Бовуар Симона, Второй пол.
Grace Hartigan, interview by author.
Rex Stevens, interview by author.
Grace Hartigan, interview by author.
Grace Hartigan, “Factors & Persons Who Helped to Influence”, notes, Box 31, Grace Hartigan Papers, Syracuse; Donna Sesee, interview by author; Robert Saltonstall Mattison, Grace Hartigan, 10; Cathy Curtis, Restless Ambition, 7–8.
Grace Hartigan to Gertrude Kasle, March 29, 1964, Series 1, Box 2, Folder 22, The Gertrude Kasle Gallery Records, 1949–1999 (bulk 1964–1983), AAA-SI.
Nemser, Art Talk, 151–152.
Curtis, Restless Ambition, 8, 16; Rex Stevens, interview by author; Murray Grigor, Shattering Boundaries, film.
Grace Hartigan statement notes for inclusion in World Artists: 1950–1975, Box 31, Grace Hartigan Papers, Syracuse; Grace Hartigan, Factors & Persons Who Helped to Influence, notes, Box 31, Grace Hartigan Papers, Syracuse; Donna Sesee, interview by author; Curtis, Restless Ambition, 10, 12–13.
Donna Sesee, interview by author.
Grace Hartigan to Gertrude Kasle, March 29, 1964, Series 1, Box 2, Folder 22, The Gertrude Kasle Gallery Records, 1949–1999 (Bulk 1964–1983), AAA-SI.
Oral history interview with Grace Hartigan, AAA-SI.
Oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 10–11, 13; Grace Hartigan to Dorian and Jeffrey (In Julian and Karen Weissman File), July 1, 2001, Box 31, Grace Hartigan Papers, Syracuse.
Oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 8, 17; Nemser, Art Talk, 152.
Donna Sesee, interview by author; Grigor, Shattering Boundaries, film.
Curtis, Restless Ambition, 18.
Oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 18; Nemser, Art Talk, 153.
Oral history interview with Grace Hartigan, AAA-SI; Nemser, Art Talk, 153.
Grigor, Shattering Boundaries, film; oral history interview with Grace Hartigan, AAA-SI.
Oral history interview with Grace Hartigan, AAA-SI.
Mattison, Grace Hartigan, 11; Curtis, Restless Ambition, 22–23.
Rex Stevens, interview by author.
Curtis, Restless Ambition, 22; oral history interview with Grace Hartigan, AAA-SI.
Nemser, Art Talk, 153.
Nemser, Art Talk, 153.
Grigor, Shattering Boundaries, film.
Mary Gabriel, “Amazing Grace”, 64.
Nemser, Art Talk, 153.
Nemser, Art Talk, 154.
Oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 24; Grace Hartigan, Factors & Persons Who Helped to Influence, notes, Grace Hartigan Papers, Syracuse.
Costello, Virtue Under Fire, 189.
Mattison, Grace Hartigan, 11; Curtis, Restless Ambition, 25.
Ashton, The New York School, 15. Учебные курсы изобразительного искусства за пределами Нью-Йорка были редкостью и начали серьезно распространяться только в конце 1950-х годов – благодаря возрастающей популярности абстрактного экспрессионизма.
Gabriel, “Amazing Grace”, 64; Nemser, Art Talk, 153.
Gabriel, “Amazing Grace”, 64–65.
Oral history interview with Grace Hartigan, AAA-SI; Rex Stevens, interview by author.
Grigor, Shattering Boundaries, film.
Nemser, Art Talk, 154.
Oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 25, 28.
Betsy Prioleau, Seductress, 159.
Costello, Virtue Under Fire, 262; Barrett, The Truants, 20, 263; Brogan, Penguin History of the United States, 566; Clements, Prosperity, Depression and the New Deal, 212; Polenberg, War and Society, 244. За четыре года войны двадцать миллионов американцев стали работать на военную промышленность и более 12 миллионов поступили в армию. США, по словам Брогана, «стали страной переходных процессов», изменивших социальные, политические и культурные модели, сложившиеся в стране до 1941 года. Население Калифорнии, штата, в котором во время войны работало больше всего оборонительных заводов, увеличилось на 72 процента, и многие из приехавших туда в этот период решили остаться и после войны.
