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Notes / 21110. William S. Rubin, Dada, Surrealism, and Their Heritage (New York: Museum ofModern Art, 1968), 159. The famous photograph of “Artists in Exile” (all male ofcourse) was taken at that time.11. Michael Leja, Reframing Abstract Expressionism: Subjectivity and Painting in the1940s (New Haven and London: Yale University Press, 1993), 199.12. I refer the reader to chapter 7 of Susan Suleiman’s Subversive Intent, Cambridge,Mass.: Harvard University Press, 1990), for an analysis of a parallel revision of theSurrealist writer Leonora Carrington’s The Hearing Trumpet (1976).13. Leja, Reframing Abstract Expressionism, 147.14. Jackson Pollock also had his ƒrst gallery exhibition in 1943.15. Ibid., 343–44.16. Marcia Epstein Allentuck, ed and introd., John Graham’s System and Dialectics ofArt (Baltimore and London: Johns Hopkins Press, 1971), 101–102.17. C. G. Jung, “The Psychological Aspects of the Mother-Archetype,” in Violet Staubde Laszlo, ed., The Basic Writings of C. G. Jung (New York: The Modern Library,1938; 1959), 334.18. Barbara Ehrenreich and Dierdre English, For Her Own Good: 150 Year of the Experts’Advice to Women (Garden City: Anchor Press/Doubleday, 1978), 221.19. Adrienne Rich, Of Woman Born: Motherhood As Experience and Institution (NewYork: W. W. Norton, 1976; 1986), 12.20. Ibid., 161.21. Nancy Chodorow, The Reproduction of Mothering (Berkeley: University of CaliforniaPress, 1978), 61–62.22. Ibid., 86–87.23. A decade later, Jessica Benjamin would argue that “if the mother were really recognizedin our culture as an independent subject, with desires of her own, this recognitionwould revolutionize not only the psychoanalytic paradigms of ‘normal’ childdevelopment (which have always been based on the child’s need to be recognizedby the mother, not on the idea of mutual recognition,) but the actual lives of childrenin this culture as they develop into adults.” Jessica Benjamin, Bonds of Love:Psychoanalysis, Feminism and the Problems of Domination (New York: Pantheon,1988), quoted in Susan Suleiman, Subversive Intent, 180.24. Richard J. Gelles, “Violence in the American Family,” in J. P. Martin, ed., Violenceand the Family (Chichester: John Wiley & Sons, 1978), 170.25. Ibid., 174.26. By the 1980s, artists began to include the subject of child abuse in their work. InJune 1981, an exhibit, “Weeping in the Playtime of Others,” at Gallery 345 in NewYork, curated by Karen de Gia, included Neel.27. The interview in the New York Times Magazine in 1945 is quoted in Leja, ReframingAbstract Expressionism, 55–56.28. Alice Neel, “Peggy,” October 17, 1979. Registrar’s records, Smith College Museumof Art, Northampton, Mass.29. Quoted in Chodorow, The Reproduction of Mothering, 79.30. May Stevens, “The Non-Portrait Work of Alice Neel,” Women’s Studies: An InterdisciplinaryJournal (London, 1978), 64.