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
- Page 4 and 5:
Pictures of PeopleAlice Neel’sAme
- Page 6:
NOTE TO EREADERSAs electronic repro
- Page 9 and 10:
viii / ContentsPART II: NEEL’S SO
- Page 11 and 12:
x / Illustrations in the Print Edit
- Page 13 and 14:
xii / Illustrations in the Print Ed
- Page 15 and 16:
xiv / Illustrations in the Print Ed
- Page 17 and 18:
xvi / Acknowledgmentstors Virginia
- Page 19 and 20:
xviii / Pictures of Peoplepression,
- Page 21 and 22:
xx / Pictures of Peopleof the bawdy
- Page 24:
Part IThe Subjects of the Artist
- Page 27 and 28:
4 / The Subjects of the Artistexpla
- Page 29 and 30:
6 / The Subjects of the Artistclass
- Page 31 and 32:
8 / The Subjects of the ArtistThe r
- Page 33 and 34:
10 / The Subjects of the ArtistBeca
- Page 35 and 36:
12 / The Subjects of the Artistrect
- Page 37 and 38:
14 / The Subjects of the ArtistIt i
- Page 39 and 40:
16 / The Subjects of the Artistarti
- Page 41 and 42:
18 / The Subjects of the Artist“A
- Page 43 and 44:
20 / The Subjects of the Artistand
- Page 45 and 46:
22 / The Subjects of the Artistvent
- Page 47 and 48:
24 / The Subjects of the Artistspee
- Page 49 and 50:
26 / The Subjects of the Artistpher
- Page 51 and 52:
28 / The Subjects of the Artistzone
- Page 53 and 54:
30 / The Subjects of the Artistself
- Page 55 and 56:
32 / The Subjects of the Artistnect
- Page 57 and 58:
34 / The Subjects of the Artistcial
- Page 59 and 60:
36 / The Subjects of the Artistphia
- Page 61 and 62:
38 / The Subjects of the ArtistHowe
- Page 63 and 64:
40 / The Subjects of the Artistmist
- Page 66:
Part IINeel’s Social Realist Art:
- Page 69 and 70:
46 / Neel’s Social Realist Artmor
- Page 71 and 72:
48 / Neel’s Social Realist Artalt
- Page 73 and 74:
50 / Neel’s Social Realist Artwas
- Page 75 and 76:
52 / Neel’s Social Realist Artdoc
- Page 77 and 78:
54 / Neel’s Social Realist Artten
- Page 79 and 80:
56 / Neel’s Social Realist Arting
- Page 81 and 82:
58 / Neel’s Social Realist Artmea
- Page 83 and 84:
60 / Neel’s Social Realist ArtJoe
- Page 85 and 86:
62 / Neel’s Social Realist Artwou
- Page 87 and 88:
64 / Neel’s Social Realist Artpai
- Page 89 and 90:
66 / Neel’s Social Realist Artsix
- Page 91 and 92:
68 / Neel’s Social Realist ArtDur
- Page 93 and 94:
70 / Neel’s Social Realist Artmir
- Page 95 and 96:
72 / Neel’s Social Realist Arteve
- Page 97 and 98:
74 / Neel’s Social Realist ArtPer
- Page 99 and 100:
76 / Neel’s Social Realist Arthad
- Page 101 and 102:
78 / Neel’s Social Realist Artsis
- Page 103 and 104:
80 / Neel’s Social Realist Artpai
- Page 105 and 106:
82 / Neel’s Social Realist Artint
- Page 107 and 108:
84 / Neel’s Social Realist ArtFul
- Page 109 and 110:
86 / Neel’s Social Realist ArtDre
- Page 111 and 112:
88 / Neel’s Social Realist ArtIn
- Page 113 and 114:
6El Barrio:Portrait of Spanish Harl
- Page 115 and 116:
92 / Neel’s Social Realist Arttha
- Page 117 and 118:
94 / Neel’s Social Realist ArtSuc
- Page 119 and 120:
96 / Neel’s Social Realist Artwhe
- Page 121 and 122:
98 / Neel’s Social Realist Artcal
- Page 123 and 124:
100 / Neel’s Social Realist Artte
- Page 125 and 126:
102 / Neel’s Social Realist Artar
- Page 127 and 128:
104 / Neel’s Social Realist Artun
- Page 129 and 130:
106 / Neel’s Social Realist ArtPu
- Page 131 and 132:
