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Примечания книги
1
Бовуар Симона, Второй пол.
2
Grace Hartigan, interview by author.
3
Rex Stevens, interview by author.
4
Grace Hartigan, interview by author.
5
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.
6
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.
7
Nemser, Art Talk, 151–152.
8
Curtis, Restless Ambition, 8, 16; Rex Stevens, interview by author; Murray Grigor, Shattering Boundaries, film.
9
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.
10
Donna Sesee, interview by author.
11
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.
12
Oral history interview with Grace Hartigan, AAA-SI.
13
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.
14
Oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 8, 17; Nemser, Art Talk, 152.
15
Donna Sesee, interview by author; Grigor, Shattering Boundaries, film.
16
Curtis, Restless Ambition, 18.
17
Oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 18; Nemser, Art Talk, 153.
18
Oral history interview with Grace Hartigan, AAA-SI; Nemser, Art Talk, 153.
19
Grigor, Shattering Boundaries, film; oral history interview with Grace Hartigan, AAA-SI.
20
Oral history interview with Grace Hartigan, AAA-SI.
21
Mattison, Grace Hartigan, 11; Curtis, Restless Ambition, 22–23.
22
Rex Stevens, interview by author.
23
Curtis, Restless Ambition, 22; oral history interview with Grace Hartigan, AAA-SI.
24
Nemser, Art Talk, 153.
25
Nemser, Art Talk, 153.
26
Grigor, Shattering Boundaries, film.
27
Mary Gabriel, “Amazing Grace”, 64.
28
Nemser, Art Talk, 153.
29
Nemser, Art Talk, 154.
30
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.
31
Costello, Virtue Under Fire, 189.
32
Mattison, Grace Hartigan, 11; Curtis, Restless Ambition, 25.
33
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.
34
Gabriel, “Amazing Grace”, 64; Nemser, Art Talk, 153.
35
Gabriel, “Amazing Grace”, 64–65.
36
Oral history interview with Grace Hartigan, AAA-SI; Rex Stevens, interview by author.
37
Grigor, Shattering Boundaries, film.
38
Nemser, Art Talk, 154.
39
Oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 25, 28.
40
Betsy Prioleau, Seductress, 159.
41
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.
42
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».
43
Lundberg and Farnham, Modern Woman: The Lost Sex, 201.
44
Фридан Бетти, Женская мистика, 37; Mead, Male and Female, 274–276; Chafe, The American Woman, 200.
45
Бовуар Симона, Второй пол, 159–60.
46
Oral history interview with Grace Hartigan, AAA-SI.
47
Rex Stevens, interview by author.
48
Curtis, Restless Ambition, 27; Grace Hartigan, 11.
49
Oral history interview with Grace Hartigan, AAA-SI; Curtis Mattison, Grace Hartigan, 11.
50
Oral history interview with Grace Hartigan, AAA-SI; Mattison, Grace Hartigan, 11.
51
Mattison, Grace Hartigan, 11.
52
Curtis, Restless Ambition, 38.
53
Mattison, Grace Hartigan, 11.
54
Nemser, Art Talk, 155.
55
Mattison, Grace Hartigan, 12.
56
Grace Hartigan notes for Elaine de Kooning Memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse.
57
Oral history interview with Grace Hartigan, AAA-SI.
58
Oral history interview with Grace Hartigan, AAA-SI.
59
Rex Stevens, interview with author.
60
Mattison, Grace Hartigan, 12.
61
Curtis, Restless Ambition, 29.
62
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.
63
Nemser, Art Talk, 154.
64
Oral history interview with Grace Hartigan, AAA-SI.
65
Nemser, Art Talk, 154.
66
Friedan, The Feminine Mystique, 38; Lundberg and Farnham, Modern Woman, 202; Riley, Inventing the American Woman, 238–239; Miller and Nowak, The Fifties, 155.
67
Rex Stevens, interview by author.
68
Donna Sesee, interview by author.
69
Grigor, Shattering Boundaries, film.
70
Barrett, The Truants, 58.
71
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.
72
Feininger and Lyman, The Face of New York, n.p.; Perl, New Art City, 27; Beauvoir, America Day by Day, 264–265.
73
Beauvoir, America Day by Day, 28–29, 67–68; White, Here Is New York, 46.
74
Котенок был рекламным образом американской шелкопрядильной компании Corticelli Silk Company. Прим. ред.
75
Feininger and Lyman, The Face of New York, n.p.
76
Beauvoir, America Day by Day, 36.
77
Rivers, What Did I Do?, 161–162.
78
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».
79
Anatole Broyard, “Portrait of a Hipster”, 722–723; Brossard, The Scene Before You, 26.
80
Broyard, “Portrait of a Hipster”, 722; Paul Goodman, Growing Up Absurd, 181.
81
Broyard, “Portrait of a Hipster”, 723.
82
Rex Stevens, interview by author; oral history interview with Grace Hartigan, AAA-SI.
83
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.
84
Grimes, “Harry Jackson”; Naifeh and Smith, 562, 564.
85
Grimes, “Harry Jackson”.
86
Oral history interview with Grace Hartigan, AAA-SI.
87
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.
88
Oral history interview with Grace Hartigan, AAA-SI.
89
Grimes, “Harry Jackson”; oral history interview with Grace Hartigan, AAA-SI.
90
Nemser, Art Talk, 155.
91
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.
92
Oral history interview with Grace Hartigan, AAA-SI.
93
Oral history interview with Grace Hartigan, AAA-SI; Grigor, Shattering Boundaries, film.
94
Nemser, Art Talk, 151.
95
Curtis, Restless Ambition, 43.
96
Nemser, Art Talk, 151; Shattering Boundaries, film; oral history interview with Grace Hartigan, AAA-SI.
97
Oral history interview with Grace Hartigan, AAA-SI.
98
Mattison, Grace Hartigan, 12.
99
Grigor, Shattering Boundaries, film.
100
Grigor, Shattering Boundaries, film; Mattison, Grace Hartigan, 12.
101
Mattison, Grace Hartigan, 13; Gabriel, “Amazing Grace”, 65.
102
Mattison, Grace Hartigan, 13.
103
Grace Hartigan, unpublished notes on the New York Scene, Box 31, Grace Hartigan Papers, Syracuse.
104
Hall, Elaine and Bill, 128–129.
105
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.
106
Barrett, Irrational Man, 154–155.
107
Lehman, The Last Avant-Garde, 11.
108
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.
109
Harry Jackson Journals, January 14, 1949, courtesy of the Harry A. Jackson Trust, 14.
110
Interview with Rex Stevens, author.
111
Curtis, Restless Ambition, 50–51.
112
Oral history interview with Grace Hartigan, AAA-SI; Clements, Prosperity, Depression and the New Deal, 226.
113
Naifeh and Smith, Jackson Pollock, 566.
114
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».
115
Harry A. Jackson Journals, January 14, 1949, courtesy of the Harry A. Jackson Trust, 16.
116
Robert Saltonstall Mattison, telephone interview by author.
117
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.
118
Naifeh and Smith, Jackson Pollock, 578.
119
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».
120
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.
121
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».
122
Curtis, Restless Ambition, 52.
123
“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.
124
Karmel, Jackson Pollock: Interviews, Articles, and Reviews, 62.
125
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 2:286.
126
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.
127
Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 84.
128
“Words”, Time, February 7, 1949, 7.
129
Solomon, Jackson Pollock, 194–195; Marquis, Art Czar, 115; Naifeh and Smith, Jackson Pollock, 590.
130
Naifeh and Smith, Jackson Pollock, 590.
131
Solomon, Jackson Pollock, 192–193.
132
Solomon, Jackson Pollock, 193.
133
Naifeh and Smith, Jackson Pollock, 591.
134
Elaine de Kooning and Slivka, Elaine de Kooning, 220; Elaine de Kooning, “A Stroke of Genius”, 42.
135
Potter, To a Violent Grave, 95.
136
Potter, To a Violent Grave, 115.
137
Sandler, A Sweeper Up After Artists, 47.
138
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.
139
Robert Motherwell, interview by Jack Taylor.
140
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.
141
Annalee Newman, interview by Dodie Kazanjian, AAA-SI, 4.
142
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».
143
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.
144
Hess, Willem de Kooning (1968), 15–16; Hall, Elaine and Bill, 110.
145
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.
146
Elaine de Kooning and Slivka, Elaine de Kooning, 215.
147
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.
148
Curtis, Restless Ambition, 48; Hall, Elaine and Bill, 30–31.
149
Hall, Elaine and Bill, 30–31.
150
Curtis, Restless Ambition, 48.
