Tact
Materiality and Personality
Touch and Tact
The Commercial Imagination
Personal Mythologies
The Promiscuous Self
The Artist as Consumer
Pompadour’s Painter

2  Chardin’s Craft
Deep Materiality
The Object (Inside/Out)
The Blind Touch
Underneath the Visible
The Subject
The Return to the Object
The Painter

3  Fragonard’s Seduction
Eros and Individuality
The Unseen
Being and Becoming
Pictorial Seduction
The Erotic Mother
The Artist’s Pleasure
The Painter’s Touch
Love and Life
Ars Erotica

Image Credits

The Burlington Magazine, January 2018

Posted in books, journal articles, reviews by Editor on January 20, 2018

The eighteenth century in The Burlington, which includes, as noted last week, mention of HECAA and J18 in the editorial in connection with the new scholarship:

The Burlington Magazine 160 (January 2018)


“The Burlington Magazine Scholarship for the Study of French Eighteenth-Century Fine and Decorative Art,” p. 3. This month The Burlington Magazine launches an annual scholarship for the study of French eighteenth-century fine and decorative art. Initiated and funded by Richard Mansell-Jones, a trustee of The Burlington Magazine Foundation, the scholarship offers £10,000 to a student based anywhere in the world who has embarked or is about to embark on an M.A. or Ph.D. or is undertaking research in a post-doctoral or independent capacity. The full review is available here (also see below).


• Aloisio Antinori, “New Light on the Production of Il Tempio Vaticano,” pp. 22–30.


• Susan Walker, Review of Elizabeth Bartman, The Ince Blundell Collection of Classical Sculpture, Volume 3: The Ideal Sculpture (Liverpool University Press, 2017), pp. 64–5.
• Elizabeth Savage, Review of Mark Stocker and Phillip Lindley, eds., Tributes to Jean Michel Massing: Towards a Global Art History (Harvey Miller, 2016), p. 74. [The volume includes Robin Middleton’s essay, “A Cautionary Tale: The History of Eighteenth-Century Architecture in France.”]
• Jeremy Warren, Review of Giovanna Baldissin Molli and Elda Martellozzo Forin, eds., Gli inventari della Sacrestia della Cattedrale di Padova, secoli XIV–XVIII (Il Prato Publishing House, 2016), p. 75.

◊  ◊  ◊  ◊  ◊

The Burlington Magazine Scholarship for the Study of French Eighteenth-Century Fine and Decorative Art
Applications due by 1 March 2018

The Burlington Magazine is pleased to announce the launch of The Burlington Magazine scholarship for the study of French 18th-century fine and decorative art. The scholarship has been created to provide funding over a 12-month period to those engaged in the study of French 18th-century fine and decorative art to enable them to develop new ideas and research that will contribute to this field of art historical study.

Applicants must be studying, or intending to study, for an MA, PhD, post-doctoral or independent research in the field of French 18th-century fine and decorative arts within the 12-month period the funding is given. Applications are open to scholars from any country. A grant of £10,000 will be awarded to the successful applicant.

More information is available here»

Lecture | Marie-Antoinette and Josephine as Garden Patrons

Posted in lectures (to attend) by Editor on January 20, 2018

From the BGC:

Susan Taylor-Leduc | Designing Legacy: Marie-Antoinette and Josephine as Garden Patrons
Bard Graduate Center, New York, 7 February 2018

During the tumultuous forty years from 1774 until 1814, when the French government was transformed from monarchy to empire, Queen Marie-Antoinette and Empress Josephine Bonaparte created picturesque gardens at the Petit Trianon, Versailles, and Malmaison respectively. The captivating life stories of both women have elicited critiques of their garden patronage, suggesting that they pursued insatiable desires unfettered by financial constraints, detached from political and social realities. This talk suggests an alternative reading: Taylor-Leduc contends that both women constituted living legacies of female empowerment that were essential to the creation and dissemination of the picturesque garden and as such contributed to the evolution of modern landscape architecture in France. This Brown Bag Lunch presentation is scheduled for Wednesday, February 7, at 12:15pm.

Susan Taylor-Leduc earned both her masters and doctoral degrees from the University of Pennsylvania. Since 1992, she has worked as a teacher, curator, university administrator, and tour guide in Paris. A specialist in eighteenth-century French gardens, she is currently working on a book tentatively entitled Designing Legacy: Marie-Antoinette, Josephine and the French Picturesque Garden 1774–1814.

This event will be livestreamed. Please check back the day of the event for a link to the video. To watch videos of past events please visit the BGC YouTube page.

Display | New Discoveries in Philadelphia Slipware

Posted in exhibitions by Editor on January 20, 2018

18th-century Slipware Ceramics, excavated from the site of the new Museum of the American Revolution in Philadelphia.

◊  ◊  ◊  ◊  ◊

Press release, via Art Daily:

Buried Treasure: New Discoveries in Philadelphia Slipware from the Collection of the Museum of the American Revolution
New York Ceramics and Glass Fair, 18–21 January 2018

A remarkable assemblage of 18th-century slipware ceramics uncovered during an archaeological excavation in Philadelphia has been revealed to the public for the first time. Nearly a dozen pieces of slipware, a form of decorative lead-glazed pottery, are on view at the 2018 New York Ceramics and Glass Fair from Thursday, January 18 until Sunday, January 21, at Bohemian National Hall in Manhattan. Buried Treasure: New Discoveries in Philadelphia Slipware from the Collection of the Museum of the American Revolution is sponsored by Ceramics in America, which is published by the Chipstone Foundation of Milwaukee, Wisconsin, and the Museum of the American Revolution. After the exhibit, the items will be returned to the Museum for future display.

