i-xxii Front matter.qxd - Brandeis Institutional Repository
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i-xxii Front matter.qxd - Brandeis Institutional Repository

i-xxii Front matter.qxd - Brandeis Institutional Repository i-xxii Front matter.qxd - Brandeis Institutional Repository

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Notes / 19929. Morris Dickstein, Gates of Eden: American Culture in the Sixties (New York: PenguinBooks, 1977, 1989), 156.30. Idem.31. Patricia Hills, Alice Neel (New York: Abrams, 1983, 1995), 116.32. Andrew Hemingway, “The Critical Mythology of Edward Hopper,” Prospects 17(1992), 384–85.33. Guy Pène du Bois, Edward Hopper (New York: Whitney Museum of American Art,American Artists Series, 1931), 12.34. Hemingway, “The Critical Mythology,” 396.35. Ibid., 399.36. Schapiro, “Race, Nationality and Art,” 10, 12.37. Michael Gold (Irwin Granich), “Towards Proletarian Art,” Liberator 4 (February1921), 20–21.38. Roland Marchand, Advertising the American Dream (Berkeley: University of CaliforniaPress, 1985), 238.39. Raymond Ledrut, “Speech and the Silence of the City,” in The City and the Sign:An Introduction to Urban Semiotics (New York: Columbia University Press, 1986),133.40. Quoted in Bloom, Left Letters, 79.41. Jane Jacobs, Death and Life of the Great American Cities (New York: RandomHouse, 1961), 37.42. “The New York I Love: Seventeen New Yorkers Tell Us What Makes Them MostLove This Big, Bad, Beautiful Town,” New York Magazine, October 20, 1980.43. Raymond Williams, “Metropolitan Perspectives and the Emergence of Modernism,”The Politics of Modernism (London: Verso, 1989), 35.Chapter 7. A Gallery of Players (pp. 111–26)1. For a discussion of the Club, see Irving Sandler, The New York School: Painters andSculptors of the Fifties (New York: Harper & Row, 1978), 31–32.2. Alice Neel, “A Statement,” in Alfred Leslie and Robert Frank, eds., “The HastyPapers: A One-Shot Review” (New York: 1960), quoted in Patricia Hills, Alice Neel(New York: Abrams, 1983, 1995), 1053. Diana Crane, The Transformation of the Avant-Garde: The New York Art World,1940–1985 (Chicago: University of Chicago Press, 1987), 2–3.4. Lawrence Alloway, “Women’s Art in the Seventies,” in Network: Art and the ComplexPresent (Ann Arbor: UMI Research Press, 1984), 273, 285.5. Alloway, “Network: The Artworld Described as a System,” in ibid., 3–4.6. Emily Genauer, “Art & the Artist,” New York Post, March 2, 1994.7. David Lehman, “A Poet in the Heart of Noise” (review of Brad Gooch, City Poet:The Life and Times of Frank O’Hara), New York Times, June 20, 1993.8. Valerie Peterson, “U.S. Figure Painting: Continuity and Cliché,” ARTnews 6/4(summer 1962), 51. Certainly it made as much sense to group together Larry Rivers,Philip Pearlstein, Fairƒeld Porter, Robert Beauchamp, and Neel as it did to groupJackson Pollock with Mark Rothko.

