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Notes / 207Eating and Identity (1985); Susie Orbach, Hunger Strike: The Anorectic’s Struggleas a Metaphor for Our Age (1986); Caroline Walker Bynum, Holy Feast and HolyFast: The Religious Significance of Food to Medieval Women (1986).57. At a panel sponsored by the New Museum of Contemporary Art in 1982, “ExtendedSensibilities: The Impact of Homosexual Sensibilities on ContemporaryCulture,” Kate Millet suggested rephrasing the question to ask, “‘What is the impactof lesbian sensibility on Contemporary Culture?’ I would respond right offhand without even shifting gears, that it’s zilch.” Harmony Hammond, “A Space ofInƒnite and Pleasurable Possiblities: Lesbian Self-Representation in Visual Art,” inJoanna Frueh, Cassandra L. Langer and Arlene Raven, eds., New Feminist Criticism(New York: Icon Editions, Harper/Collins, 1994), 99.58. See Hammond, ibid., for a thorough discussion and chronology of the lesbian artmovement, 1970–1990.59. Roberta Smith, “Sari Dienes, 93, Artist Devoted to the Power of the Found Object,”obituary, New York Times, May 28, 1992. Hirshhorn Museum and SculptureGarden Archives, Smithsonian Institution.60. Simone de Beauvoir, The Coming of Age (New York: Warner Paperback Library,1973), 733.61. Hills, Alice Neel, 184.62. Neel used this phrase to describe her portrait of Walter Gutman in her interviewwith Judith Vivell in Feminist Art Journal in 1974.Chapter 9. Truth Unveiled (pp. 147–61)1. Marcia Pointon observes that “The nude is everywhere, yet has no place; it is‘difƒcult to handle,’ yet wholly familiar; it is the least known and the most familiarof art forms. Above all it is understood to be Art.” Marcia Pointon, Naked Authority:The Body in Western Painting, 1830–1908 (Cambridge: Cambridge UniversityPress, 1990), 12.2. Lynda Nead, The Female Nude: Art, Obscenity and Sexuality (London: Routledge,1992), 6.3. Idem.4. Peter Brooks, Body Work: Objects of Desire in Modern Narrative (New York: CambridgeUniversity Press, 1993), 261.5. In her study of the social signiƒcance of fashion, Dress Codes, Ruth P. Rubinsteinnotes that the new ideal also suited the demands of photographic reproduction.“The boyish look was considered beautiful, for it accommodated the demands ofthe camera for long legs and a hipless body . . . Fashion photographers such asBaron Adolph de Meyer, Cecil Beaton, and Edward Steichen helped to style thisnew ideal of feminine fashion in accordance with the tastes and values of Vogue editors.”Ruth P. Rubinstein, Dress Codes: Meanings and Messages in American Culture(Boulder: Westview Press, 1995), 105.6. Ibid., 182.7. Wolfgang Kayser, The Grotesque in Art and Literature (New York: Columbia UniversityPress, 1981), 24.