151
Mattison, Grace Hartigan, 13; Harry A. Jackson Journals, May 21, 1949, courtesy of the Harry A. Jackson Trust, 19.
152
Oral history interview with Jane Freilicher, AAA-SI.
153
Stevens and Swan, De Kooning, 273.
154
Elaine de Kooning, interview by Amei Wallach, 5–6.
155
Hall, Elaine and Bill, 99.
156
Mary Abbott, interview by author.
157
Mary Abbott, interview by author.
158
Mary Abbott, interview by author.
159
Mary Abbott, interview by author.
160
Stevens and Swan, De Kooning, 321.
161
Mary Abbott, interview by author.
162
Stevens and Swan, De Kooning, 275.
163
Mary Abbott, interview by author.
164
Elaine de Kooning, interview by Amei Wallach, 7.
165
Elaine de Kooning, interview by John Gruen, AAA-SI, 8.
166
Oral history interview with Nell Blaine, AAA-SI, 9; Sawin, Nell Blaine, 26, 32.
167
Rivers, What Did I Do?, 18–19, 43–44, 137. Его сестра Голди называла их «оголтелыми коммунистами».
168
Rivers, What Did I Do?, 18–19, 20, 22.
169
Rivers, What Did I Do?, 18–19, 20, 20.
170
Rivers, What Did I Do?, 33–34.
171
Oral history interview with Jane Freilicher, AAA-SI.
172
Rivers, What Did I Do?, 36.
173
Larry Rivers, interview by Barbaralee Diamonstein, provided by Dr. Barbaralee Diamonstein-Spielvogel, interviewer and author, from Inside New York’s Art World, 317–318.
174
Sawin, Nell Blaine, 35; oral history interview with Jane Freilicher, AAA-SI.
175
Munro, Originals, 204–205.
176
Oral history interview with Larry Rivers, AAA-SI.
177
Поминальная речь, произнесенная Гарольдом Розенбергом на похоронах Ганса Гофмана, Grace Hartigan Papers, Syracuse.
178
Rivers, What Did I Do?, 136–138.
179
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.
180
Rivers, What Did I Do?, 195, 199.
181
Сеть универмагов, одна из старейших в США. Прим. ред.
182
Jane Freilicher, interview by Deborah Solomon.
183
Harrison, Larry Rivers, 17. У Ларри тряслась левая рука, но причину тремора врачи так и не диагностировали.
184
Rivers, What Did I Do?, 176; Elaine de Kooning, interview by Amei Wallach, 2.
185
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 2:301; Harrison, Larry Rivers, 16–17; Elaine de Kooning, interview by Amei Wallach, 2.
186
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 2:301; Rivers, What Did I Do?, 176.
187
Hall, Elaine and Bill, 87; Elaine de Kooning, “De Kooning Memories”, 394.
188
Rivers, What Did I Do?, 134.
189
Rivers, What Did I Do?, 132–133.
190
Elaine de Kooning, interview by John Gruen, AAA-SI, 8.
191
Goodman, Hofmann, 60–61.
192
Goodman, Hofmann, 61.
193
Elaine de Kooning, interview by John Gruen, AAA-SI, 8.
194
Nell Blaine, interview, Box 1, Folder 14, Irving Sandler Papers, ca. 1944–2007 (bulk 1944–1980), AAA-SI.
195
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».
196
Elaine de Kooning, interview by Molly Barnes, 5.
197
Hess and Baker, Art and Sexual Politics, 58.
198
Hess and Baker, Art and Sexual Politics, 57–58; Peter Manso, Provincetown: Art, Sex, and Money on the Outer Cape, 33, 34.
199
Ashton with Banach, The Writings of Robert Motherwell, 309; Mary Abbott, interview by author.
200
Flam et al., Robert Motherwell, 64, 195.
201
Robert Motherwell, interview by Jack Taylor; Flam et al., Robert Motherwell, 197.
202
“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.
203
Stevens and Swan, De Kooning, 283–284.
204
Lieber, Reflections in the Studio, 33; Stevens and Swan, De Kooning, 285.
205
Manso, Provincetown, 33, 34.
206
Dorothy Seiberling, “Jackson Pollock”, 42.
207
Oral history interview with Lillian Orlowsky, AAA-SI.
208
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».
209
Nora Wydenbruck, Rilke, Man and Poet, 96.
210
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.
211
Seiberling, “Jackson Pollock”, 42–45.
212
Seiberling, “Jackson Pollock”, 45.
213
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.
214
“Red Visitors Cause Rumpus”, 42–43.
215
Chipp, Theories of Modern Art, 490.
216
Elaine de Kooning and Slivka, Elaine de Kooning, 16.
217
Oral history interview with Elisabeth Ross Zogbaum, AAA-SI.
218
Wetzsteon, Republic of Dreams, 558.
219
Potter, To a Violent Grave, 114.
220
Solomon, Jackson Pollock, 195–96; Naifeh and Smith, Jackson Pollock, 596; Ruby Jackson, interview by author.
221
Les Levin, “The Spring of ’55, A Portrait of Sam Kootz”, 34.
222
Landau, Reading Abstract Expressionism, 155–156.
223
Stuart Preston, “By Husband and Wife”, X9.
224
Stuart Preston, “By Husband and Wife”, X9.
225
“Review”, ArtNews 48, no.6 (October 1949): 45.
226
Friedan, The Feminine Mystique, 95–97, 100; Mead, Male and Female, 275–276; Millett, Sexual Politics, 203.
227
Greer, The Obstacle Race, 42–43.
228
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.
229
Marquis, The Art Biz, 242.
230
Oral history interview with Lee Krasner, November 2, 1964–April 11, 1968, AAA-SI.
231
Hall, Elaine and Bill, 86.
232
Oral history interview with Lee Krasner, November 2, 1964–April 11, 1968, AAA-SI.
233
“Lee Krasner, Little Image Paintings”, iv; Naifeh and Smith, Jackson Pollock, 586.
234
Oral history interview with Lee Krasner, November 2, 1964–April 11, 1968, AAA-SI; Landau, Lee Krasner: A Catalogue Raisonné, 310.
235
Potter, To a Violent Grave, 120.
236
Curtis, Restless Ambition, 56.
237
Nemser, Art Talk, 156.
238
“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.
239
Curtis, Restless Ambition, 54.
240
Oral history interview with Grace Hartigan, AAA-SI.
241
Rex Stevens, interview by author.
242
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.
243
Grace Hartigan to Gertrude Kasle, December 9, 1989, Folder 27, Box 2, The Gertrude Kasle Gallery Records, AAA-SI.
244
Polcari, Abstract Expressionism and the Modern Experience, 291.
245
Oral history interview with Grace Hartigan, AAA-SI; Robert Motherwell, interview by Jack Taylor; Altshuler, The Avant-Garde in Exhibition, 156.
246
Oral history interview with Grace Hartigan, AAA-SI; Alfred Leslie, interview by Jack Taylor; Mattison, Grace Hartigan, 16.
247
Alfred Leslie, interview by Jack Taylor.
248
Naifeh and Smith, Jackson Pollock, 597; Solomon, Jackson Pollock, 198–199; Gaines, Philistines at the Hedgerow, 113; Levin, “Extraordinary Interventions of Alfonso Ossorio”, 9.
249
Naifeh and Smith, Jackson Pollock, 597, 600–601; Friedman, Alfonso Ossorio, 42; Gaines, Philistines at the Hedgerow, 113.
250
Solomon, Jackson Pollock, 199.
251
Solomon, Jackson Pollock, 198–199; Naifeh and Smith, Jackson Pollock, 600–601.
252
Dorfman, Out of the Picture, 59; Solomon, Jackson Pollock, 198; Naifeh and Smith, Jackson Pollock, 598–199.
253
Sandler, Abstract Expressionism and the American Experience, 181.
254
Dorfman, Out of the Picture, 59.
255
Naifeh and Smith, Jackson Pollock, 598–600. Восемнадцать из двадцати семи работ, представленных на выставке, будут проданы.
256
David Hare, interview by Jack Taylor.
257
Elaine de Kooning, interview by Charles Hayes, 27.
258
Dorfman, Out of the Picture, 60.
259
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.
260
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.
261
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.
262
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.
263
Gruen, The Party’s Over Now, 267–68.
264
Parry, Garrets and Pretenders, 267; oral history interview with Ibram and Ernestine Lassaw, November 1–2, 1964, AAA-SI.
265
George Scrivani, ed., Collected Writings of Willem de Kooning, 110.
266
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.
267
Alcopley, “The Club, Its First Three Years”, 46; Edgar, Club Without Walls, 53; Dorfman, Out of the Picture, 7.
268
Edgar, Club Without Walls, x; Gruen, The Party’s Over Now, 272–273.