108 / Neel’s Social Realist ArtWh
- Page 134 and 135:
7A Gallery of Players:Artist-Critic
- Page 136 and 137:
A Gallery of Players / 113be lost a
- Page 138 and 139:
A Gallery of Players / 115Campbell
- Page 140 and 141:
A Gallery of Players / 117on Neel
- Page 142 and 143:
A Gallery of Players / 119sidered b
- Page 144 and 145:
A Gallery of Players / 121is a disr
- Page 146 and 147:
A Gallery of Players / 123Neel’s
- Page 148 and 149:
A Gallery of Players / 125“Batman
- Page 150 and 151:
8The Women’s Wing:Neel and Femini
- Page 152 and 153:
The Women’s Wing / 129Neel’s ƒ
- Page 154 and 155:
The Women’s Wing / 131just and bi
- Page 156 and 157:
The Women’s Wing / 133lenced the
- Page 158 and 159:
The Women’s Wing / 135holding han
- Page 160 and 161:
The Women’s Wing / 137historical
- Page 162 and 163:
The Women’s Wing / 139“Three Am
- Page 164 and 165:
The Women’s Wing / 141There exist
- Page 166:
The Women’s Wing / 143Looking bac
- Page 170 and 171:
9Truth Unveiled:The Portrait NudeIn
- Page 172 and 173: Truth Unveiled / 149school, where s
- Page 174 and 175: Truth Unveiled / 151Nadya’s „es
- Page 176 and 177: Truth Unveiled / 153Nadya’s addic
- Page 178 and 179: Truth Unveiled / 155hand, Gold’s
- Page 180 and 181: Truth Unveiled / 157others were doi
- Page 182 and 183: Truth Unveiled / 159are played woul
- Page 184 and 185: in time—two ladies sitting in umb
- Page 186 and 187: Shifting Constellations / 163which
- Page 188 and 189: Shifting Constellations / 165was a
- Page 190 and 191: Shifting Constellations / 167liefs,
- Page 192 and 193: Shifting Constellations / 169origin
- Page 194 and 195: Shifting Constellations / 171ing ch
- Page 196 and 197: Shifting Constellations / 173by the
- Page 198 and 199: Shifting Constellations / 175void b
- Page 200 and 201: NOTESIntroduction. The Portrait Gal
- Page 202 and 203: Notes / 1793. Emile de Antonio and
- Page 204 and 205: Notes / 18143. Gombrich, “The Exp
- Page 206 and 207: Notes / 183that the book is ƒnishe
- Page 208 and 209: Notes / 185into a language of tempe
- Page 210 and 211: Notes / 187only one repeated entry,
- Page 212 and 213: Notes / 18974. J.L., “New Exhibit
- Page 214 and 215: Notes / 191from the 1930s through t
- Page 216 and 217: Notes / 193a man (who loves childre
- Page 218 and 219: Notes / 195designed to jolt the rea
- Page 220 and 221: Notes / 197alist art, permeated by
- Page 224 and 225: Notes / 201portrait of the boyish W
- Page 226 and 227: Notes / 203world gossip.” David B
- Page 228 and 229: Notes / 205which had refused to par
- Page 230 and 231: Notes / 207Eating and Identity (198
- Page 232 and 233: Notes / 20925. Georges Bataille, Th
- Page 234 and 235: Notes / 21110. William S. Rubin, Da
- Page 236 and 237: BIBLIOGRAPHYI. Archival Sources and
- Page 238 and 239: Sources Focused on Alice Neel / 215
- Page 240 and 241: Sources Focused on Alice Neel / 217
- Page 242 and 243: General Sources: Books / 219Storr,
- Page 244 and 245: General Sources: Books / 221Chodoro
- Page 246 and 247: General Sources: Books / 223——
- Page 248 and 249: General Sources: Books / 225Leja, M
- Page 250 and 251: General Sources: Books / 227Rich, A
- Page 252 and 253: General Sources: Periodicals / 229W
- Page 254 and 255: General Sources: Periodicals / 231M
- Page 256: PHOTOGRAPHY CREDITSeeva-inkeri: ƒg