Lundberg and Farnham, Modern Woman: The Lost Sex, 71, 120; Ditzion, Marriage, Morals and Sex in America, 405; Costello, Virtue Under Fire, 272; Margaret Mead, Male and Female, 274–276; Williams, “Woman: Myth and Stereotype”, 241. Один из авторов бестселлеров того времени назвал мать-домохозяйку «королевой ада».
Lundberg and Farnham, Modern Woman: The Lost Sex, 201.
Фридан Бетти, Женская мистика, 37; Mead, Male and Female, 274–276; Chafe, The American Woman, 200.
Бовуар Симона, Второй пол, 159–60.
Oral history interview with Grace Hartigan, AAA-SI.
Rex Stevens, interview by author.
Curtis, Restless Ambition, 27; Grace Hartigan, 11.
Oral history interview with Grace Hartigan, AAA-SI; Curtis Mattison, Grace Hartigan, 11.
Oral history interview with Grace Hartigan, AAA-SI; Mattison, Grace Hartigan, 11.
Mattison, Grace Hartigan, 11.
Curtis, Restless Ambition, 38.
Mattison, Grace Hartigan, 11.
Nemser, Art Talk, 155.
Mattison, Grace Hartigan, 12.
Grace Hartigan notes for Elaine de Kooning Memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse.
Oral history interview with Grace Hartigan, AAA-SI.
Oral history interview with Grace Hartigan, AAA-SI.
Rex Stevens, interview with author.
Mattison, Grace Hartigan, 12.
Curtis, Restless Ambition, 29.
Oral history interview with Grace Hartigan, AAA-SI; Grace Hartigan notes for inclusion in World Artists: 1950–1975, Box 31, Grace Hartigan Papers, Syracuse; Gabriel, “Amazing Grace”, 65; Curtis, Restless Ambition, 40.
Nemser, Art Talk, 154.
Oral history interview with Grace Hartigan, AAA-SI.
Nemser, Art Talk, 154.
Friedan, The Feminine Mystique, 38; Lundberg and Farnham, Modern Woman, 202; Riley, Inventing the American Woman, 238–239; Miller and Nowak, The Fifties, 155.
Rex Stevens, interview by author.
Donna Sesee, interview by author.
Grigor, Shattering Boundaries, film.
Barrett, The Truants, 58.
Barrett, The Truants, 58; E. B. White, Here Is New York, 46; “City of New York & Boroughs: Population & Population Density from 1790”, demographia.com/dm-nyc.htm.
Feininger and Lyman, The Face of New York, n.p.; Perl, New Art City, 27; Beauvoir, America Day by Day, 264–265.
Beauvoir, America Day by Day, 28–29, 67–68; White, Here Is New York, 46.
Котенок был рекламным образом американской шелкопрядильной компании Corticelli Silk Company. Прим. ред.
Feininger and Lyman, The Face of New York, n.p.
Beauvoir, America Day by Day, 36.
Rivers, What Did I Do?, 161–162.
Brossard, The Scene Before You, 26; Ned Polsky, “The Village Beat Scene”, 340. Полски пишет, что словечки “hip” и “hep”, популярные в 1940-х, произошли от фразы “to be on the hip” (то есть, «быть под кайфом»); это отсылка к состоянию при курении опия. Курение опиума со временем прекратилось, но фраза осталась и начала ассоциироваться с употреблением наркотиков в целом. А в конце 1950-х годов приобрела свой нынешний смысл – «быть в курсе».
Anatole Broyard, “Portrait of a Hipster”, 722–723; Brossard, The Scene Before You, 26.
Broyard, “Portrait of a Hipster”, 722; Paul Goodman, Growing Up Absurd, 181.
Broyard, “Portrait of a Hipster”, 723.
Rex Stevens, interview by author; oral history interview with Grace Hartigan, AAA-SI.
William Grimes, “Harry Jackson, Artist Who Captured the West, Dies at 87”, New York Times, April 28, 2011, www.nytimes.com/…/arts/…/harry-jackson-artist-who-captured-the; Naifeh and Smith, Jackson Pollock, 564.
Grimes, “Harry Jackson”; Naifeh and Smith, 562, 564.
Grimes, “Harry Jackson”.
Oral history interview with Grace Hartigan, AAA-SI.
B. H. Friedman, ed., Give My Regards to Eighth Street, 5, 94; oral history interview with Grace Hartigan, AAA-SI; Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 198, 201.
Oral history interview with Grace Hartigan, AAA-SI.