269
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.
270
Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 19–20, 23; Natalie Edgar, interview by author.
271
Alcopley, “The Club, Its First Three Years”, 46; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 21–22; Natalie Edgar, interview by author.
272
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.
273
Summer of ’57, videotape courtesy LTV.; Mercedes Matter, interview by Sigmund Koch, Tape 1B, Aesthetics Research Archive; Landau et al., Mercedes Matter, 75n109.
274
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.
275
Oral history interview with Ibram and Ernestine Lassaw, AAA-SI.
276
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.
277
Edgar, Club Without Walls, 58, 96.
278
Alcopley, “The Club, Its First Three Years”, 46; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 22; Edgar, Club Without Walls, 59.
279
Natalie Edgar, e-mail to author, January 21, 2014.
280
Oral history interview with Ludwig Sander, AAA-SI.
281
Alcopley, “The Club, Its First Three Years”, 47; oral history interview with Ludwig Sander, AAA-SI.
282
Landau et al., Mercedes Matter, 49.
283
Jack Tworkov, interview by Anne Bowen Parsons, AAA-SI.
284
Oral history interview with Leo Castelli, May 14, 1969–June 8, 1973, AAA-SI.
285
Alcopley, “The Club, Its First Three Years”, 46; Edgar, Club Without Walls, 54.
286
Thomas B. Hess, “The Battle of Paris, Strip-tease and Trotsky”, 30; oral history interview with Ludwig Sander, AAA-SI.
287
Oral history interview with Ludwig Sander, AAA-SI.
288
Oral history interview with Ibram and Ernestine Lassaw, AAA-SI; Denise Lassaw, interview by author.
289
Edgar, Club Without Walls, 54; Elaine de Kooning interview by Amei Wallach, 9; oral history interview with Ludwig Sander, AAA-SI.
290
Oral history interview with Ludwig Sander, AAA-SI; Edgar, Club Without Walls, 55; Gruen, The Party’s Over Now, 176–177.
291
Edgar, Club Without Walls, 54; Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 174.
292
Oral history interview with Ibram Lassaw and Ernestine Lassaw, AAA-SI.
293
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.
294
Oral history interview with Ludwig Sander, AAA-SI; Edgar, Club Without Walls, 54.
295
Oral history interview with Ludwig Sander, AAA-SI; Stevens and Swan, De Kooning, 292.
296
Oral history interview with Ludwig Sander, AAA-SI.
297
Statement by Grace Hartigan, Gertrude Kasle Gallery, Detroit, Gertrude Kasle Papers, Series 1, Box 2, Folder 25, The Gertrude Kasle Gallery Records, AAA-SI.
298
Nemser, Art Talk, 156.
299
Harry A. Jackson Journals, November 1950, courtesy of the Harry A. Jackson Trust, 22.
300
Grigor, Shattering Boundaries, film; rental agreement, 25 Essex Street, Box 17, Grace Hartigan Papers, Syracuse.
301
Curtis, Restless Ambition, 65.
302
Grigor, Shattering Boundaries, film.
303
Prioleau, Seductress, 159.
304
Ed Colker, “Present Concerns in Studio Teaching”, 33.
305
Alfred Leslie, interview by Jack Taylor.
306
Alfred Leslie, interview by Jack Taylor.
307
Myers, Tracking the Marvelous, 127.
308
Alfred Leslie, interview by Jack Taylor.
309
Alfred Leslie, interview by Jack Taylor.
310
Alfred Leslie, interview by Jack Taylor.
311
Alfred Leslie, interview by Jack Taylor.
312
Alfred Leslie, interview by Jack Taylor.
313
Alfred Leslie, interview by Jack Taylor.
314
Oral history interview with Harold Rosenberg, AAA-SI; Dorfman, Out of the Picture, 283.
315
Rental agreement, 25 Essex Street, Grace Hartigan Papers, Syracuse.
316
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.
317
Curtis, Restless Ambition, 65.
318
Curtis, Restless Ambition, 65.
319
Curtis, Restless Ambition, 66–67.
320
Rex Stevens, interview by author.
321
Brogan, The Penguin History of the United States, 401.
322
Beauvoir, America Day by Day, 315.
323
White, Here Is New York, 45.
324
Beauvoir, America Day by Day, 315.
325
Myers, Tracking the Marvelous, 125.
326
Malina, The Diaries of Judith Malina, 230; Beauvoir, America Day by Day, 316; Myers, Tracking the Marvelous, 125.
327
Louise Elliot Rago, “We Visit with Grace Hartigan”, 35.
328
Oral history interview with David Hare, AAA-SI.
329
Mary Gabriel, The Art of Acquiring, 50.
330
Oral history interview with Grace Hartigan, AAA-SI; Myers, Tracking the Marvelous, 126.
331
Mattison, Grace Hartigan, 16.
332
Nemser, Art Talk, 168–169.
333
Nemser, Art Talk, 169.
334
Nemser, Art Talk, 169.
335
Dorfman, Out of the Picture, 287; Brad Gooch, City Poet, 202; Irving Sandler, “The Cedar Bar”, 1.
336
Irving Sandler, “The Cedar Bar”, 1; Lieber, Reflections in the Studio, 127n65. Более поздние летописцы того периода часто называют «Кедровый бар» «Таверной на Кедровой улице». Однако в 1950-х годах его обитатели называли заведение почти исключительно «Кедровым баром». Как «Таверна» он стал известен только после того, как в 1964 году переехал и открылся вновь на Юниверсити-плейс.
337
Mercedes Matter, interview by Sigmund Koch, Tape 1B, Aesthetics Research Archive.
338
Alfred Leslie, interview by Jack Taylor; Giorgio Cavallon, interview by Jack Taylor; oral history interview with Ludwig Sander, AAA-SI.
339
Irving Sandler, “The Cedar Bar”, 5; Joe Stefanelli, “The Cedar Bar”, 59.
340
George McNeil, interview by Jack Taylor.
341
Stahr, The Social Relations of Abstract Expressionism, 189.
342
Elaine de Kooning, “Hans Hofmann Paints a Picture”, 38–41, 58–59.
343
Oral history interview with Rudy Burckhardt, AAA-SI; Corbett, “But Here’s a Funny Story”, 48.
344
Elaine de Kooning, interview by Amei Wallach, 3.
345
Marquis, The Art Biz, 113–114.
346
Rubenfeld, Clement Greenberg, 174.
347
Ernestine Lassaw, interview by author.
348
Gruen, The Party’s Over Now, 207.
349
Elaine de Kooning and Slivka, Elaine de Kooning, 27.
350
Frank O’Hara, “Larry Rivers: A Memoir”, offprint from an exhibition catalog, Brandeis University, 1965, Box 182, Folder 18, Kenneth Koch Papers, 1939–1995, NYPL.
351
April Kingsley, The Turning Point, 15–16.
352
“Pictorial Essay: 19 Young American Artists, Under 36”, 82.
353
Nemser, Art Talk, 155; Mattison, Grace Hartigan, 16–18.
354
Nemser, Art Talk, 156.
355
Nemser, Art Talk, 155.
356
Cindy Nemser, “Grace Hartigan: Abstract Artist, Concrete Woman”, 31; Nemser, Art Talk, 155; Rubenfeld, Clement Greenberg, 143.
357
Nemser, Art Talk, 155–156; Rubenfeld, Clement Greenberg, 143; Thomas B. Hess, “Seeing the Young New Yorkers”, 23; “Talent 1950”, Kootz Gallery, Box 37, Grace Hartigan Papers, Syracuse.
358
Nemser, Art Talk, 156; oral history interview with Grace Hartigan, AAA-SI.
359
“Talent 1950”, Kootz Gallery.
360
Mattison, Grace Hartigan, 16–18; Hess, “Seeing the Young New Yorkers,” 23; Gaugh, Franz Kline, 88. Гесс говорил, что эта выставка была «одной из самых успешных и провокационных выставок молодых художников», которые он когда-либо видел.
361
Rubenfeld, Clement Greenberg, 142–143; Grace Hartigan, Factors & Persons Who Helped to Influence, unpublished notes by Grace Hartigan, Box 31, Grace Hartigan Papers, Syracuse.
362
Nemser, “Grace Hartigan: Abstract Artist, Concrete Woman”, 31; Nemser, Art Talk, 155.
363
“Talent 1950”, Kootz Gallery; Nemser, Art Talk, 156.
364
Edgar, Club Without Walls, 159; Ashton, The New York School, 212–113.
365
Altshuler, Avant-Garde In Exhibition, 156; Ashton, The New York School, 199–200; Sandler, A Sweeper Up After Artists, 27; Landau, Reading Abstract Expressionism, 164.
