i-xxii Front matter.qxd - Brandeis Institutional Repository
i-xxii Front matter.qxd - Brandeis Institutional Repository i-xxii Front matter.qxd - Brandeis Institutional Repository
General Sources: Books / 219Storr, Robert. “Alice Neel at Robert Miller.” Art in America 70/9 (October 1982), 129–30.Tallmer, Jerry. “On The Town.” New York Post, November 15, 1980.Turner, Norman. “Alice Neel.” Arts 52/4 (December 1977), 14.Wadler, Joyce. “Artists in New York: Alice Neel, Painter.” New York Post, July 6, 1975.Wallach, Amei. “Late in Life, the Moment of Triumph.” Newsday, February 24, 1974.———. “Vivid Life, Vivid Work.” Newsday, March 25, 1979.Warren, Elaine. “Style.” Los Angeles Examiner, April 5, 1983.Willard, Charlotte. “In the Art Galleries.” New York Post, January 16, 1966.———. “In the Art Galleries.” New York Post, January 27, 1968.Wolff, Theodore. “Will She Be Known as the American Van Gogh?” Christian ScienceMonitor, July 11, 1985.III. General Sources: BooksAaron, Daniel. Writers on the Left: Episodes in American Literary Communism. NewYork: Harcourt, Brace and World, 1961.Abelove, Henry, Michele Aina Barale, and David M. Halperin, eds. The Lesbian andGay Studies Reader. London and New York: Routledge, 1993.Ades, Dawn. Dali. London: Thames and Hudson, 1982; 1995.Allentuck, Marcia Epstein, ed. and introd. John Graham’s System of Dialectics of Art.Baltimore and London: Johns Hopkins University Press, 1971.Alloway, Lawrence. Network: Art and the Complex Present. Ann Arbor: UMI ResearchPress, 1984.Anderson, Sherwood. Winesburg, Ohio. New York: Penguin Books, 1987.Andrews, Benny. Between the Lines: 70 Drawings and 7 Essays. Preface by Alice Neel.1978.Andrews, Benny, and Rudolf Baranik, eds. and foreword, The Attica Book. New York:The Black Emergency Cultural Coalition and Artists and Writers Protest Againstthe War in Vietnam, 1972.An Other Vision: Selected Works by Women Artists in the Weatherspoon Collection. Exhibitioncatalog. Greensboro, N.C.: Weatherspoon Art Gallery, University of NorthCarolina at Greensboro, 1984.Aptheker, Herbert. Essays in the History of the American Negro. New York: InternationalPublishers, 1945.Armstrong, Carol. Odd Man Out: Readings of the Work and Reputation of EdgarDegas. Chicago: University of Chicago Press, 1991.Baigell, Matthew. The American Scene: American Painting of the 1930s. New York:Praeger, 1974.Baigell, Matthew, and Julia Williams, eds. Artists Against War and Fascism: Papers ofthe First American Artists Congress. Brunswick, N.J.: Rutgers University Press, 1986.Banks, Ann, ed. Harlem: Photographs by Aaron Siskind, 1932–1940. Washington, D.C.:National Museum of American Art, Smithsonian Institution Press, 1990.Barolsky, Paul. Michelangelo’s Nose: A Myth and Its Maker. University Park: PennsylvaniaState University Press, 1990.
220 / BibliographyBarthes, Roland. Image, Music, Text. Trans. Stephen Heath. New York: Hill andWang, 1977.Bates, J. A. V. The Body as a Medium of Expression. New York: E. P. Dutton, 1975.Bennett, Paula. My Life as a Loaded Gun: Female Creativity and Feminist Politics.Boston: Beacon Press, 1986.Berman, Greta, and Jeffrey Weschler. Realism and Realities: The Other Side of AmericanPainting 1940–60. New Brunswick, N.J.: The Gallery, 1981.Bloom, James D. Left Letters: The Culture Wars of Mike Gold and Joseph Freeman.New York: Columbia University Press, 1992.Boelhower, William, ed. The Future of American Modernism: Ethnic Writing Betweenthe Wars. Amsterdam: VU University Press, 1990.Bonosky, Phillip. Brother Bill McKie. Building the Union at Ford. New York: InternationalPublishers, 1953.Bremmer, Jan, and Herman Roodenburg, eds. A Cultural History of Gesture. Ithaca:Cornell University Press, 1992.Brilliant, Richard. Portraiture. Cambridge, Mass.: Harvard University Press, 1991.Bronski, Michael. Culture Clash: The Making of a Gay Sensibility. Boston: South EndPress, 1984.Brooks, Peter. Body Work: Objects of Desire in Modern Narrative. Cambridge, Mass.:Harvard University Press, 1993.Broude, Norma, and Mary D. Garrard, eds. The Expanding Discourse. New York: IconEditions, 1992.———. Feminism and Art History: Questioning the Litany. New York: Harper & Row,1982.