• Albers, Anni.

    On Weaving. Middletown, Connecticut: Wesleyan University Press, 1965.

  • Constantine, Mildred, and Jack Lenor Larsen.

    The Art Fabric: Mainstream. New York: Van Nostrand Reinhold, 1981.

  • _____.

    Beyond Craft: The Art Fabric. New York: Van Nostrand Reinhold, 1972.

  • Cotter, Holland.

    Lenore Tawney: Signs on the Wind. Rohnert Park, California: Pomegranate Communications, Inc., 2002.

  • Kaufmann, Ruth.

    The New American Tapestry. New York: Reinhold Book Corporation, 1968.

  • Kuenzi, André.

    La Nouvelle Tapisserie. Lausanne: Bibliotheque des Arts, 1981.

  • Moorjani, Angela.

    Beyond Fetishism and Other Excursions in Psychopragmatics. Semaphores and Signs. New York: St. Martin’s; London: Macmillan, 2000.

  • Munro, Eleanor.

    Originals: American Women Artists. New York: Simon and Schuster, 1979.

  • Nordness, Lee.

    Objects: USA. New York: Viking Press, 1970.

  • Rubenstein, Charlotte Streifer.

    American Women Artists. Boston: G.K. Hall and Company, 1982.

  • Schuyler, James.

    Selected Art Writings. Santa Rosa, California: Black Sparrow Press, 1998.

  • Simpson, Tommy, with Lisa Hammel.

    Hand and Home: The Homes of American Craftsmen. Boston: Little, Brown and Company, 1994.

  • Thalacker, Donald W.

    The Place of Art in the World of Architecture. New York: Chelsea House Publishers, 1980.

  • Weltge, Sigrid Wortmann.

    Women’s Work: Textile Art from the Bauhaus. San Francisco: Chronicle Books, 1993.


  • Adams, Alice.

    “Lenore Tawney.” Craft Horizons 22 (January/February 1962): 39.

  • Nina Leen (photographer)

    “The Old Crafts Find New Hands.” Life 61(5), (July 29, 1966): 34-43.

  • Barron, Stephanie.

    “Giving Art History the Slip.” Art In America 62 (March/April 1974): 80–84.

  • Braff, Phyllis.

    “Pulse on the Trigger.” Cover 11 (June 1997): 12.

  • Cotter, Holland.

    “Lenore Tawney, 100, Innovator in Weaving.” New York Times, 28 September 2007.

  • Guralnick, Margot.

    “Collage of A Lifetime.” HG (June 1991): 118–23, 155.

  • Henry, Gerrit.

    “Cloudworks and Collage.” Art In America 74 (June 1986): 116-21.

  • Hoff, Margo.

    “Lenore Tawney: The Warp is Her Canvas.” Craft Horizons 17 (November/December 1957): 14–19.

  • Howard, Richard.

    “Tawney,” Craft Horizons 31 (February 1975): 46–47, 71-72.

  • Kuh, Katharine.

    “Sculpture: Woven and Knotted.” Saturday Review 51 (July 27, 1968): 36-37.

  • Kushner, Robert.

    “Lenore Tawney at Tenri.” Art In America 82 (December 1994): 103-04.

  • Larsen, Jack Lenor.

    “Lenore Tawney–Inspiration to Those Who Want to Develop Their Artistic Potential.” House Beautiful 104 (March 1962): 160-61, 175-77.

  • Lawrence, Lee.

    “Artist of the Eternal Moment.” American Style 12 (Spring 1998): 54–61.

  • “Lenore Tawney: Her Designs Show Imaginative Departure from Traditional Tapestry Techniques.” Handweaver and Craftsman 13 (Spring 1962): 6–9.
  • Livingston, Jack, with Peter Boyce.

    “Lenore Tawney: Wholly Unlooked For.” The Journal of Modern Craft 6 (July 2013): 229—234.

  • Malarcher, Patricia.

    “Lenore Tawney: Wholly Unlooked For.” Surface Design 37 (Summer, 2013): 58-59.

  • Mangan, Kathleen Nugent.