366
Landau, Reading Abstract Expressionism, 164.
367
Landau, Reading Abstract Expressionism, 164.
368
Artists Session at Studio 35, 1950, Series 4, Subseries 2, Box 5, Folder 37, William Chapin Seitz Papers, ca. 1930–1995, AAA-SI.
369
Sandler, A Sweeper Up After Artists, 28.
370
Sandler, A Sweeper Up After Artists, 28.
371
Open Letter to Roland L. Redmond, President of the Metropolitan Museum of Art, May 20, 1950, Hedda Sterne Papers, AAA-SI.
372
Oral history interview with Hedda Sterne, December 17, 1981, AAA-SI; Sandler, A Sweeper Up After Artists, 28; “18 Painters Boycott Metropolitan: Charge ‘Hostility to Advanced Art’”, New York Times, May 22, 1950, 1, https://timesmachine.nytimes.com/timesmachine/1950/05/22/issue.html.
373
Sandler, A Sweeper Up After Artists, 29; Lawrence Alloway and Mary Davis McNaughton, Adolph Gottlieb, 48; Naifeh and Smith, Jackson Pollock, 602; Landau, Reading Abstract Expressionism, 97–98n126.
374
Naifeh and Smith, Jackson Pollock, 600–601; oral history interview with Elisabeth Ross Zogbaum, AAA-SI.
375
Naifeh and Smith, Jackson Pollock, 602.
376
Lee Krasner, interview by Barbara Rose, 1975, GRI.
377
Lee Krasner, interview by Robert Coe, videotape courtesy the PKHSC.
378
Naifeh and Smith, Jackson Pollock, 602.
379
Lee Krasner, interview by Robert Coe, videotape courtesy the PKHSC.
380
Oral history interview with Elisabeth Ross Zogbaum, AAA-SI; Naifeh and Smith, Jackson Pollock, 640–641.
381
Naifeh and Smith, Jackson Pollock, 604–605.
382
Naifeh and Smith, Jackson Pollock, 638.
383
John Little, handwritten biographical statement, No. 8, undated, Folder 3, John Little Papers, 1935–1978, AAA-SI; Josephine Little: The Art Crowd, videotape courtesy LTV, Inc.
384
Helen A. Harrison, “East Hampton Avant-Garde,” 13.
385
Josephine Little: The Art Crowd, videotape courtesy LTV.
386
Karmel, Jackson Pollock: Interviews, Articles, and Reviews, 20.
387
The phrase is from Dore Ashton, “Jackson Pollock’s Arabesque”, 142.
388
Krasner, Pollock, unpublished, undated notes, Series 1.3, Box 2, Folder 41, Jackson Pollock and Lee Krasner Papers, AAA-SI, 1; Varnadoe with Karmel, Jackson Pollock, 61; Naifeh and Smith, Jackson Pollock, 601.
389
Varnadoe with Karmel, Jackson Pollock, 60; Solomon, Jackson Pollock, 208–209.
390
Landau, Lee Krasner: A Catalogue Raisonné, 116–17, 119, 310; Rose, Lee Krasner, 68.
391
Naifeh and Smith, Jackson Pollock, 608–609.
392
Solomon, Jackson Pollock, 203; Naifeh and Smith, Jackson Pollock, 641–645.
393
Varnadoe with Karmel, Jackson Pollock, 60; Naifeh and Smith, Jackson Pollock, 642–646.
394
Naifeh and Smith, Jackson Pollock, 642, 645.
395
Solomon, Jackson Pollock, 204; Naifeh and Smith, Jackson Pollock, 646–47.
396
Solomon, Jackson Pollock, 203–204.
397
Harrison, “East Hampton Avant-Garde”, 13; John Little, handwritten biographical statement, No. 8, undated, Folder 3, John Little Papers, AAA-SI.
398
Gaines, Philistines at the Hedgerow, 122–123.
399
Oral history interview with Hans Namuth, AAA-SI; Varnadoe with Karmel, Jackson Pollock, 89; Michael Peppiatt, “Hans Namuth Artists’ Portraits”, 41.
400
Peppiatt, “Hans Namuth Artists’ Portraits,” 41.
401
Oral history interview with Hans Namuth, AAA-SI; Varnadoe with Karmel, Jackson Pollock, 89.
402
Вариан Фрай — американский журналист, организовал эвакуацию беженцев, в том числе евреев, из оккупированной нацистами Франции. Прим. ред.
403
Oral history interview with Hans Namuth, AAA-SI; Peppiatt, “Hans Namuth Artists’ Portraits”, 40.
404
Varnadoe with Karmel, Jackson Pollock, 88–89; oral history interview with Hans Namuth, AAA-SI; Peppiatt, “Hans Namuth Artists’ Portraits”, 41.
405
Halberstam, The Fifties, 21; Bradford R. Collins, “Life Magazine and the Abstract Expressionists”, 284, 289n24.
406
Karmel, Jackson Pollock: Interviews, Articles, and Reviews, 18–19.
407
Elaine de Kooning to Grace Hartigan, October 28, 1977, Athens, Georgia, to Baltimore, Box 9, Elaine de Kooning Letters, Grace Hartigan Papers, Syracuse.
408
Peppiatt, “Hans Namuth Artists’ Portraits”, 44.
409
Oral history interview with Hans Namuth, AAA-SI; Varnadoe with Karmel, Jackson Pollock, 89.
410
Varnadoe with Karmel, Jackson Pollock, 89.
411
Oral history interview with Hans Namuth, AAA-SI.
412
Malina, The Diaries of Judith Malina, 119.
413
Malina, The Diaries of Judith Malina, 114, 119.
414
Halberstam, The Fifties, 26, 29, 46; Wittner, Rebels Against War, 240–241; Miller and Nowak, The Fifties, 56, 58, 60. После испытаний в 1954 году в Тихом океане водородной бомбы, когда радиоактивный пепел осел на японских рыбаках, людей чрезвычайно обеспокоила вероятность эффекта ядерных «осадков». Некоторые ученые пытались успокоить общественность тем, что их опасения в основном безосновательны. Например, лауреат Нобелевской премии мира доктор Х. Дж. Мюллер указывал на то, что даже пережившие ужасы Хиросимы люди рожают детей, которые «выглядят нормальными». Однако другие ученые обнаружили, что в результате взрыва ста двадцати двух бомб в рамках испытаний, проведенных в США между 1951 и 1958 годами, число врожденных дефектов значительно увеличилось во всем мире. К 1957 году одннадцать тысяч американских ученых подписали петицию против ядерных испытаний. Однако им было сказано, что запрет на испытания нецелесообразен с точки зрения государственной безопасности.
415
Halberstam, The Fifties, 45–47, 98–99; Caute, The Great Fear, 63; Diggins, The Proud Decades, 86; Malina, The Diaries of Judith Malina, 101. Планировалось, что водородная бомба будет в тысячу раз мощнее двух атомных, сброшенных на Японию. Многие в Вашингтоне считали тогда, что США должны сохранить свое военное превосходство любой ценой, так как угроза исходила уже не только от Советского Союза. Власть в Китае захватили коммунисты Мао Цзэдуна, заставив поддерживаемое США националистическое правительство спасаться из страны бегством (туда, что станет Тайванем).
416
Halberstam, The Fifties, 53–54; Diggins, The Proud Decades, 113, 116; Caute, The Great Fear, 60–61.
417
Halberstam, The Fifties, 49–50; Diggins, The Proud Decades, 114; Miller and Nowak, The Fifties, 29; Brogan, The Penguin History of the United States, 598.
418
Halberstam, The Fifties, 50; Miller and Nowak, The Fifties, 29.
419
Halberstam, The Fifties, 51–52; Diggins, The Proud Decades, 114–115.
420
Miller and Nowak, The Fifties, 29–30, 32.
421
Caute, The Great Fear, 36–37, 49.
422
Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 88n47; Diggins, The Proud Decades, 236; Caute, The Great Fear, 36–37, 49; D’Emilio, Sexual Politics, 41–42; Diggory and Miller, The Scenes of My Selves, 146–147; Baxandall and Gordon, America’s Working Woman, 247.
423
Malina, The Diaries of Judith Malina, 119, 134; Dorfman, Out of the Picture, 305.
424
Halberstam, The Fifties, 66–68, 70, 75; Diggins, The Proud Decades, 89–90; Brogan, The Penguin History of the United States, 604; Wittner, Rebels Against War, 201–202; Clements, Prosperity, Depression and the New Deal, 233. Этот конфликт длился три года и закончился там же, где начался, на 38-й параллели. Потери в человеческих жизнях составили миллион корейских гражданских лиц и двадцать семь тысяч американских солдат.