———. The Power of Feminist Art. New York: Harry N. Abrams, 1994.Brown, Michael E., et al., eds. New Studies in the Politics and Culture of U.S. Communism.New York: Monthly Review Press, 1993.Bryson, Norman. Looking at the Overlooked: Four Essays on Still Life Painting. Cambridge,Mass.: Harvard University Press, 1990.Buhle, Mari Jo, Paul Buhle, and Dan Georgakas. The Encyclopedia of the AmericanLeft. New York: Garland, 1990.Buhle, Paul. Marxism in the United States: Remapping the History of the AmericanLeft. London: Verso, 1987.Campbell, Mary Schmidt, et al. Harlem Renaissance: Art of Black America. New York:The Studio Museum in Harlem and Harry N. Abrams, 1987.Campbell, Russell. Cinema Strikes Back: Radical Filmmaking in the United States,1930–1942. Ann Arbor: UMI Press, 1982.Carlton-Smith, Kim. A New Deal for Women: Women Artists and the Federal Art Project,1935–1939. Ph.D. diss. Rutgers University, 1990.Carpentier, Alejo. The Harp and the Shadow: A Novel. New York: Alfred A. Knopf, 1970.Chadwick, Whitney. Women, Art, and Society. New York: Thames and Hudson, 1990.Chauncey, George. Gay New York: Gender, Urban Culture, and the Making of the GayMale World, 1890–1940. New York: Basic Books, 1994.Chiarenza, Carl. Aaron Siskind: Pleasures and Terrors. Boston: New York Graphic Society,1983.
- 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 234 and 235: Notes / 21110. William S. Rubin, Da
- 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 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
General Sources: Books / 219Storr, Robert. “Alice Neel at Robert Miller.” Art in America 70/9 (October 1982), 129–30.Tallmer, Jerry. “On The Town.” New York Post, November 15, 1980.Turner, Norman. “Alice Neel.” Arts 52/4 (December 1977), 14.Wadler, Joyce. “Artists in New York: Alice Neel, Painter.” New York Post, July 6, 1975.Wallach, Amei. “Late in Life, the Moment of Triumph.” Newsday, February 24, 1974.———. “Vivid Life, Vivid Work.” Newsday, March 25, 1979.Warren, Elaine. “Style.” Los Angeles Examiner, April 5, 1983.Willard, Charlotte. “In the Art Galleries.” New York Post, January 16, 1966.———. “In the Art Galleries.” New York Post, January 27, 1968.Wolff, Theodore. “Will She Be Known as the American Van Gogh?” Christian ScienceMonitor, July 11, 1985.III. General Sources: BooksAaron, Daniel. Writers on the Left: Episodes in American Literary Communism. NewYork: Harcourt, Brace and World, 1961.Abelove, Henry, Michele Aina Barale, and David M. Halperin, eds. The Lesbian andGay Studies Reader. London and New York: Routledge, 1993.Ades, Dawn. Dali. London: Thames and Hudson, 1982; 1995.Allentuck, Marcia Epstein, ed. and introd. John Graham’s System of Dialectics of Art.Baltimore and London: Johns Hopkins University Press, 1971.Alloway, Lawrence. Network: Art and the Complex Present. Ann Arbor: UMI ResearchPress, 1984.Anderson, Sherwood. Winesburg, Ohio. New York: Penguin Books, 1987.Andrews, Benny. Between the Lines: 70 Drawings and 7 Essays. Preface by Alice Neel.1978.Andrews, Benny, and Rudolf Baranik, eds. and foreword, The Attica Book. New York:The Black Emergency Cultural Coalition and Artists and Writers Protest Againstthe War in Vietnam, 1972.An Other Vision: Selected Works by Women Artists in the Weatherspoon Collection. Exhibitioncatalog. Greensboro, N.C.: Weatherspoon Art Gallery, University of NorthCarolina at Greensboro, 1984.Aptheker, Herbert. Essays in the History of the American Negro. New York: InternationalPublishers, 1945.Armstrong, Carol. Odd Man Out: Readings of the Work and Reputation of EdgarDegas. Chicago: University of Chicago Press, 1991.Baigell, Matthew. The American Scene: American Painting of the 1930s. New York:Praeger, 1974.Baigell, Matthew, and Julia Williams, eds. Artists Against War and Fascism: Papers ofthe First American Artists Congress. Brunswick, N.J.: Rutgers University Press, 1986.Banks, Ann, ed. Harlem: Photographs by Aaron Siskind, 1932–1940. Washington, D.C.:National Museum of American Art, Smithsonian Institution Press, 1990.Barolsky, Paul. Michelangelo’s Nose: A Myth and Its Maker. University Park: PennsylvaniaState University Press, 1990.
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