    “Remembering Lenore Tawney.” New York Arts 13 (March/April 2008): 70.

  • Melrod, George.

    “The Fame Game.” Art & Antiques (Summer 1997): 72–79.

  • Orenstein, Gloria.

    “Lenore Tawney: The Craft of the Spirit.” The Feminist Art Journal 2 (Winter 1973–74): 11–13.

  • Orth, Maureen.

    “The Cosmic Creations of Lenore Tawney.” New York Woman 1 (May/June 1987): 66–67.

  • Park, Betty.

    “Lenore Tawney.” Craft Horizons 38 (October 1978): 52.

  • Raynor, Vivien.

    “Fabric of Surrealism.” New York Times, 2 July 1978.

  • Reif, Rita.

    “Artistry and Invention Seamlessly Joined.” New York Times, 26 November 1995.

  • Schorr, Mimi.

    “Fiber Sculpture.” Saturday Review 55 (May 20, 1972): 57–61.

  • Schuyler, James.

    “Lenore Tawney.” Craft Horizons 27 (November/December 1967): 20–25.

  • Seelig, Warren.

    “Meditative Image: The Art of Lenore Tawney.” American Craft 50 (August/September 1990): 36–43, 66.

  • Slivka, Rose.

    “The New Tapestry.” Craft Horizons 23 (March/April 1963): 10–19, 48–49.

  • Smith, Dido.

    “Lenore Tawney.” Craft Horizons 30 (August 1970): 54.

  • Stein, Judith E.

    “The Inventive Genius of Lenore Tawney: Reflections on a Lifetime of Art.” Fiberarts 24 (September/October 1997): 28–34.

  • Weltge, Sigrid Wortmann.

    “Lenore Tawney: Spiritual Revolutionary.” American Craft 68 (February/March 2008): 90–97.

  • Winter, Amy.

    “Lenore Tawney.” Arts 60 (January 1986): 108.

Solo Exhibition Catalogues

  • Lenore Tawney, 1961, Staten Island Museum, New York, text by James Coggin and Agnes Martin.
  • Lenore Tawney, 1975, California State University, Fullerton, text by Dextra Frankel, Bernard Kester, and Katharine Kuh.
  • Lenore Tawney: A Personal World, 1978, Brookfield Craft Center, Connecticut, preface and interview with Lenore Tawney by Jean d’Autilia.
  • Lenore Tawney, 1979, New Jersey State Museum, Trenton, text by Katharine Kuh and Leah P. Sloshberg.
  • Lenore Tawney: A Retrospective, 1990, American Craft Museum and Rizzoli International Publications, New York, edited by Kathleen Nugent Mangan, foreword by Katharine Kuh, text by Erika Billeter, Kathleen Nugent Mangan, and Paul J. Smith.
  • Lenore Tawney, 1996, Stedelijk Museum, Amsterdam, Netherlands, foreword by Rudi Fuchs, text by Liesbeth Crommelin and Kathleen Nugent Mangan.
  • Lenore Tawney–Meditations: Assemblages, Collages, and Weavings, 1997, Michael Rosenfeld Gallery, New York, text by Judith E. Stein.
  • Vestures of Water: The Work of Lenore Tawney, 1997, Allentown Art Museum, Pennsylvania, text by Kathleen Nugent Mangan.
  • Lenore Tawney: Celebrating Five Decades of Work, 2000, browngrotta arts, Wilton, Connecticut, foreword by Kathleen Nugent Mangan, text by Sigrid Wortmann Weltge, notes by Lenore Tawney.
  • Lenore Tawney: Drawings in Air, 2007, browngrotta arts, Wilton, Connecticut, text by Kathleen Nugent Mangan.
  • Lenore Tawney: Wholly Unlooked For, 2013, Maryland Institute College of Art, Baltimore, Maryland and University of the Arts, Philadelphia, Pennsylvania, foreword by Kathleen Nugent Mangan, text by Sid Sachs, Warren Seelig, and T’ai Smith.