425
Malina, The Diaries of Judith Malina, 117–118.
426
Halberstam, The Fifties, 56–57.
427
Caute, The Great Fear, 63; oral history interview with Al Held, AAA-SI.
428
Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 89.
429
Oral history interview with Hans Namuth, AAA-SI.
430
Varnadoe with Karmel, Jackson Pollock, 91, 324.
431
Oral history interview with Hans Namuth, AAA-SI.
432
Varnadoe with Karmel, Jackson Pollock, 91; Solomon, Jackson Pollock, 211.
433
Hans Namuth, Pollock Painting, film.
434
Potter, To a Violent Grave, 129.
435
Varnadoe with Karmel, Jackson Pollock, 324; Karmel, Jackson Pollock, Interviews, Articles, and Reviews, 70; Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 89–90; Guggenheim, Out of This Century, 336.
436
Karmel, Jackson Pollock: Interviews, Articles, and Reviews, 68; Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 89–90; Guggenheim, Out of This Century, 328. Альфиери написал предисловие к первому каталогу выставки Поллока в Венеции. Во втором каталоге, который компоновала Пегги, предисловия нет вообще.
437
Karmel, Jackson Pollock: Interviews, Articles, and Reviews, 68–69.
438
Karmel, Jackson Pollock: Interviews, Articles, and Reviews, 70; Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 89–91.
439
Potter, To a Violent Grave, 129–130.
440
Karmel, Jackson Pollock: Interviews, Articles, and Reviews, 71.
441
Solomon, Jackson Pollock, 202.
442
Oral history interview with Hedda Sterne, AAA-SI; Hedda Sterne, interview by Colette Roberts, AAA-SI.
443
Naifeh and Smith, Jackson Pollock, 649.
444
Naifeh and Smith, Jackson Pollock, 650.
445
Varnadoe with Karmel, Jackson Pollock, 325; Potter, To a Violent Grave, 130.
446
Potter, To a Violent Grave, 129.
447
Gaines, Philistines at the Hedgerow, 119, 129.
448
Potter, To a Violent Grave, 130; Gaines, Philistines at the Hedgerow, 13.
449
Malina, The Diaries of Judith Malina, 13.
450
Potter, To a Violent Grave, 131.
451
Gaines, Philistines at the Hedgerow, 119, 130.
452
Gaines, Philistines at the Hedgerow, 130; Potter, To a Violent Grave, 132.
453
Potter, To a Violent Grave, 132.
454
Potter, To a Violent Grave, 132–133.
455
Gaines, Philistines at the Hedgerow, 131.
456
Varnadoe with Karmel, Jackson Pollock, 61.
457
Janice Biala to Jack Tworkov, May 1, 1951, Paris, courtesy Tworkov Family Archives, New York.
458
Oral history interview with Helen Frankenthaler, 1968, AAA-SI.
459
Helen Frankenthaler, interview by Dodie Kazanjian, AAA-SI, 4.
460
Solomon, Jackson Pollock, 214.
461
Oral history interview with Helen Frankenthaler, AAA-SI.
462
Helen Frankenthaler, interview by Dodie Kazanjian, AAA-SI, 3–4.
463
“After Mountains and Sea”, 31.
464
“After Mountains and Sea”, 31.
465
Oral history interview with Helen Frankenthaler, AAA-SI.
466
Helen Frankenthaler, interview by Dodie Kazanjian, AAA-SI, 4.
467
Carl Belz, “Frankenthaler: The 1950s”, 9; Jones, Eyesight Alone, 322; John Elderfield, “Morris Louis and Twentieth-Century Painting”, 24.
468
Munro, Originals, 210–211.
469
Helen Frankenthaler, interview by Deborah Solomon; oral history interview with Helen Frankenthaler, AAA-SI.
470
“Daughter to Mrs. A. Frankenthaler”, 40; Helen Frankenthaler, interview by Barbara Rose, GRI.
471
Fred Iseman, interview by author.
472
Fred Iseman, interview by author.
473
Oral history interview with Helen Frankenthaler, AAA-SI.
474
Fred Iseman, interview by author; Ellen M. Iseman, interview by author.
475
Helen Frankenthaler, interview by Barbara Rose, GRI.
476
Clifford Ross, interview by author, February 18, 2014.
477
Helen Frankenthaler, interview by Barbara Rose, GRI.
478
Fred Iseman, interview by author; Munro, Originals, 212; Helen Frankenthaler, interview by Barbara Rose, GRI.
479
Helen Frankenthaler, interview by Barbara Rose, GRI.
480
Clifford Ross, interview by author, January 15, 2014.
481
Clifford Ross, interview by author, January 15, 2014.
482
Oral history interview with Helen Frankenthaler, AAA-SI.
483
Helen Frankenthaler, interview by Deborah Solomon.
484
Helen Frankenthaler, interview by Barbara Rose, GRI.
485
Helen Frankenthaler, interview by Barbara Rose, GRI.
486
Clifford Ross, interview by author, January 15, 2014.
487
Munro, Originals, 211.
488
Munro, Originals, 213.
489
Barbara Rose, Frankenthaler, 259.
490
Fred Iseman, interview by author.
491
Fred Iseman, interview by author; Clifford Ross, interview by author, January 15, 2014; Ellen M. Iseman, interview by author.
492
Helen Frankenthaler, interview by Deborah Solomon; oral history interview with Helen Frankenthaler, AAA-SI.
493
Oral history interview with Helen Frankenthaler, AAA-SI.
494
Helen Frankenthaler, interview by Barbara Rose, GRI; oral history interview with Helen Frankenthaler, AAA-SI.
495
Helen Frankenthaler, interview by Deborah Solomon.
496
Munro, Originals, 211–112.
497
Deborah Solomon, unpublished notes for article “The Lyrical Mastery of Helen Frankenthaler”, courtesy Deborah Solomon, 7.
498
Oral history interview with Helen Frankenthaler, AAA-SI.
499
Oral history interview with Helen Frankenthaler, AAA-SI; Munro, Originals, 213. Хелен говорила, что ей было одиннадцать, а ее одноклассникам тринадцать, но не объясняла, почему — пропустила ли она классы в предыдущей школе.
500
Helen Frankenthaler, interview by Deborah Solomon.
501
Helen Frankenthaler, interview by Barbara Rose, GRI.
502
Oral history interview with Helen Frankenthaler, AAA-SI; Helen Frankenthaler, interview by Barbara Rose, GRI.
503
Hofmann-Lowenstein Family Tree, e-mailed to author by Karen Franklin, January 27, 2017; “Giessen”, https://www.jewishvirtuallibrary.org/giessen; “Deportation of German, Austrian, and Czech Jews”, https://www.ushmm.org/learn/timeline-of-events/1939-1941/deportations-of-german-austrian-and-czech-jews.
504
Fred Iseman, interview by author.
505
Amei Wallach, “Retrospective of a Risk-Taker, Works on Paper”, 2.
506
Oral history interview with Helen Frankenthaler, AAA-SI.
507
Rose, Frankenthaler, 15; Helen Frankenthaler, interview by Barbara Rose, GRI.
508
Oral history interview with Helen Frankenthaler, AAA-SI; Rose, Frankenthaler, 14–15, 16.
509
Helen Frankenthaler, interview by Barbara Rose, GRI.
510
Oral history interview with Helen Frankenthaler, AAA-SI.
511
Solomon, “The Lyrical Mastery of Helen Frankenthaler”; Munro, Originals, 214; oral history interview with Helen Frankenthaler, AAA-SI.
512
Perl, New Art City, 482; Janice Van Horne, A Complicated Marriage, 22.
513
Oral history interview with Helen Frankenthaler, AAA-SI.
514
Helen Frankenthaler, interview by Barbara Rose, GRI.
515
Helen Frankenthaler, interview by Deborah Solomon.
516
Clifford Ross, interview by author, January 15, 2014.
517
Oral history interview with Helen Frankenthaler, AAA-SI.
518
Nancy Lewis Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
519
Paul Feeley biographical material, Roll 442, Paul Feeley Papers, 1911–1972, AAA-SI.
520
Helen Frankenthaler, interview by Barbara Rose, GRI.
521
Nancy Lewis Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
522
Rose, Frankenthaler, 16–17.
523
Nancy Lewis Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
524
Helen Frankenthaler, interview by Deborah Solomon.
525
Oral history interview with Helen Frankenthaler, AAA-SI.
526
Nancy Lewis Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
527
“After Mountains and Sea”, 27.
528
Fred Iseman, interview by author.
