Ralston, Birgitta. Birgitta Ralston: Sisters. Photographic Portraits.

An Exhibition Curated and with an introduction by Joyce Koskenmaki Parr. Essay by Missy Daniel. Statement by Birgitta Ralston. University Art Gallery, University of Wisconsin - La Crosse, January 26 - February 18, 1989. Illustrated stiff wraps, 32 pages, with black-and-white portraits of sisters taken mostly in Sweden. Fine with picture postcard laid in promoting the exhibit at another venue, Radcliffe College, December 3, 1990 - January 4, 1991. Scarce, only six copies in libraries listed in WorldCat.  Summary:

Birgitta Ralston: Sisters. Photographic Portraits is an exhibition catalog published by the University Art Gallery at the University of Wisconsin-La Crosse to accompany a solo exhibition that ran from January 26 to February 18, 1989.

The 32-page volume documents a focused, intimate photographic study by Birgitta Ralston, featuring an exhibition introduction by curator Joyce Koskenmaki Parr, an analytical essay by Missy Daniel, and a personal artist statement by Ralston.

Core Themes & Artistic Framework

1. The Visual Exploration of Sororal Bonds

The publication captures a dedicated series of black-and-white portraits centered entirely on the complex dynamics, familial resemblances, and emotional connections between sisters. Rather than treating portraiture as a purely aesthetic exercise, Ralston uses her camera to investigate the shared history, psychological mirroring, and individual identities that exist within sisterhood.

2. Cultural and Geographic Context

The vast majority of the black-and-white portraits compiled in the catalog were taken in Sweden. By photographing her subjects within specific European domestic and natural settings, Ralston infuses the project with a distinct cultural atmosphere, while simultaneously tapping into universal human themes of aging, companionship, and genetic legacy.

3. Collaboration and Voice

The catalog structures its narrative around a balance of artistic, curatorial, and literary perspectives.

• Curator’s Perspective: Joyce Koskenmaki Parr outlines the thematic intent of the exhibition space and the visual flow of the installation.

• Literary Context: Missy Daniel's accompanying essay provides a deeper conceptual exploration of the social and emotional realities of sisterly relationships.

• The Artist's Intent: Ralston’s own statement provides rare technical and personal insight into how she approached her subjects to capture candid, unforced intimacy.

Though produced as a slim gallery retrospective, the publication remains a highly regarded contribution to late-twentieth-century feminist portraiture and documentary photography, eventually traveling to other prominent institutions like Radcliffe College.