Grimes, “Harry Jackson”; oral history interview with Grace Hartigan, AAA-SI.
Nemser, Art Talk, 155.
Harry Jackson Journal, October 2, 1948, courtesy Harry A. Jackson Trust, 10; Harry Jackson Journal, November 3, 1948, 11. Некоторые авторы сомневаются, могла ли пара путешествовать автостопом с одной из работ Гарри, но его картины в то время были маленького размера, а рисунки он делал в небольшом альбоме.
Oral history interview with Grace Hartigan, AAA-SI.
Oral history interview with Grace Hartigan, AAA-SI; Grigor, Shattering Boundaries, film.
Nemser, Art Talk, 151.
Curtis, Restless Ambition, 43.
Nemser, Art Talk, 151; Shattering Boundaries, film; oral history interview with Grace Hartigan, AAA-SI.
Oral history interview with Grace Hartigan, AAA-SI.
Mattison, Grace Hartigan, 12.
Grigor, Shattering Boundaries, film.
Grigor, Shattering Boundaries, film; Mattison, Grace Hartigan, 12.
Mattison, Grace Hartigan, 13; Gabriel, “Amazing Grace”, 65.
Mattison, Grace Hartigan, 13.
Grace Hartigan, unpublished notes on the New York Scene, Box 31, Grace Hartigan Papers, Syracuse.
Hall, Elaine and Bill, 128–129.
Grace Hartigan, “Notes for Tribute to Elaine de Kooning”, Syracuse; Grace Hartigan, “Notes for Elaine de Kooning Memorial”, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse; Gibson, Abstract Expressionism, 127.
Barrett, Irrational Man, 154–155.
Lehman, The Last Avant-Garde, 11.
Harry A. Jackson and Grace Hartigan Jachens Marriage Certificate, Village of Springs, January 8th, 1949, courtesy of the Harry A. Jackson Trust; Harry Jackson Journals, January 14, 1949, courtesy of the Harry A. Jackson Trust, 14; Curtis, Restless Ambition, 50.
Harry Jackson Journals, January 14, 1949, courtesy of the Harry A. Jackson Trust, 14.
Interview with Rex Stevens, author.
Curtis, Restless Ambition, 50–51.
Oral history interview with Grace Hartigan, AAA-SI; Clements, Prosperity, Depression and the New Deal, 226.
Naifeh and Smith, Jackson Pollock, 566.
Solomon, Jackson Pollock, 189; Karmel, Jackson Pollock: Interviews, Articles, Reviews, 19. Ли говорила, что Джексон давал своим картинам не имена, а номера, чтобы «люди видели его живопись такой, какова она есть, то есть чистой живописью».
Harry A. Jackson Journals, January 14, 1949, courtesy of the Harry A. Jackson Trust, 16.
Robert Saltonstall Mattison, telephone interview by author.
Harry A. Jackson Journals, January 14, 1949, courtesy of the Harry A. Jackson Trust, 16; Naifeh and Smith, Jackson Pollock, 578; Gail Levin, “The Extraordinary Intervention of Alfonso Ossorio”, 9.
Naifeh and Smith, Jackson Pollock, 578.
Harry A. Jackson Journals, January 24, 1949, courtesy of the Harry A. Jackson Trust, 17. Гарри описывал трех компаньонов Элен в своем дневнике как «сутенеров», после чего следовали такие комментарии: «она дерьмо» и «Билл должен ее убить».
Harry A. Jackson Journals, January 24, 1949, courtesy of the Harry A. Jackson Trust, 17; Harry Jackson Journals, courtesy of the Harry A. Jackson Trust, January 18, 1949, 15.
Matthew Jackson, president of Harry Jackson Studios, e-mail to author, October 17, 2013; Curtis, Restless Ambition, 52. Гарри страдал также «расстройством характера с обсессивно-компульсивными тенденциями».
Curtis, Restless Ambition, 52.
“Reviews”, ArtNews 48, no. 1 (March 1949): 44; Conversations with Artists: Elaine Benson interviews Elaine de Kooning, videotape courtesy LTV. В случае с легендарным соперничеством Ли и Элен часто подразумевалось, что Элен не ценила творчество Поллока. Отчасти в этой интерпретации был виноват Клем, который, как многим известно, однажды прямо обвинил Элен как рецензента в необоснованном «разгроме» выставки Поллока. Но на самом деле, Элен всегда говорила, что Джексон и его творчество чрезвычайно важны как для нее, так и для Билла.