529
“ ‘Beacon’ Now a Reality”, The Beacon 1, no. 1 (April 10, 1947): 1; “U.S. vs. U.S.S.R?” by M.S.M, The Beacon 1, no. 1 (April 10, 1947): 2; “Why I Am For Wallace”, The Beacon 2, no. 6 (June 24, 1948): 1.
530
Solomon, “The Lyrical Mastery of Helen Frankenthaler”, 8.
531
Nancy Lewis Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
532
Rose, Frankenthaler, 21.
533
Nancy Lewis Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
534
Oral history interview with Helen Frankenthaler, AAA-SI; Solomon, “The Lyrical Mastery of Helen Frankenthaler”, 8.
535
Oral history interview with Helen Frankenthaler, AAA-SI.
536
Helen Frankenthaler, “The Chrysler Assignment”, 8.
537
Clifford Ross, interview by author, January 15, 2014.
538
Helen Frankenthaler and Cynthia Lee, “A Brando Named ‘Desire”, 4, 6.
539
“After Mountains and Sea”, 27.
540
Clifford Ross, interview by author, February 18, 2014.
541
Oral history interview with Helen Frankenthaler, AAA-SI; Rose, Frankenthaler, 21. Среди художников, которые учились у Харрисона и общались с Хелен, были Джеймс Брукс и Шарлотта Парк.
542
Oral history interview with Helen Frankenthaler, AAA-SI.
543
Helen Frankenthaler, interview by Deborah Solomon.
544
Nancy Lewis Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
545
John Elderfield, “Painted on 21st Street”, 9.
546
Helen Frankenthaler, interview by John Gruen, AAA-SI, 2.
547
Helen Frankenthaler, interview by Barbara Rose, GRI.
548
Helen Frankenthaler, interview by John Gruen, AAA-SI, 2.
549
Helen Frankenthaler, interview by Deborah Solomon; Helen Frankenthaler, interview by Barbara Rose, GRI; Helen Frankenthaler, interview by John Gruen, AAA-SI, 1; oral history interview with Helen Frankenthaler, AAA-SI.
550
Dore Ashton, interview by author.
551
Helen Frankenthaler, interview by John Gruen, AAA-SI, 1.
552
Helen Frankenthaler, interview by John Gruen, AAA-SI, 2.
553
Helen Frankenthaler, interview by John Gruen, AAA-SI, 1.
554
Oral history interview with Helen Frankenthaler, AAA-SI; Helen Frankenthaler, interview by Barbara Rose, GRI.
555
Oral history interview with Helen Frankenthaler, AAA-SI; Rose, Frankenthaler, 15.
556
Helen Frankenthaler, interview by John Gruen, AAA-SI, 4–5; oral history interview with Helen Frankenthaler, AAA-SI.
557
Oral history interview with Helen Frankenthaler, AAA-SI; Barrett, The Truants, 138.
558
Oral history interview with Helen Frankenthaler, AAA-SI.
559
Helen Frankenthaler, interview by Barbara Rose, GRI.
560
Friedman, Jackson Pollock: Energy Made Visible, 137; Edgar, Club Without Walls, 74; John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI.
561
Rubenfeld, Clement Greenberg, 106–7; John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI.
562
Elderfield, “Painted on 21st Street”, 46.
563
Oral history interview with Helen Frankenthaler, AAA-SI.
564
Helen Frankenthaler, interview by Deborah Solomon.
565
Helen Frankenthaler, interview by Barbara Rose, GRI.
566
Oral history interview with Helen Frankenthaler, AAA-SI; Helen Frankenthaler, interview by Barbara Rose, GRI; Clement Greenberg Journals, July 6 [ca. 1955], Series II, Box 16, Folder 1, Clement Greenberg Papers, GRI (950085).
567
Oral history interview with Helen Frankenthaler, AAA-SI.
568
“Life Goes to an Artists’ Masquerade”, 144.
569
Rubenfeld, Clement Greenberg, 145.
570
Helen Frankenthaler to Clement Greenberg, June 3, 1950, Series 3, Box 3, Folders 38–39, the Clement Greenberg Papers, 1937–1983, AAA-SI.
571
Oral history interview with Helen Frankenthaler, AAA-SI.
572
Helen Frankenthaler to Sonya Gutman, October 6, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 1; oral history interview with Helen Frankenthaler, AAA-SI. После замужества Соня Рудикофф стала Соней Гутман.
573
Marquis, Art Czar, 128.
574
Oral history interview with Helen Frankenthaler, AAA-SI; Helen Frankenthaler, interview by Barbara Rose, GRI.
575
Helen Frankenthaler, interview by Barbara Rose, GRI; Helen Frankenthaler, interview by John Gruen, AAA-SI, 13–14.
576
Clifford Ross, interview by author, February 18, 2014.
577
Rubenfeld, Clement Greenberg, 153.
578
Jones, Eyesight Alone, 29.
579
Clement Greenberg, “Self-Hatred and Jewish Chauvinism”, 430, 432.
580
Rose, The Norton Book of Women’s Lives, 58.
581
Rubenfeld, Clement Greenberg, 146; Duberman, Black Mountain, 347.
582
Helen Frankenthaler to Clement Greenberg, June 3, 1950, Series 3, Box 3, Folder 38, Clement Greenberg Papers, AAA-SI.
583
Helen Frankenthaler, interview by John Gruen, AAA-SI, 5; Rubenfeld, Clement Greenberg, 145.
584
Helen Frankenthaler, interview by Deborah Solomon.
585
Helen Frankenthaler, interview by John Gruen, AAA-SI, 5.
586
Helen Frankenthaler, interview by Barbara Rose, GRI.
587
Helen Frankenthaler, interview by Barbara Rose, GRI.
588
Helen Frankenthaler, interview by Barbara Rose, GRI; Helen Frankenthaler, interview by John Gruen, AAA-SI, 5.
589
Oral history interview with Helen Frankenthaler, AAA-SI.
590
Helen Frankenthaler, interview by Deborah Solomon.
591
Helen Frankenthaler, interview by Barbara Rose, GRI.
592
Oral history interview with Helen Frankenthaler, AAA-SI.
593
Helen Frankenthaler, interview by Barbara Rose, GRI.
594
Rubenfeld, Clement Greenberg, 145.
595
Rubenfeld, Clement Greenberg, 152.
596
Helen Frankenthaler, interview by John Gruen, AAA-SI, 5.
597
Helen Frankenthaler to Clement Greenberg, postcard postmarked, August 25, 1950, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, AAA-SI; with Helen Frankenthaler, interview by Deborah Solomon.
598
Rubenfeld, Clement Greenberg, 42–45, 152–153. Клем и мать Дэнни, Эдвина «Тоади» Юинг, поженились после трехнедельного романа в Калифорнии. Совокупность ряда факторов, в том числе отсутствие у Клема стабильного дохода, его возвращение на Восточное побережье, крайне негативное отношение матери Тоади к Клему и большой интерес Тоади к другим мужчинам, привела к тому, что через три года этот брак распался. В 1949 году Тоади переехала в Вашингтон, округ Колумбия, и Дэнни начал проводить с отцом в Нью-Йорке только выходные.
599
Helen Frankenthaler, interview by Deborah Solomon; Rubenfeld, Clement Greenberg, 145; Duberman, Black Mountain, 348.
600
Oral history interview with Helen Frankenthaler, AAA-SI.
601
Rubenfeld, Clement Greenberg, 145.
602
Oral history interview with Helen Frankenthaler, AAA-SI.
603
Helen Frankenthaler to Clement Greenberg, postcard postmarked August 25, 1950, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, AAA-SI.
604
Helen Frankenthaler to Clement Greenberg, postcard postmarked August 28, 1950, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, AAA-SI.
605
Helen Frankenthaler to Clement Greenberg, postcard postmarked August 28, 1950, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, AAA-SI.
606
Helen Frankenthaler to Clement Greenberg, postcard postmarked August 25, 1950, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, AAA-SI.
607
Helen Frankenthaler, interview by John Gruen, AAA-SI, 3.
608
Alfred Leslie, interview by Jack Taylor; Rubenfeld, Clement Greenberg, 151.
609
Alfred Leslie, interview by Jack Taylor.
610
Naifeh and Smith, Jackson Pollock, 633.
611
“After Mountains and Sea”, 27.
612
Helen Frankenthaler, interview by John Gruen, AAA-SI, 6–8.
613
Helen Frankenthaler, interview by Barbara Rose, GRI.
614
Oral history interview with Helen Frankenthaler, AAA-SI.
615
Elaine de Kooning, C.F.S. Hancock Lecture, 9.
616
Stevens and Swan, De Kooning, 309.
617
Hess and Nochlin, “Woman as Sex Object”, 230.
618
Thomas B. Hess, “De Kooning Paints a Picture”, 30; Stevens and Swan, De Kooning, 311.
