i-xxii Front matter.qxd - Brandeis Institutional Repository

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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.
212 / Notes31. Unpublished essay for ArtForum (April 1975). Neel Arts, New York City.32. Desmond Morris, The Naked Ape (New York: McGraw-Hill, 1967).33. E. Ann Kaplan, Motherhood and Representation: The Mother in Popular Cultureand Melodrama (New York: Routledge, 1992), 216.34. James Joyce, Ulysses (New York: Random House, 1986), 37.
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Pictures of PeopleAlice Neel’sAme
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NOTE TO EREADERSAs electronic repro
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viii / ContentsPART II: NEEL’S SO
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x / Illustrations in the Print Edit
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xii / Illustrations in the Print Ed
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xiv / Illustrations in the Print Ed
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xvi / Acknowledgmentstors Virginia
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xviii / Pictures of Peoplepression,
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xx / Pictures of Peopleof the bawdy
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Part IThe Subjects of the Artist
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4 / The Subjects of the Artistexpla
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6 / The Subjects of the Artistclass
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8 / The Subjects of the ArtistThe r
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10 / The Subjects of the ArtistBeca
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12 / The Subjects of the Artistrect
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14 / The Subjects of the ArtistIt i
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18 / The Subjects of the Artist“A
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20 / The Subjects of the Artistand
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24 / The Subjects of the Artistspee
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26 / The Subjects of the Artistpher
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30 / The Subjects of the Artistself
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32 / The Subjects of the Artistnect
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38 / The Subjects of the ArtistHowe
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40 / The Subjects of the Artistmist
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Part IINeel’s Social Realist Art:
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6El Barrio:Portrait of Spanish Harl
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7A Gallery of Players:Artist-Critic
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A Gallery of Players / 113be lost a
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A Gallery of Players / 115Campbell
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A Gallery of Players / 117on Neel
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A Gallery of Players / 119sidered b
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A Gallery of Players / 121is a disr
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A Gallery of Players / 123Neel’s
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A Gallery of Players / 125“Batman
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8The Women’s Wing:Neel and Femini
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The Women’s Wing / 129Neel’s ƒ
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The Women’s Wing / 131just and bi
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The Women’s Wing / 133lenced the
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The Women’s Wing / 135holding han
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The Women’s Wing / 137historical
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The Women’s Wing / 139“Three Am
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The Women’s Wing / 141There exist
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The Women’s Wing / 143Looking bac
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9Truth Unveiled:The Portrait NudeIn
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Truth Unveiled / 149school, where s
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Truth Unveiled / 151Nadya’s „es
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Truth Unveiled / 153Nadya’s addic
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Truth Unveiled / 155hand, Gold’s
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Truth Unveiled / 157others were doi
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Truth Unveiled / 159are played woul
Page 184 and 185: in time—two ladies sitting in umb
Page 186 and 187: Shifting Constellations / 163which
Page 188 and 189: Shifting Constellations / 165was a
Page 190 and 191: Shifting Constellations / 167liefs,
Page 192 and 193: Shifting Constellations / 169origin
Page 194 and 195: Shifting Constellations / 171ing ch
Page 196 and 197: Shifting Constellations / 173by the
Page 198 and 199: Shifting Constellations / 175void b
Page 200 and 201: NOTESIntroduction. The Portrait Gal
Page 202 and 203: Notes / 1793. Emile de Antonio and
Page 204 and 205: Notes / 18143. Gombrich, “The Exp
Page 206 and 207: Notes / 183that the book is ƒnishe
Page 208 and 209: Notes / 185into a language of tempe
Page 210 and 211: Notes / 187only one repeated entry,
Page 212 and 213: Notes / 18974. J.L., “New Exhibit
Page 214 and 215: Notes / 191from the 1930s through t
Page 216 and 217: Notes / 193a man (who loves childre
Page 218 and 219: Notes / 195designed to jolt the rea
Page 220 and 221: Notes / 197alist art, permeated by
Page 222 and 223: Notes / 19929. Morris Dickstein, Ga
Page 224 and 225: Notes / 201portrait of the boyish W
Page 226 and 227: Notes / 203world gossip.” David B
Page 228 and 229: Notes / 205which had refused to par
Page 230 and 231: Notes / 207Eating and Identity (198
Page 232 and 233: Notes / 20925. Georges Bataille, Th
Page 236 and 237: BIBLIOGRAPHYI. Archival Sources and
Page 238 and 239: Sources Focused on Alice Neel / 215
Page 240 and 241: Sources Focused on Alice Neel / 217
Page 242 and 243: General Sources: Books / 219Storr,
Page 244 and 245: General Sources: Books / 221Chodoro
Page 246 and 247: General Sources: Books / 223——
Page 248 and 249: General Sources: Books / 225Leja, M
Page 250 and 251: General Sources: Books / 227Rich, A
Page 252 and 253: General Sources: Periodicals / 229W
Page 254 and 255: General Sources: Periodicals / 231M
Page 256: PHOTOGRAPHY CREDITSeeva-inkeri: ƒg
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