Karmel, Jackson Pollock: Interviews, Articles, and Reviews, 62.
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 2:286.
Solomon, Jackson Pollock, 191; B.H. Friedman, Alfonso Ossorio, 13, 32; Varnadoe with Karmel, Jackson Pollock, 47; Levin, “Extraordinary Interventions of Alfonso Ossorio”, 5, 8. Музей современного искусства ничего не покупал у Джексона со времени его первой выставки в 1943 году в галерее Пегги.
Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 84.
“Words”, Time, February 7, 1949, 7.
Solomon, Jackson Pollock, 194–195; Marquis, Art Czar, 115; Naifeh and Smith, Jackson Pollock, 590.
Naifeh and Smith, Jackson Pollock, 590.
Solomon, Jackson Pollock, 192–193.
Solomon, Jackson Pollock, 193.
Naifeh and Smith, Jackson Pollock, 591.
Elaine de Kooning and Slivka, Elaine de Kooning, 220; Elaine de Kooning, “A Stroke of Genius”, 42.
Potter, To a Violent Grave, 95.
Potter, To a Violent Grave, 115.
Sandler, A Sweeper Up After Artists, 47.
Harry Jackson Journal, November 12, 1949, courtesy of the Harry A. Jackson Trust, 21: Robert Motherwell, interview by Jack Taylor; Robert Motherwell, interview by Dodie Kazanjian, AAA-SI, 2.
Robert Motherwell, interview by Jack Taylor.
Robert Motherwell, interview by Jack Taylor, Larry Rivers, “Cedar”, unpublished notes, Larry Rivers Papers, MSS 293, Series II A, Box 19, Folder 23, NYU, 2.
Annalee Newman, interview by Dodie Kazanjian, AAA-SI, 4.
Annalee Newman, interview by Dodie Kazanjian, AAA-SI, 2–3; Hess, Willem de Kooning (1968), 18; Hall, Elaine and Bill, 110; “Statement by Philip Pavia”, New York Artists Equity Association, 20; oral history interview with Rudy Burckhardt, AAA-SI. Руди рассказывал, что это Денби подучил Элен писать, «а затем она писала, что говорил Билл». В этой конкретной речи Филипп Павия оспорил рассказ Аннали Ньюмен, заявив, что это было написано в «Клубе».
Thomas B. Hess, Draft Manuscript dated July 8, 1968, for Thomas B. Hess’s 1968 de Kooning show at the Museum of Modern Art, Box 1/1, Thomas B. Hess/De Kooning Papers, MOMA, 8–9.
Hess, Willem de Kooning (1968), 15–16; Hall, Elaine and Bill, 110.
Annalee Newman, interview by Dodie Kazanjian, AAA-SI, 3; oral history interview with Fairfield Porter, AAA-SI; “Statement by Philip Pavia”, New York Artists Equity Association, 20. Павия говорил, что Билл согласился выступить с лекцией, только если Мазервелл прочитает речь, и что вмешательство Мазервелла тем вечером было подготовлено заранее.
Elaine de Kooning and Slivka, Elaine de Kooning, 215.
Harry Jackson Journals, March 8, 1949, courtesy of the Harry A. Jackson Trust, 18; Harry Jackson Journals, February 4, 1949, 17; Mattison, Grace Hartigan, 13.
Curtis, Restless Ambition, 48; Hall, Elaine and Bill, 30–31.
Hall, Elaine and Bill, 30–31.
Curtis, Restless Ambition, 48.
Mattison, Grace Hartigan, 13; Harry A. Jackson Journals, May 21, 1949, courtesy of the Harry A. Jackson Trust, 19.
Oral history interview with Jane Freilicher, AAA-SI.
Stevens and Swan, De Kooning, 273.
Elaine de Kooning, interview by Amei Wallach, 5–6.
Hall, Elaine and Bill, 99.
Mary Abbott, interview by author.
Mary Abbott, interview by author.
Mary Abbott, interview by author.
Mary Abbott, interview by author.
Stevens and Swan, De Kooning, 321.
Mary Abbott, interview by author.
Stevens and Swan, De Kooning, 275.
Mary Abbott, interview by author.
Elaine de Kooning, interview by Amei Wallach, 7.
Elaine de Kooning, interview by John Gruen, AAA-SI, 8.