619
Landau, Reading Abstract Expressionism, 604, 612n73.
620
Stevens and Swan, De Kooning, 314.
621
Stevens and Swan, De Kooning, 314.
622
Helen Frankenthaler, interview by Barbara Rose, GRI.
623
Helen Frankenthaler, interview by Barbara Rose, GRI; Helen Frankenthaler, interview by Deborah Solomon.
624
Elaine de Kooning and Slivka, Elaine de Kooning, 75.
625
Lewallen, “Interview with Elaine de Kooning”, 18–19; Elaine de Kooning, interview by Antonina Zara, 11.
626
albersfoundation.org/artists/biographies; metmuseum.org/toah/works-of-art/59.160; Kuh, The Artist’s Voice, 11–12. Альберс говорил, что цвет «ведет себя как” человек; близость одного цвета к другому, как и одного человека к другому, в итоге изменяет обоих.
627
“Biographies”, The Josef and Anni Albers Foundation, albersfoundation.org/artists/biographies.
628
Lewallen, “Interview with Elaine de Kooning,” 19.
629
Elaine de Kooning and Slivka, Elaine de Kooning, 15.
630
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 39; Stevens and Swan, De Kooning, 307.
631
Stevens and Swan, De Kooning, 307–308.
632
Stevens and Swan, De Kooning, 308.
633
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 3:44; Edgar, Club Without Walls, 179; Gaugh, Franz Kline, 95; O’Hara, “Franz Kline Talking”, 59; Thomas B. Hess, “Editorial: Franz Kline”, 23, 53.
634
Elaine de Kooning, “Franz Kline Memorial Exhibition”, 14–15.
635
Gaugh, Franz Kline, 13.
636
Elaine de Kooning, “Franz Kline Memorial Exhibition”, 14; Gaugh, Franz Kline, 45–46.
637
Elaine de Kooning, “Franz Kline: Painter of his own life”, 67–68; Elaine de Kooning, “Franz Kline Memorial Exhibition”, 14–15; Gaugh, Franz Kline, 84; oral history interview with Peter Agostini, AAA-SI. В рассказе Элен о том, что некий «друг» предложил Францу порвать свои рисунки, «читается» образ Билла, но согласно цитате Агостини, возможно, речь идет о ней самой. Надо сказать, это вполне логично, учитывая характер Элен. Если бы данное предложение Клайну сделал Билл, она, скорее всего, так бы прямо и сказала.
638
Elaine de Kooning, “Franz Kline: Painter of His Own Life”, 67–68.
639
Oral history interview with Peter Agostini, AAA-SI; Gaugh, Franz Kline, 84.
640
Doris Aach, interview by author; Gaugh, Franz Kline, 95.
641
Edgar, Club Without Walls, 91.
642
Lieber, Reflections in the Studio, 34.
643
Lieber, Reflections in the Studio, 34.
644
Hamill, “Beyond the Vital Gesture”, 110.
645
Oral history interview with Peter Agostini, AAA-SI; Beth Coffelt, “Strokes of Genius”, 33; Conrad Marca-Relli, interview by Ann Parsons, AAA-SI, 1. Марка-Релли говорил, что «кто-то из ребят» рассказал Чарли о Франце, который затем устроил его выставку. В сущности, вероятно, он слышал о прорыве Клайна от многих людей, но, учитывая его близость с Элен, ее роль в помощи ему в выборе художников для его галереи и ее положение как одного из двух людей, которые обычно первыми видели новые работы Клайна, можно предположить, что именно она могла рассказать о них Чарли.
646
Edgar, Club Without Walls, 179; Coffelt, “Strokes of Genius”, 33.
647
Manny Farber, “Art”, The Nation, November 11, 1950, 443.
648
Edgar, Club Without Walls, 179.
649
O’Hara, “Franz Kline Talking”, 59.
650
Stevens and Swan, De Kooning, 301.
651
Landau, Lee Krasner: A Catalogue Raisonné, 310.
652
Rose, Frankenthaler, 28; Elderfield, “Painted on 21st Street”, 48.
653
Helen Frankenthaler to Sonya Gutman, “Sat.”, postmarked October 21, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 1, 3, 5.
654
Helen Frankenthaler to Sonya Gutman, postcard, “Mon.”, postmarked November 20, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton; Helen Frankenthaler to Sonya Gutman, October 6, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 2; Helen Frankenthaler to Sonya Gutman, “Tues am.”, postmarked October 11, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, Princeton, 1935–2000, 2; Helen Frankenthaler to Sonya Gutman, “Monday”, postmarked November 14, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, Princeton, 1935–2000, 2.
655
Helen Frankenthaler to Sonya Gutman, “Monday”, postmarked November 14, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 2.
656
Helen Frankenthaler, interview by Dodie Kazanjian, AAA-SI, 2.
657
Van Horne, A Complicated Marriage, 15, 119.
658
Helen Frankenthaler written answers to five questions in preparation for an interview with Dodie Kazanjian, August 1998, Projects, Artist Files, Helen Frankenthaler, Dodie Kazanjian Papers, AAA-SI, 1.
659
Oral history interview with Helen Frankenthaler, AAA-SI.
660
Helen Frankenthaler, interview by Dodie Kazanjian, AAA-SI, 1, 3. Хелен говорила, что это могла быть картина Поллока «Синее бессознательное» или, возможно, «Пасха и Тотем», но она так много лет находиась вдалеке, что не была в этом уверена.
661
Helen Frankenthaler, interview by Barbara Rose, GRI.
662
Helen Frankenthaler to Sonya Gutman, “Sat”, postmarked October 14, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 2–3.
663
Helen Frankenthaler to Sonya Gutman, “Tues a.m.”, postmarked November 28, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton.
664
Naifeh and Smith, Jackson Pollock, 656.
665
Naifeh and Smith, Jackson Pollock, 655–656.
666
Naifeh and Smith, Jackson Pollock, 655.
667
Naifeh and Smith, Jackson Pollock, 655.
668
Ashbery, The Invisible Avant-Garde, 128; John Ashbery, Reported Sightings, 390.
669
Potter, To a Violent Grave, 134.
670
Potter, To a Violent Grave, 135.
671
Naifeh and Smith, Jackson Pollock, 656.
672
Helen Frankenthaler, interview by Barbara Rose, GRI; Helen Frankenthaler, interview by Mitch Tuchman, AAA-SI, 5.
673
Lehman, The Last Avant-Garde, 68; LeSueur, Digressions on Some Poems by Frank O’Hara, 21; Malina, The Diaries of Judith Malina, 159, 233.
674
Helen Frankenthaler, “Memories of the San Remo”, 412–13.
675
Frankenthaler, “Memories of the San Remo”, 413.
676
Halberstam, The Fifties, 109; Helen Frankenthaler to Sonya Gutman, “Sat a.m.” postmarked December 3, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 2; Malina, The Diaries of Judith Malina, 119.
677
Helen Frankenthaler to Sonya Gutman, “Sat a.m.” postmarked December 3, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 2.
678
Myers, Tracking the Marvelous, 47; Rivers, What Did I Do?, 203; Frankenthaler, “Memories of the San Remo”, 414.
679
Curtis, Restless Ambition, 73. Эд Лесли говорил: «Джон был одним из самых откровенных геев, каких вы только можете себе представить, в то время когда большинство геев предпочитали своей ориентации не афишировать».
680
Helen Frankenthaler, interview by John Gruen, AAA-SI, 3; Frankenthaler, “Memories of the San Remo”, 414.
681
Helen Frankenthaler, interview by Barbara Rose, GRI.
682
Oral history interview with Helen Frankenthaler, AAA-SI.
683
Helen Frankenthaler, interview by John Gruen, AAA-SI, 4.
684
John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI; John Bernard Myers, interview by Barbara Rose, n.d., transcript, Series II, Box 1, Folder 26, Barbara Rose Papers, GRI (930100), 1, 17.
685
Myers, Tracking the Marvelous, 4.
686
John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI.
687
Art Barge — Artists Speak, with Elaine de Kooning, videotape courtesy LTV, Inc.
688
Douglas Crase and Jenni Quilter, Painters and Poets, 25–26.
689
Myers, Tracking the Marvelous, 49.
690
Myers, Tracking the Marvelous, 8, 11–12, 16–18, 47.
691
Crase and Quilter, Painters and Poets, 25–26.
692
John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI.
693
Myers, Tracking the Marvelous, 19–20, 23, 25, 28, 45.
694
Myers, Tracking the Marvelous, 19–20, 23, 25, 28, 28.
695
Myers, Tracking the Marvelous, 65; Rubenfeld, Clement Greenberg, 98.
