i-xxii Front matter.qxd - Brandeis Institutional Repository

Notes / 203world gossip.” David Bourdon, “Women Paint Portraits on Canvas and Off,” VillageVoice, February 20, 1976.48. Taped interview with Karl Fortess, Boston University, 1980. Archives of AmericanArt, Washington, D.C.49. John Perreault, “I’m Asking—Does It Exist? What Is It? Whom Is It For?” Artforum19/3 (November 1980), 74–75.50. John D’Emilio, Sexual Politics, 237.Chapter 8. The Women’s Wing (pp. 127–43)1. Thomas Hess, “Art: Sitting Prettier,” New York, February 23, 1976, 62.2. Lawrence Alloway, “Art,” The Nation, March 9, 1974, 318.3. Marsha Miro, “A Lifetime of Raw, Biting Art,” Detroit Free Press March 12, 1981.4. Linda Nochlin, “Why Have There Been No Great Women Artists?” ARTnews (January1971), 22–39, 69–71; reprinted in Women, Art and Power and Other Essays(New York: Icon Editions, 1988), 145–77.5. Ann Sutherland Harris, “Alice Neel: 1930–1980,” Alice Neel Paintings, 1933–1982(Los Angeles: Loyola Marymount University, 1983), 54.6. Within feminist art history, a dispute developed between historians who applied traditionalart historical models to the study of women and those who developed newmethodologies based on poststructuralist criticism.7. Transcript of editorial description of Time cover, August 31, 1970, Neel ƒles, Registrar’sofƒce, National Portrait Gallery.8. As Neel told Nemser, “When I met her at the Art Students League I said to her,‘Why didn’t you pose for me? After all you believe in Women’s Liberation. I’m awoman.’ She said, ‘Because the Daughters of Bilitis of which I am a member do notbelieve in having a leader.’” Cindy Nemser, Art Talk: Conversations with TwelveWomen Artists (New York: Charles Scribner’s Sons, 1975), 134.9. Neel received a second honorary doctorate from the Kansas City Art Institute onMay 9, 1981.10. The text of the doctoral address was ƒrst reproduced in the Feminist Art Journal(April 1972), 12–13. It is also included in the Georgia Museum of Art catalog (1975)and excerpted in Patricia Hills, Alice Neel (New York: Abrams, 1983, 1995), 131–36.11. Quoted in Sandra Dijkstra, “Simone de Beauvoir and Betty Friedan: The Politicsof Omission,” Feminist Studies 6 (summer 1980), 299–301.12. Barbaralee Diamonsteen, Inside New York’s Artworld (New York: Rizzoli, 1979),258.13. Alice Neel, statement, Daily World, April 17, 1971. At the time of the United NationsWorld Conference of Women in 1975, the parochialism of feminists’ positionsbecame obvious. According to Lawrence Alloway, the disparity between thelives of Third World women and those of the middle-class–based women’s “libbers”was absolute. “Those women for whom homemaking was no longer a fulltimeoccupation . . . and who thus have time to produce art, appeared suddenly, ina jolting perspective, as the concubines of imperialism.” Alloway, “Women’s Art in