Oral history interview with Nell Blaine, AAA-SI, 9; Sawin, Nell Blaine, 26, 32.
Rivers, What Did I Do?, 18–19, 43–44, 137. Его сестра Голди называла их «оголтелыми коммунистами».
Rivers, What Did I Do?, 18–19, 20, 22.
Rivers, What Did I Do?, 18–19, 20, 20.
Rivers, What Did I Do?, 33–34.
Oral history interview with Jane Freilicher, AAA-SI.
Rivers, What Did I Do?, 36.
Larry Rivers, interview by Barbaralee Diamonstein, provided by Dr. Barbaralee Diamonstein-Spielvogel, interviewer and author, from Inside New York’s Art World, 317–318.
Sawin, Nell Blaine, 35; oral history interview with Jane Freilicher, AAA-SI.
Munro, Originals, 204–205.
Oral history interview with Larry Rivers, AAA-SI.
Поминальная речь, произнесенная Гарольдом Розенбергом на похоронах Ганса Гофмана, Grace Hartigan Papers, Syracuse.
Rivers, What Did I Do?, 136–138.
Rivers, What Did I Do?, 193–94; Sam Hunter, “On Larry Rivers”, unpublished notes, Roll 630, Sam Hunter Papers Concerning Larry Rivers, 1950–1969, AAA-SI.
Rivers, What Did I Do?, 195, 199.
Сеть универмагов, одна из старейших в США. Прим. ред.
Jane Freilicher, interview by Deborah Solomon.
Harrison, Larry Rivers, 17. У Ларри тряслась левая рука, но причину тремора врачи так и не диагностировали.
Rivers, What Did I Do?, 176; Elaine de Kooning, interview by Amei Wallach, 2.
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 2:301; Harrison, Larry Rivers, 16–17; Elaine de Kooning, interview by Amei Wallach, 2.
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 2:301; Rivers, What Did I Do?, 176.
Hall, Elaine and Bill, 87; Elaine de Kooning, “De Kooning Memories”, 394.
Rivers, What Did I Do?, 134.
Rivers, What Did I Do?, 132–133.
Elaine de Kooning, interview by John Gruen, AAA-SI, 8.
Goodman, Hofmann, 60–61.
Goodman, Hofmann, 61.
Elaine de Kooning, interview by John Gruen, AAA-SI, 8.
Nell Blaine, interview, Box 1, Folder 14, Irving Sandler Papers, ca. 1944–2007 (bulk 1944–1980), AAA-SI.
Harrison, Larry Rivers, 13; Harold Rosenberg, “The Teaching of Hans Hofmann”, 18. Гарольд сказал о методике обучения Гофманна: «Речь шла о том, чтобы студенты поняли, что они целиком и полностью входят в этот новый порядок; что теперь они им живут, а не просто приобретают новые навыки».
Elaine de Kooning, interview by Molly Barnes, 5.
Hess and Baker, Art and Sexual Politics, 58.
Hess and Baker, Art and Sexual Politics, 57–58; Peter Manso, Provincetown: Art, Sex, and Money on the Outer Cape, 33, 34.
Ashton with Banach, The Writings of Robert Motherwell, 309; Mary Abbott, interview by author.
Flam et al., Robert Motherwell, 64, 195.
Robert Motherwell, interview by Jack Taylor; Flam et al., Robert Motherwell, 197.
“1940–49 Chronology”, dedalusfoundation.org/motherwell/chronology; Flam et al., Robert Motherwell, 197; Robert Motherwell, interview by Barbaralee Diamonstein, provided by Dr. Barbaralee Diamonstein-Spielvogel, interviewer and author, from Inside New York’s Art World, 244. Мазервелл в интервью сказал, что впервые использовал эту фразу в 1950 году, в статье, которую он написал для каталога одной галереи в Беверли-Хиллз.
Stevens and Swan, De Kooning, 283–284.
Lieber, Reflections in the Studio, 33; Stevens and Swan, De Kooning, 285.
Manso, Provincetown, 33, 34.
Dorothy Seiberling, “Jackson Pollock”, 42.
Oral history interview with Lillian Orlowsky, AAA-SI.
Elaine de Kooning, interview by Antonina Zara, 12; “Jackson Pollock: An Artists’ Symposium”; Ashton, The Life and Times of the New York School, 154. Элен говорила, что Джексон был первым «американским художником, которого критики и коллекционеры пожирали одним махом».
