i-xxii Front matter.qxd - Brandeis Institutional Repository

Notes / 197alist art, permeated by humanism and historical optimism, counters the bourgeoiswest’s ‘mass culture,’ which tramples human dignity and sows disbelief in man’sstrength and future.” Translated in Foreign Broadcast Information Service (FIBIS),“Pravda Editorial on the Role of Artistic Criticism,” Daily Report: Soviet Union,June 9, 1981.96. One short review appeared in the art journal Iskusstvo, (Art) as part of an overview ofall the summer 1981 offerings. It summarized her subject matter and praised herrealist style. “In Moscow,” the reviewer concluded, “she and friends met true appreciatorsof realist art” (no. 9, 1981, p. 76). I thank Pam Kachurin for locating thisreview, which I had overlooked, and for providing the translation. Although the reactionof the art critics was minimal, Neel was interviewed on television, and so,ironically, her persona instead of her work reached a wide audience. Nancy Neel,who along with her husband and children accompanied Neel to the U.S.S.R., reportsthat the crowds at the exhibit were consistently large, and that a TV interviewhad a wide audience as well. There were no reviews in Dekorativenoe iskusstvo orKhudozhnik Itvo. Pravda [July 10, 1981?] provided a brief notice.97. Margarita Tupitsyn, “U-Turn of the U-topian,” in David Ross, et al., Between Springand Summer: Soviet Conceptual Art in the Era of Late Communism (Cambridge,Mass.: M.I.T. Press, 1990), 36.98. Lucy Lippard, “Introduction: Art and Ideology,” New Museum of ContemporaryArt, quoted in Hilton Kramer, “Turning Back the Clock,” in The Revenge of thePhilistine: Art and Culture, 1972–84 (New York: The Free Press, 1985), 386.Chapter 6. El Barrio (pp. 90–108)1. Louisa Randall Church, “Parents—The Architects of Peace,” American Home (November1946), quoted in Elaine Tyler May, Homeward Bound (New York: BasicBooks, 1988), 135.2. Ibid., 208.3. Michael Harrington, The Other America: Poverty in the United States (Baltimore:Penguin Books, 1962), 10, 12.4. Ralph Ellison, The Invisible Man (1952) (New York: Vintage International, 1990),3, 14.5. See Joseph P. Fitzpatrick, Puerto Rican Americans: The Meaning of Migration tothe Mainland (Englewood Cliffs, N.J.: Prentice Hall, 1971), and Dan Wakeƒeld,Island in the City: The World of Spanish Harlem (Boston: Houghton Mif„in, 1959).6. “Not accepted as white, reluctant to be classed as Negroes, they were clinging to everythingthat gave them identity as Puerto Ricans . . . The colored Puerto Rican isidentiƒed primarily as Puerto Rican, not as a Negro.” Fitzpatrick, Puerto RicanAmericans, 108–109.7. Guillen provided the following example: “Much of what we know about a greatNegro woman [‘La Bayamesa’] who was in charge of well-functioning ƒeld hospitalsduring our War of Independence, we owe to a Yankee journalist.” NicholasGuillen, “Havana to New York,” Masses & Mainstream 2/6 (June 1949), 61–62.