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Notes / 18974. J.L., “New Exhibitions of the Week: First Showing by a New & Democratic Artists’Group,” ARTnews 36/36 (June 4, 1938), 13.75. “New Exhibitions of the Week: Three Dramatic Shows Establish the Greatness ofKathe Kollwitz,” ARTnews 36/33 (May 14, 1938), 13.76. Hills, Alice Neel, 77.77. Kenneth Fearing’s proletarian introduction added expressionist tone but no content:“They are as savage, as primitive, as man is in today’s civilization; as civilized,as sensitive, as the individual is against the contemporary background of sheerchaos.” “The New York Group,” ACA gallery exhibition brochure, February 5–18,1939.78. Jacob Kainen, “Social Painting and the Modern Tradition,” unpublished typescriptpresented at ACA gallery, New York, February 10, 1939; quoted in Harry Rand,“Notes and Conversations: Jacob Kainen,” Arts 53/4 (December 1978), 139.79. Ibid., 140.80. Avis Berman, “Images from a Life,” in Jacob Kainen (Washington, D.C.: NationalMuseum of American Art, Smithsonian Institution, 1993), 21.81. It may have appeared that Neel would fare better apart from the New York Group,for she was given her ƒrst one-person show at the Contemporary Arts gallery on57th Street in May 1938, at the same time her work was included in the ƒrst NewYork Group exhibit. Neel was also included in at least four group exhibitions at ContemporaryArts, Inc., between 1938 and 1941, such as “Twenty Artists Look NorthFrom Radio City” (May-June, 1938) and “The Painters Paint Each Other” (June1939); “Miscellaneous Papers,” AAA reel NAAA3/173–217. Founded in 1931 byEmily Francis, the gallery was devoted to “the introduction in New York and thesponsoring of mature American artists”; it also fostered sales for the “sponsoredgroup” through its afƒliation, the “Collectors of American Art.” After 1941, Neel isno longer listed as one of the “sponsored artists.” Despite the fact that Joseph Solman,Mark Rothko, and John Kane had their ƒrst shows there, the gallery’s “sponsored”roster did not include any of the prestigious names carried by the ACA: PhilipEvergood, Joe Jones, William Gropper, who were identifed with Social Realism.Contemporary Arts, Inc., papers, Archives of American Art, D226, frames 600ff.82. Telephone interview with Joseph Solman, October 5, 1993.Chapter 5. The Cold War Battles (pp. 67–89)1. Quoted in Irving Howe and Lewis Coser, The American Communist Party: A CriticalHistory (New York: Praeger, 1957), 245.2. Norman Barr, “Statement of Purpose: United American Artists,” Charles Kellerpapers, AAA 7/739.3. “From Rockwell Kent, President of the United American Artists,” The New YorkArtist 1/3–4 (May-June 1940), 10.4. Elizabeth McCausland, “Two Gallery Exhibits of United American Arists,” TheNew York Artist 1/3–4 (May-June 1940), 6. “Its aesthetic values are compelling becauseits roots are deep in social integration.”