Nora Wydenbruck, Rilke, Man and Poet, 96.
James Brooks and Charlotte Park Brooks, interview by James T. Valliere, Jackson Pollock and Lee Krasner Papers, AAA-SI, 7; oral history interview with Elisabeth Ross Zogbaum, AAA-SI.
Seiberling, “Jackson Pollock”, 42–45.
Seiberling, “Jackson Pollock”, 45.
Landau, Jackson Pollock, 181; “Letters to the Editor”, Life 27, no. 9 (August 29, 1949): 9. Данная статья вызвала больший, чем когда-либо, поток писем в редакцию; 80 процентов ответили на вопрос отрицательно.
“Red Visitors Cause Rumpus”, 42–43.
Chipp, Theories of Modern Art, 490.
Elaine de Kooning and Slivka, Elaine de Kooning, 16.
Oral history interview with Elisabeth Ross Zogbaum, AAA-SI.
Wetzsteon, Republic of Dreams, 558.
Potter, To a Violent Grave, 114.
Solomon, Jackson Pollock, 195–96; Naifeh and Smith, Jackson Pollock, 596; Ruby Jackson, interview by author.
Les Levin, “The Spring of ’55, A Portrait of Sam Kootz”, 34.
Landau, Reading Abstract Expressionism, 155–156.
Stuart Preston, “By Husband and Wife”, X9.
Stuart Preston, “By Husband and Wife”, X9.
“Review”, ArtNews 48, no.6 (October 1949): 45.
Friedan, The Feminine Mystique, 95–97, 100; Mead, Male and Female, 275–276; Millett, Sexual Politics, 203.
Greer, The Obstacle Race, 42–43.
Mead, Male and Female, 289–290. Мид цитировала опрос журнала Fortune, проведенный сразу после войны, в ходе которого выяснилось, что мужчины чаще хотели бы жениться на «девушке» с «умеренно успешной» карьерой, нежели на «чрезвычайно успешной» в профессиональной жизни.
Marquis, The Art Biz, 242.
Oral history interview with Lee Krasner, November 2, 1964–April 11, 1968, AAA-SI.
Hall, Elaine and Bill, 86.
Oral history interview with Lee Krasner, November 2, 1964–April 11, 1968, AAA-SI.
“Lee Krasner, Little Image Paintings”, iv; Naifeh and Smith, Jackson Pollock, 586.
Oral history interview with Lee Krasner, November 2, 1964–April 11, 1968, AAA-SI; Landau, Lee Krasner: A Catalogue Raisonné, 310.
Potter, To a Violent Grave, 120.
Curtis, Restless Ambition, 56.
Nemser, Art Talk, 156.
“Grace Hartigan, Painting from Popular Culture”; Harry A. Jackson Journals, November 12, 1949, courtesy Harry A. Jackson Trust, 19; Harry A. Jackson Journals, July 7, 1949, courtesy Harry A. Jackson Trust, 21.
Curtis, Restless Ambition, 54.
Oral history interview with Grace Hartigan, AAA-SI.
Rex Stevens, interview by author.
Rex Stevens, interview by author; Harry A. Jackson Journals, November 12, 1949, courtesy Harry A. Jackson Trust, 21; Grace Hartigan, letter to Gertrude Kasle, December 9, 1989, Baltimore to Detroit, Series 1, Box 2, Folder 27, The Gertrude Kasle Gallery Records, AAA-SI.
Grace Hartigan to Gertrude Kasle, December 9, 1989, Folder 27, Box 2, The Gertrude Kasle Gallery Records, AAA-SI.
Polcari, Abstract Expressionism and the Modern Experience, 291.
Oral history interview with Grace Hartigan, AAA-SI; Robert Motherwell, interview by Jack Taylor; Altshuler, The Avant-Garde in Exhibition, 156.
Oral history interview with Grace Hartigan, AAA-SI; Alfred Leslie, interview by Jack Taylor; Mattison, Grace Hartigan, 16.
Alfred Leslie, interview by Jack Taylor.
Naifeh and Smith, Jackson Pollock, 597; Solomon, Jackson Pollock, 198–199; Gaines, Philistines at the Hedgerow, 113; Levin, “Extraordinary Interventions of Alfonso Ossorio”, 9.
