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Notes / 205which had refused to participate in the annual College Art Association in New Orleans,La., a state that had not ratiƒed the ERA. The majority of WCA memberschose to attend the CAA, where they held a major protest march. Garrard, “FeministPolitics,” 99.32. Cindy Nemser, “Alice Neel—Teller of Truth,” in Alice Neel: The Woman and HerWork (Athens, Ga.: The Georgia Museum of Art, 1975), n.p.33. Quoted in Garrard, “Feminist Politics,” 93.34. Nemser, Art Talk, 121.35. Douglas Davis, “Women, Women, Women,” Newsweek, January 29, 1973, 77.36. Among Blum’s exhibitions are: “Unmanly Art,” in the fall of 1972, and “ThreeRealist Painters (Neel, Flack and Blum),” in Valencia in February 1978.37. The three artists had been included in Cindy Nemser’s exhibition “In Her OwnImage” at the Samuel S. Fleisher Art Memorial in Philadelphia that spring.38. Judith Vivell, “Talking About Pictures,” Feminist Art Journal 3/2 (summer 1974), 14.39. Published in Heresies in 1978; reprinted in Arlene Raven, Cassandra C. Langer,and Joanna Frueh, eds., Feminist Art Criticism (Ann Arbor: UMI Research Press,1988), 71–86.40. In his essay on the women’s art network, Lawrence Alloway provided an apt analogybetween the great goddess trend and the 1940s mythmakers: “The mythologies ofGottlieb and Mark Rothko were a patchwork of ideas from Frazer, Freud, Jung, andNietzsche. Portentousness lurked behind the poetic symbols of these artists becausetheir access to myth rested on the idea of the artist as seer, gifted beyond other people.What has feminism to gain from the revival of these affected attitudes? . . . Tocompare the improvised myths of the seventies with the male equivalents of the fortiesshows that the mother-goddess is as intellectually disreputable as the heroking.”Alloway, “Women’s Art in the Seventies,” 283.41. “Newsmakers,” Newsweek, February 12, 1979.42. Her concern was justiƒed, for Abzug, who had been elected to Congress in 1970,would become a victim of the backlash of the 1980s. When she ƒrst got to Washington,Abzug requested a seat on the House Armed Services Committee, offering asher rationale: “Do you realize there are 42,000 women in the military? do you realizethat about half the civilian employees of the Defense Department are women,290,000 of them at last count? And, as if that isn’t enough, there are one and a halfmillion wives of military personnel.” June Sochen, Herstory: A Woman’s View ofAmerican History, vol. 2 (New York: Alfred Publishing Co., 1974), 404.43. Laurie Johnson, “The ‘Sister Chapel’: A Feminist View of Creation,” New YorkTimes, January 30, 1978. The exhibition was held from Jan. 15 to Feb. 19, 1978, atP.S. 1, Long Island City.44. In 1968, on the occasion of their wedding, Nochlin and her husband, the late architecturalhistorian Richard Pommer, commissioned Philip Pearlstein to paint theirportrait. The constrast between Pearlstein’s image and Neel’s provides a sort of proofof one postulate of Nochlin’s writings: that realism in art is never simple verism.Neel’s Linda Nochlin and Daisy and Pearlstein’s Portrait of Linda Nochlin andRichard Pommer occupy opposite ends of the spectrum of realist portraiture in this