i-xxii Front matter.qxd - Brandeis Institutional Repository

Notes / 20925. Georges Bataille, The Story of the Eye (1928) (San Francisco: City Lights Books,1987).26. Quoted in Gubar and Hoff, For Adult Users Only, 57.27. Quoted in Susan Stanford Friedman, “Creativity and the Childbirth Metaphor,” inFeminisms: An Anthology of Literary Theory and Criticism (New Brunswick: RutgersUniversity Press, 1991), 386.28. For a fuller discussion of the pregnant nudes, see my “Mater of Fact: Alice Neel’sPregnant Nudes,” American Art (spring 1994), 7–31.29. Quoted in Carolyn Keith, “Alice Neel: Portraits of Souls,” “Cityside” MilwaukeeJournal, October 23, 1978. Clipping in Neel ƒles (unmicroƒlmed), Archives ofAmerican Art, Washington, D.C. Neel was in Milwaukee to address the annualconference of Wisconsin Women in the Arts.30. G. D. Searle marketed Enovid in 1960. By 1963, the birth control pill was availableat clinics in all states except Massachusetts and Connecticut. In 1965, the year afterPregnant Maria was painted, the Supreme Court overturned the 1873 ComstockLaw, which prohibited interstate transportation of contraceptives. Patricia Gossel,“A Hard Pill to Swallow: American Response to Oral Contraceptives,” paper presentedat the National Museum of American History, October 19, 1993. Gosselnotes that this legislative activity took place “independently of the women’s movement”(14).31. Mary Jane Sherfey, The Nature and Evolution of Female Sexuality (New York: Vintage,1976), quoted in Adrienne Rich, Of Woman Born: Motherhood as Experienceand Institution (New York: W. W. Norton, 1976; 1986), 183.32. “Rape Has Many Forms,” (review of Susan Brownmiller’s Against Our Will: Men,Women and Rape), in The Spokeswoman 6/15 (November 15, 1975), quoted inRich, Of Women Born, 14.33. Julia Kristeva, “Stabat Mater,” in The Female Body in Western Culture, ed. SusanSuleiman (Cambridge: Harvard University Press, 1985), 99.34. Dr. Stuart Asch, quoted in Barbara Ehrenreich and Deirdre English, For Her OwnGood: 150 Years of the Experts’ Advice to Women (Garden City: Anchor/Doubleday,1978), 278.35. In January 1973, Neel submitted the painting to the “Women Choose Women” exhibitionat the New York Cultural Center. Douglas Davis published a deprecatoryreview of this unwieldy gathering of 109 artists in Newsweek magazine: “The dramaunfolding is a historical drama,” he wrote, “a drama of women trying to integratetheir nature as women into their art, which is no simple matter.” Douglas Davis,“Women, Women, Women,” Newsweek, January 29, 1973, 77.36. Quoted in Geoffrey G. Harpham, On the Grotesque: Strategies of Contradiction inArt and Literature (Princeton: Princeton University Press, 1982), 11. Nancy was sufferingfrom toxemia at this point in her pregnancy, and this condition provides theliteral (as opposed to the metaphorical) explanation of the painting’s coloration.37. Rich, Of Woman Born, 13.38. Michel Auder’s video-portrait of the artist, “Alice Neel, 1976–1983,” records thepermutations of this “sitting.” Neel ƒrst seated Evans on the couch, then on the tub