The slipware was uncovered during excavations on the site of the new Museum of the American Revolution in Philadelphia, during which archaeologists from Commonwealth Heritage Group recovered nearly 85,000 artifacts. Among these was a group of slipware ceramics, including large dishes and other items, distinguished by vivid abstract patterns created using a specialized skill known as ‘slip trailing’, which involves pouring liquid clay onto an object.

The pieces were discovered in a brick-lined privy shaft associated with one or more taverns. Current research suggests that these previously undocumented slipwares were made in Philadelphia by one or more French or German potters operating within the confines of the historic Old City district. Researchers believe that, although the pieces primarily had display value, they may have been used for serving as well.

“We’ve seen hints of this type of slipware before but nothing that has this degree of intactness and comprehensiveness as far as the patterns exhibited here,” said Robert Hunter, editor of the annual journal Ceramics in America, an author, and archaeologist. “Nothing else has been this complete. By virtue of that intactness, we have been able to make great bounds in what we can learn from them about who made them and how they were used.”

“The site of the Museum of the American Revolution is the gift that keeps on giving,” said Hunter. “There is no question that it has been an extremely rich deposit of 18th-century material culture. And we’ve only scratched the surface—I believe it will be many years before we fully realize the research potential from the materials from the site.”

In addition to the slipware, a newly analyzed decorated porcelain teapot is on display. The teapot was discovered to be only the second-known example of American-made hard-paste porcelain. The first example was the ‘Holy Grail’ bowl exhibited last year. Historical research by Hunter and Miller has now suggested that this porcelain was being made in the period around 1765–68, earlier than the previously known Bonnin and Morris porcelain Factory which opened in 1770. This new discovery changes the complexion of the history of porcelain making both in Philadelphia and the larger American context. The findings will be discussed in depth in an upcoming article in Ceramics in America.

“What is so exciting about this discovery is that it is a reminder of the importance of archaeology in colonial urban sites like Philadelphia,” said Dr. R. Scott Stephenson, Vice President of Collections, Exhibitions, and Programming at the Museum of the American Revolution. “The materials recovered on these sites require years of research to fully appreciate, and so these treasures from the Museum site will continue to provide new insight into Revolutionary America.”

Archaeologists from Commonwealth Heritage Group, Inc. conducted fieldwork at the site of the new Museum of the American Revolution from July through October 2014 and briefly in April 2015 and May 2016, uncovering a record of occupation from the earliest settlement of Philadelphia through the mid-20th century. Most of the artifacts were found in brick-lined privy and well shafts. The features contained an enormous quantity of of ceramics, including locally made Philadelphia objects and imported English, German, and Chinese wares, among other artifacts.

New Acquisitions at the DIA

Posted in museums by Editor on January 19, 2018

Press release (18 December 2017) from the DIA:

Out of the Crate: New Gifts and Purchases
Detroit Institute of Arts, opened January 12

Attributed to Juan Pascual de Mena, Saint Benedict of Palermo, 1770–80, coniferous wood, pigment, gold (Detroit Institute of Art).

The Detroit Institute of Arts opened a gallery dedicated to some of the museum’s newest acquisitions while also providing the public with a look at the art acquisition process. The gallery, called Out of the Crate: New Gifts & Purchases, opened January 12.

A selection of recent purchases and gifts chosen by DIA Director Salvador Salort-Pons are on view for approximately six months, after which they will be replaced with newer acquisitions. “The DIA has one of the most significant art collections in the United States, and one way we maintain this quality is by acquiring new artworks every year,” said Salort-Pons. “Thanks to generous donors, the DIA has been able to establish funds designated for art acquisitions only, with which we are able to strengthen our collection. This gallery offers a transparent look at the DIA’s collecting process and policies while giving visitors a first look at both recent purchases and gifts.”

Before the DIA acquires a work of art, it goes through a rigorous assessment to ensure its quality and authenticity. Informational materials will provide an overview of the entire process, from initial research to approval by the board of directors, and the roles various experts play along the way.

Seven artworks are featured in the first installation:
• Attributed to Juan Pascual de Mena, Saint Benedict of Palermo, 1770–80, coniferous wood, pigment, gold. Museum purchase.
• Unknown artist, Maternity Figure (Obaahemaa), 19th century, Akan (Asante), African, wood with pigment. Museum purchase.
• James Abbott McNeill Whistler, Salute Dawn, 1879, etching with drypoint. Museum purchase.
• Lajos Mack, Vase, ca. 1900, slip-cast ceramic with eosin glazes. Gift of Dr. Theodore and Diana Golden.
• Hiroshi Sugimoto, Fox, Michigan, 1980, gelatin silver print. Museum purchase.
• Cristina Iglesias, Untitled (Room 11 [-1999], edition 1/15, 1999, ink on copper plate. Gift of Janis and William M. Wetsman.
• Cornelia Parker, There must be some kind of way outta here, 2016, mixed media. Museum purchase.