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136 / The New York Art Networkage of power, but avoids cartoon stereotypes. With her mane of hair, regal smile,and maroon bell-bottomed pants suit, Neel depicted an artworld authority as abuyer for Bloomingdale’s, somewhat snidely equating feminist professionalismwith commercialism.By the end of the decade, feminist artists working in nontraditional mediawould critique the search for a mythic essential womanhood. Dara Birnbaum’s“Technology Transformation: WonderWoman,” which mocked theabsurdity of the TV series’ image of the female superhero, coincided with thepublication of Gloria Feman Orenstein’s in„uential article, “The Reemergenceof the Archetype of the Great Goddess in Art by Contemporary Women,”which valorized the very ideas Birnbaum’s video art parodied. 39 Orenstein’sargument posited that the goddesses of preliterate, matriarchal civilizationsprovided archetypes for a contemporary art based on “transpersonal visionaryexperiences.” The culmination of the trend Orenstein charted was Judy Chicago’s“Birth Project” (1980–1985) and Ilise Greenstein’s “Sister Chapel”(1974–1979), the latter a monument commemorating “women’s contributionto civilization.” While Birnbaum examined the ways in which our culture constructsnotions of womanhood, Orenstein was engaged in an ahistorical searchfor its origins.Because Neel’s portraiture had more in common with Birnbaum’s deconstructiveproject than with the “great goddess” trend in early feminism, it iscurious that the one collaborative feminist project in which Neel consented toparticipate was the “Sister Chapel.” 40 However, in place of a goddess, Neelchose to paint a politician, Bella Abzug (1977, ƒg. 129). Although Abzug wasnot the only nonmythological ƒgure in the group, the other political ƒgures,such as June Blum’s Betty Friedan as the Prophet, were accorded divine status(1976, ƒg. 130).That same year, 1979, Neel traveled to Washington to receive from JimmyCarter the lifetime achievement award initiated by the Women’s Caucus forArt, an honor she shared with Selma Burke, Louise Nevelson, Louise Bourgeois,and (in absentia) Georgia O’Keeffe. According to Newsweek’s accountof this crowning moment in the history of women’s art, Neel apparently askedoutside the oval ofƒce: “Where is Bella Abzug now?” referring to her removalfrom her position as co-chairwoman of the president’s National Advisory Commissionfor Women. 41 Neel considered the construction of new pedestals foridealized womanhood less important than keeping real women in power. 42When painting Abzug, Neel stated that she deliberately emphasized the ballshapedbreasts to “show that she would nurture the electorate,” 43 that is, thatAbzug would have the courage to defend women’s issues.With her double portrait of Linda Nochlin and Daisy (1973, ƒg. 131), Neeldepicted another art historian who had provided her with critical support, notsimply by including her in important exhibitions but by placing her work in