Group Exhibition Catalogues

  • Woven Forms, 1963, Museum of Contemporary Crafts, New York, introduction by Paul J. Smith, text by Ann Wilson.
  • Wall Hangings, 1969, The Museum of Modern Art, New York, introduction by Mildred Constantine and Jack Lenor Larsen.
  • Nine Artists/Coenties Slip, 1974, Whitney Museum of American Art Downtown Branch, New York.
  • Fiberworks, 1977, Cleveland Museum of Art, foreword by Sherman E. Lee, preface by Edward B. Henning, text by Evelyn Svec Ward.
  • Weich und Plastich: Soft-Art, 1979, Kunsthaus Zurich, Switzerland, foreword by Erika Billeter, text by Magdalena Abakanowicz, Erika Billeter, Mildred Constantine, Richard Paul Lohse, Willy Rotzler, and André Thomkins.
  • Tracking the Marvelous, 1981, Grey Art Gallery and Study Center, New York University, text by John Bernard Myers.
  • Craft Today: Poetry of the Physical, 1986, American Craft Council, New York, New York, text by Paul J. Smith and Edward Lucie-Smith.
  • Fiber R/Evolution, 1986, Milwaukee Art Museum and University Art Museum, University of Wisconsin, Milwaukee, foreword by Jane Fassett Brite and Jean Stamsta, and John Perreault.
  • The Eloquent Object, 1987, Philbrook Museum of Art, Tulsa, Oklahoma, edited by Marcia Manhart and Tom Manhart, text by George L. Aguirre, Jonathan L. Fairbanks, Penelope Hunter-Stiebel, Mary Jane Jacob, Horace Freeland Judson, Ronda Kasl, Lucy L. Lippard, Marcia Manhart and Tom Manhart, John Perreault, Rose Slivka, and Edwin L. Wade.
  • Fiber Concepts, 1989, Arizona State University Art Museum, Tempe, Arizona, text by Lucinda H. Gedeon.
  • Revered Earth, 1990, Center for Contemporary Arts of Santa Fe, preface by Robert B. Gaylor, text by Diane Armitage, Suzi Gablik, Robert B. Gaylor, Dominique GW Mazeaud, and Melinda Wortz.
  • Abstraction: The Amerindian Paradigm, 2001, Palais des Beaux-Arts, Brussels in association with IVAM (Institut Valencià d’Art Modern), Valencia, text by Mary Frame, Lucy Lippard, Cecilia de Torres, César Paternosto, and Ferdinán Valentín.
  • Generations/Transformations: American Fiber Art, 2003, American Textile History Museum, Lowell, Massachusetts.
  • Circa 1958: Breaking Ground in American Art, 2008, Ackland Art Museum, The University of North Carolina at Chapel Hill, foreword by Emily Kass, text by Roni Feinstein.
  • Messages & Magic, 100 Years of Collage and Assemblage in American Art, 2008, John Michael Kohler Arts Center, Sheboygan, Wisconsin, text by Leslie Umberger.
  • Retro/Prospective: 25+ Years of Art Textiles and Sculpture, 2012, browngrotta arts, Wilton, Connecticut, text by Lesley Millar, and Jo Ann C. Stabb.
  • Art=Text=Art: Works by Contemporary Artists, 2013, online catalogue:, © Fifth Floor Foundation.
  • Art & Textiles: Fabric as Material and Concept in Modern Art from Klimt to the Present , 2013, Kunstmuseum Wolfsurg, Hatje Cantz Verlag, Ostfildern and authors, edited by Markus Brüderlin.
  • Thread Lines, 2014, The Drawing Center, New York, New York, text by Joanna Kleinberg Romanow.
  • Fiber: Sculpture 1960-Present, 2014, Institute of Contemporary Art/Boston and Prestel Verlag, Munich, London, New York, edited by Jenelle Porter, text by Glenn Adamson, Sarah Parrish, Jenelle Porter, and T’ai Smith.
  • Influence and Evolution: Fiber Sculpture…then and now, 2015, browngrotta arts, Wilton, Connecticut, edited by Rhonda Brown, text by Ezra Shales.