Naifeh and Smith, Jackson Pollock, 597, 600–601; Friedman, Alfonso Ossorio, 42; Gaines, Philistines at the Hedgerow, 113.
Solomon, Jackson Pollock, 199.
Solomon, Jackson Pollock, 198–199; Naifeh and Smith, Jackson Pollock, 600–601.
Dorfman, Out of the Picture, 59; Solomon, Jackson Pollock, 198; Naifeh and Smith, Jackson Pollock, 598–199.
Sandler, Abstract Expressionism and the American Experience, 181.
Dorfman, Out of the Picture, 59.
Naifeh and Smith, Jackson Pollock, 598–600. Восемнадцать из двадцати семи работ, представленных на выставке, будут проданы.
David Hare, interview by Jack Taylor.
Elaine de Kooning, interview by Charles Hayes, 27.
Dorfman, Out of the Picture, 60.
Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, the Clement Greenberg Papers, 1937–1983, AAA-SI, 5.
Solomon, Jackson Pollock, 198; Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, the Clement Greenberg Papers, 1937–1983, AAA-SI, 5.
Elizabeth Baker, telephone interview by author; Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 276. Первая статья Тома Гесса появилась в мае 1949 года, а статья Элен – в сентябре того же года.
Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 17–19; L. Alcopley, “The Club, Its First Three Years”, 46; Gruen, The Party’s Over Now, 267–268. Также как «Кедровый бар», «Клуб» часто упоминается в истории того периода как «Клуб художников» или «Клуб на Восьмой улице». Художники, которые были его членами с самого начала, называли его просто «Клубом», потому что, по словам Эрнестин, на организационном собрании они так и не смогли договориться о названии.
Gruen, The Party’s Over Now, 267–68.
Parry, Garrets and Pretenders, 267; oral history interview with Ibram and Ernestine Lassaw, November 1–2, 1964, AAA-SI.
George Scrivani, ed., Collected Writings of Willem de Kooning, 110.
Oral history interview with Ibram and Ernestine Lassaw, AAA-SI; Alcopley, “The Club, Its First Three Years”, 46; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 17–18; oral history interview with Philip Pavia, AAA-SI, 13; Gruen, The Party’s Over Now, 268–69. Предметом одного из таких споров является год начала деятельности «Клуба». Некоторые источники, в том числе исчерпывающая книга на эту тему «Клуб без стен», однозначно утверждают, что «Клуб» был основан в 1948 году. Там утверждается, что Павия нашел этот чердак на Восьмой улице летом 1948 года. Однако сам Павия заявлял сразу в трех интервью – одно данное Джеку Тейлору; другое хранится в Архивах американского искусства, третье дано им Джону Грюну, – что все началось только в 1949 году. Элен де Кунинг также называет конец 1949 года.
Alcopley, “The Club, Its First Three Years”, 46; Edgar, Club Without Walls, 53; Dorfman, Out of the Picture, 7.
Edgar, Club Without Walls, x; Gruen, The Party’s Over Now, 272–273.
Philip Pavia, interview by Jack Taylor; Alcopley, “The Club, Its First Three Years”, 46; oral history interview with Rudy Burckhardt, AAA-SI; Pat Passlof, “The Ninth Street Show”, 61; Dorfman, Out of the Picture, 7; Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 182.
Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 19–20, 23; Natalie Edgar, interview by author.
Alcopley, “The Club, Its First Three Years”, 46; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 21–22; Natalie Edgar, interview by author.
Esteban Vicente, interview by Anne Bowen Parsons, AAA-SI; Elaine de Kooning, interview by Amei Wallach, 7; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 21.
Summer of ’57, videotape courtesy LTV.; Mercedes Matter, interview by Sigmund Koch, Tape 1B, Aesthetics Research Archive; Landau et al., Mercedes Matter, 75n109.
Natalie Edgar, interview by author; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 21; Club Minutes of Meetings, Membership Lists, Box 1, Folder 1, Irving Sandler Papers, ca. 1944–2007, bulk 1944–1980, AAA-SI. Все «женщины с Девятой улицы», за исключением Ли, которая редко заходила в «Клуб», стали его членами. Хелен получила членство в ноябре 1951 года, Грейс – в сентябре 1952 года (за нее ходатайствовал Лео Кастелли), Джоан – в январе 1952 года. В ноябре 1952 года Элен стала одним из семнадцати членов «Клуба» с правом голоса.
Oral history interview with Ibram and Ernestine Lassaw, AAA-SI.