200 / Notes9. Hubert Crehan, “Introducing the Portraits of Alice Neel,” ARTnews 61/6 (October1962), 45.10. K.L. “Alice Neel at the Graham Gallery (October 1–26),” ARTnews 62/6 (October1963), 11.11. He stated bluntly that “this series fails to give any idea of the importance of theagony of Sacco and Vanzetti.” Walter Gutman, “The Passion of Sacco-Vanzetti,”The Nation, April 29, 1932, quoted in David Shapiro, Social Realism: Art As aWeapon (New York: Frederick Ungar, 1973), 289.12. John Gruen, “Art: ‘Collector of Souls,’” Herald Tribune, January 9, 1966; Jack Kroll’s“A Curator of Souls” was published several weeks later in the January 31 issue ofNewsweek.13. John Gruen, The Party’s Over Now (New York: Viking Press, 1972), 62.14. In discussing his well-known parody of Emmanuel Leutze’s Washington Crossingthe Delaware, Rivers claimed to have painted it as a deliberately provocative gesture:“I did it the year Joe McCarthy was at his height. I even have some letterssomewhere saying that Joe McCarthy would take me as a patriot. I mean, the absurdityof history is that I might be seen as a kind of loyal, patriotic person although Itook drugs and engaged in homosexual activities. In other words, what I was sayingis that America as you know it wasn’t true.” Sam Hunter, Larry Rivers (New York:Rizzoli, 1989), 18.15. Jonathan Weinberg, Speaking for Vice: Homosexuality in the Art of Charles Demuth,Marsden Hartley and the First American Avant-Garde (New Haven: YaleUniversity Press, 1993), 205–206. See also my Ph.D. dissertation, “The WatercolorIllustrations of Charles Demuth,” Johns Hopkins University, 1970.16. Ann Sutherland Harris, Alice Neel Paintings, 1933–1982 (Los Angeles: LoyolaMarymount University, 1983), 14.17. Nancy Neel has recounted that, when Kuyer died in 1981, the family decided notto keep the portrait.18. John D’Emilio, Sexual Politics, Sexual Communities: The Making of a HomosexualMinority in the United States, 1940–1970 (Chicago: University of Chicago Press,1983), 41, 42.19. Ibid., 59. This is true as well of revisionist histories, which continue their inexplicablesilence. See for instance, Michael E. Brown, et al., eds., New Studies in the Politicsand Culture of American Communism, (New York: Monthly Review Press,1993).20. Such attitudes were slow to change. In 1964, shortly after the election of LyndonJohnson, Walter Jenkins, the president’s chief of staff, was arrested for making “indecentgestures” with another man in the men’s room of a YMCA two blocks fromthe White House. Jenkins was dismissed from his government post, but an extensiveFBI investigation nonetheless ensued in order to assure that his actions had inno way compromised the security of the United States. For a brilliant account ofthe scandal, see Lee Edelman, “Tearooms and Sympathy: The Epistemology of theWater Closet,” in Henry Abelove, Midnele Aina Barale, David M. Halperin, eds.,The Lesbian and Gay Studies Reader (London and New York: Routledge, 1993),553–75. With the spirit of McCarthyism still at large in the U.S. government, Neel’s

Notes / 19929. Morris Dickstein, Gates of Eden: American Culture in the Sixties (New York: PenguinBooks, 1977, 1989), 156.30. Idem.31. Patricia Hills, Alice Neel (New York: Abrams, 1983, 1995), 116.32. Andrew Hemingway, “The Critical Mythology of Edward Hopper,” Prospects 17(1992), 384–85.33. Guy Pène du Bois, Edward Hopper (New York: Whitney Museum of American Art,American Artists Series, 1931), 12.34. Hemingway, “The Critical Mythology,” 396.35. Ibid., 399.36. Schapiro, “Race, Nationality and Art,” 10, 12.37. Michael Gold (Irwin Granich), “Towards Proletarian Art,” Liberator 4 (February1921), 20–21.38. Roland Marchand, Advertising the American Dream (Berkeley: University of CaliforniaPress, 1985), 238.39. Raymond Ledrut, “Speech and the Silence of the City,” in The City and the Sign:An Introduction to Urban Semiotics (New York: Columbia University Press, 1986),133.40. Quoted in Bloom, Left Letters, 79.41. Jane Jacobs, Death and Life of the Great American Cities (New York: RandomHouse, 1961), 37.42. “The New York I Love: Seventeen New Yorkers Tell Us What Makes Them MostLove This Big, Bad, Beautiful Town,” New York Magazine, October 20, 1980.43. Raymond Williams, “Metropolitan Perspectives and the Emergence of Modernism,”The Politics of Modernism (London: Verso, 1989), 35.Chapter 7. A Gallery of Players (pp. 111–26)1. For a discussion of the Club, see Irving Sandler, The New York School: Painters andSculptors of the Fifties (New York: Harper & Row, 1978), 31–32.2. Alice Neel, “A Statement,” in Alfred Leslie and Robert Frank, eds., “The HastyPapers: A One-Shot Review” (New York: 1960), quoted in Patricia Hills, Alice Neel(New York: Abrams, 1983, 1995), 1053. Diana Crane, The Transformation of the Avant-Garde: The New York Art World,1940–1985 (Chicago: University of Chicago Press, 1987), 2–3.4. Lawrence Alloway, “Women’s Art in the Seventies,” in Network: Art and the ComplexPresent (Ann Arbor: UMI Research Press, 1984), 273, 285.5. Alloway, “Network: The Artworld Described as a System,” in ibid., 3–4.6. Emily Genauer, “Art & the Artist,” New York Post, March 2, 1994.7. David Lehman, “A Poet in the Heart of Noise” (review of Brad Gooch, City Poet:The Life and Times of Frank O’Hara), New York Times, June 20, 1993.8. Valerie Peterson, “U.S. Figure Painting: Continuity and Cliché,” ARTnews 6/4(summer 1962), 51. Certainly it made as much sense to group together Larry Rivers,Philip Pearlstein, Fairƒeld Porter, Robert Beauchamp, and Neel as it did to groupJackson Pollock with Mark Rothko.

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