Oral history interview with Leo Castelli, May 14, 1969–June 8, 1973, AAA-SI; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 21–22; Alcopley, “The Club, Its First Three Years”, 46.
Edgar, Club Without Walls, 58, 96.
Alcopley, “The Club, Its First Three Years”, 46; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 22; Edgar, Club Without Walls, 59.
Natalie Edgar, e-mail to author, January 21, 2014.
Oral history interview with Ludwig Sander, AAA-SI.
Alcopley, “The Club, Its First Three Years”, 47; oral history interview with Ludwig Sander, AAA-SI.
Landau et al., Mercedes Matter, 49.
Jack Tworkov, interview by Anne Bowen Parsons, AAA-SI.
Oral history interview with Leo Castelli, May 14, 1969–June 8, 1973, AAA-SI.
Alcopley, “The Club, Its First Three Years”, 46; Edgar, Club Without Walls, 54.
Thomas B. Hess, “The Battle of Paris, Strip-tease and Trotsky”, 30; oral history interview with Ludwig Sander, AAA-SI.
Oral history interview with Ludwig Sander, AAA-SI.
Oral history interview with Ibram and Ernestine Lassaw, AAA-SI; Denise Lassaw, interview by author.
Edgar, Club Without Walls, 54; Elaine de Kooning interview by Amei Wallach, 9; oral history interview with Ludwig Sander, AAA-SI.
Oral history interview with Ludwig Sander, AAA-SI; Edgar, Club Without Walls, 55; Gruen, The Party’s Over Now, 176–177.
Edgar, Club Without Walls, 54; Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 174.
Oral history interview with Ibram Lassaw and Ernestine Lassaw, AAA-SI.
Alcopley, “The Club, Its First Three Years”, 47; Gruen, The Party’s Over Now, 178; oral history interview with Ibram Lassaw and Ernestine Lassaw, AAA-SI.
Oral history interview with Ludwig Sander, AAA-SI; Edgar, Club Without Walls, 54.
Oral history interview with Ludwig Sander, AAA-SI; Stevens and Swan, De Kooning, 292.
Oral history interview with Ludwig Sander, AAA-SI.
Statement by Grace Hartigan, Gertrude Kasle Gallery, Detroit, Gertrude Kasle Papers, Series 1, Box 2, Folder 25, The Gertrude Kasle Gallery Records, AAA-SI.
Nemser, Art Talk, 156.
Harry A. Jackson Journals, November 1950, courtesy of the Harry A. Jackson Trust, 22.
Grigor, Shattering Boundaries, film; rental agreement, 25 Essex Street, Box 17, Grace Hartigan Papers, Syracuse.
Curtis, Restless Ambition, 65.
Grigor, Shattering Boundaries, film.
Prioleau, Seductress, 159.
Ed Colker, “Present Concerns in Studio Teaching”, 33.
Alfred Leslie, interview by Jack Taylor.
Alfred Leslie, interview by Jack Taylor.
Myers, Tracking the Marvelous, 127.
Alfred Leslie, interview by Jack Taylor.
Alfred Leslie, interview by Jack Taylor.
Alfred Leslie, interview by Jack Taylor.
Alfred Leslie, interview by Jack Taylor.
Alfred Leslie, interview by Jack Taylor.
Alfred Leslie, interview by Jack Taylor.
Oral history interview with Harold Rosenberg, AAA-SI; Dorfman, Out of the Picture, 283.
Rental agreement, 25 Essex Street, Grace Hartigan Papers, Syracuse.
Weather history for KGLA, New York, New York, https://www.wunderground.com/history/airport/KLGA/1950/2/14/DailyHistory.html; https://www.wunderground.com/history/airport/KLGA/1950/3/14/DailyHistory.html.
Curtis, Restless Ambition, 65.
Curtis, Restless Ambition, 65.
Curtis, Restless Ambition, 66–67.
Rex Stevens, interview by author.
Brogan, The Penguin History of the United States, 401.
Beauvoir, America Day by Day, 315.
White, Here Is New York, 45.
Beauvoir, America Day by Day, 315.
Myers, Tracking the Marvelous, 125.
Malina, The Diaries of Judith Malina, 230; Beauvoir, America Day by Day, 316; Myers, Tracking the Marvelous, 125.
Louise Elliot Rago, “We Visit with Grace Hartigan”, 35.