696
Myers, Tracking the Marvelous, 65–66.
697
John Bernard Myers, interview by Barbara Rose, March 12, 1968, Series V, Box 13, R3, GRI.
698
Myers, Tracking the Marvelous, 74–75, 97.
699
Coppet and Jones, The Art Dealers, 43–44.
700
Oral history interview with Tibor de Nagy, March 29, 1976, AAA-SI; Coppet and Jones, The Art Dealers, 43–44.
701
Grace Hartigan notes for Tibor de Nagy Memorial, April 15, 1994, Box 28, Grace Hartigan Papers, Syracuse.
702
Coppet and Jones, The Art Dealers, 43.
703
Oral history interview with Tibor de Nagy, AAA-SI.
704
Grace Hartigan notes for Tibor de Nagy Memorial, April 15, 1994, Box 28, Grace Hartigan Papers, Syracuse.
705
“A Memorial Service for John Bernard Myers”, transcript courtesy Donna Sesee; Myers, Tracking the Marvelous, 98–99.
706
Oral history interview with Tibor de Nagy, AAA-SI.
707
Henry Hewesernst Beadle, “Actors with Their Strings Attached,” 2X, http://www.nytimes.com/1950/05/21/archives/actors-with-their-strings-attached-ideas-and-enthusiasts-a-writer.htm.
708
Oral history interview with Tibor de Nagy, AAA-SI.
709
Oral history interview with Tibor de Nagy, AAA-SI; Beadle, “Actors with Their Strings Attached”, 2X.
710
Myers, Tracking the Marvelous, 100, 105.
711
Oral history interview with Tibor de Nagy, AAA-SI.
712
John Bernard Myers, interview by Barbara Rose, n.d., transcript, Series II, Box 1, Folder 26, Barbara Rose Papers, GRI (930100), 14–16.
713
Oral history interview with Tibor de Nagy, AAA-SI.
714
Oral history interview with Tibor de Nagy, AAA-SI; Sawin, Nell Blaine, 42.
715
Oral history interview with Tibor de Nagy, AAA-SI; Coppet and Jones, The Art Dealers, 43–44.
716
Coppet and Jones, The Art Dealers, 43–44.
717
Crase and Quilter, Painters and Poets, 19, 24, 29; Myers, Tracking the Marvelous, 113.
718
John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI.
719
John Bernard Myers, interview by Barbara Rose, transcript, Series II, Box 1, Folder 26, Barbara Rose Papers, GRI, 18.
720
John Bernard Myers, interview by Barbara Rose, transcript, Series II, Box 1, Folder 26, Barbara Rose Papers, GRI, 18. Джон рассказывал: «Я попытался показать на своей первой выставке группу objets trouves [известного скульптора Исамы] Ногучи. И это была настоящая катастрофа. Я имею в виду, с самого начала. Затем меня уговорили показать группу скульптур из песка Тино Ниволы, и это также стало катастрофой».
721
Natalie Edgar, interview by author. Художница Натали Эдгар рассказывала, что, начав встречаться с Филиппом Павией, спросила его, почему она должна знакомиться со всеми этими людьми. «Он сказал, что я должна это делать, потому что теперь они — другие художники — станут моей семьей. Так оно и было».
722
Thomas B. Hess, “U.S. Painting, Some Recent Directions”, 174.
723
Elaine de Kooning and Slivka, Elaine de Kooning, 15.
724
John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI (930100).
725
Grace Hartigan notes for statement for the Tibor de Nagy fortieth-anniversary show, April 17, 1991, John Bernard Myers file, Box 21, Grace Hartigan Papers, Syracuse.
726
“A Memorial Service for John Bernard Myers”, transcript courtesy Donna Sesee.
727
Hess, “U.S. Painting, Some Recent Directions”, 174; Grace Hartigan notes for Tibor de Nagy Memorial, Grace Hartigan Papers, Syracuse.
728
Rex Stevens, interview by author.
729
Myers, Tracking the Marvelous, 127.
730
Varnadoe with Karmel, Jackson Pollock, 84n160.
731
Nemser, “Grace Hartigan: Abstract Artist, Concrete Woman”, 33.
732
Mattison, Grace Hartigan, 16; Curtis, Restless Ambition, 70.
733
“A Memorial Service for John Bernard Myers”, transcript courtesy Donna Sesee.
734
Myers, Tracking the Marvelous, 125.
735
“A Memorial Service for John Bernard Myers”, transcript courtesy Donna Sesee.
736
John Bernard Myers to Grace Hartigan, June 26, 1952, Box 21, Grace Hartigan Papers, Syracuse; John Bernard Myers to Grace Hartigan, ca. 1954, Box 21, Grace Hartigan Papers, Syracuse.
737
Myers, Tracking the Marvelous, 125–26.
738
Mattison, Grace Hartigan, 18; Harrison, Larry Rivers, 17; Sawin, Nell Blaine, 38; John Bernard Myers, interview by Barbara Rose, transcript, Series II, Box 1, Folder 26, Barbara Rose Papers, GRI (930100), 19. Вдохновленный своими открытиями, Джон быстро нашел путь к остальной части своего прежнего круга. Ларри только что вернулся из Парижа, куда сбежал после выставки «Талант-1950 год», засомневавшись в собственных способностях художника. Под руководством своей «учительницы» Нелл Блейн, которая тоже находилась тогда во Франции, он старался впитать в себя столетия живописной традиции, которую прежде никогда официально не изучал. А еще Джон привлек Роберта де Ниро — старшего, которого называл «самым крутым в городе», но совершенно «сумасшедшим»; Боба Гуднафа, художника, который защитил в Нью-Йоркском университете диссертацию о Поллоке и написал для ArtNews статью «Поллок пишет картину»; и мужа Грейс Гарри Джексона (с которым они больше не жили вместе), писавшего абстракции в стиле Матисса.
739
Terrence Diggory, notes from Diggory’s Art Journal article on Grace Hartigan, Box 10, Grace Hartigan Papers, Syracuse; Grace Hartigan Writings for Publication/Note, “Mis-statements”, Box 31, Grace Hartigan Papers, Syracuse; oral history interview with Grace Hartigan, AAA-SI; Curtis, Restless Ambition, 73; William T. La Moy and Joseph P. McCaffrey, eds., The Journals of Grace Hartigan, xx — xxi; Nemser, Art Talk, 151; Susan Sontag, “Notes on Camp”, 522–523. Сонтаг говорила, что «лагерь» характеризуется экстравагантностью, «попыткой сделать что-то необычное».
740
Curtis, Restless Ambition, 74.
741
Gay переводится и как «гомосексуалист», и как «веселый». Прим. пер.
742
Curtis, Restless Ambition, 73.
743
Gibson, Abstract Expressionism, 11, 22. Дискриминация была не только гендерной. Альфонсо Оссорио, например, говорил, что ему было трудно выставляться в конце сороковых, потому что он был геем.
744
John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI.
745
Helen Frankenthaler, interview by John Gruen, AAA-SI, 4.
746
Helen Frankenthaler, interview by John Gruen, AAA-SI, 6; John Bernard Myers, interview by Barbara Rose, transcript, Series II, Box 1, Folder 26, Barbara Rose Papers, GRI (930100), 20.
747
“Irascible Group of Advanced Artists Led Fight Against Show”, 34.
748
Elaine de Kooning and Slivka, Elaine de Kooning, 92.
749
Allentuck, John Graham’s System and Dialectics of Art, 136–137.
750
Helen Frankenthaler to Sonya Gutman, postmarked November 23, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 3; oral history interview with Helen Frankenthaler, AAA-SI; “After Mountains and Sea”, 27, 30.
751
Elaine de Kooning and Slivka, Elaine de Kooning, 96.
752
Oral history interview with Fairfield Porter, AAA-SI; Rackstraw Downes, ed., Art in Its Own Terms, 30.
753
Oral history interview with Fairfield Porter, AAA-SI; Elaine de Kooning, interview by Amei Wallach, 3.
754
Naifeh and Smith, Jackson Pollock, 655.
755
Herrera, Arshile Gorky, 628; Naifeh and Smith, Jackson Pollock, 655.
756
Rose, Lee Krasner: The Long View, videotape courtesy PKHSC; Levin, Lee Krasner, 280.
757
Oral history interview with Helen Frankenthaler, AAA-SI; Naifeh and Smith, Jackson Pollock, 656; Potter, To a Violent Grave, 135.
758
Varnadoe with Karmel, Jackson Pollock, 63.
759
Naifeh and Smith, Jackson Pollock, 658.
760
Garnett McCoy, Alfred H. Barr Jr., Baldwin Smith, and Allen Rosenbaum, “A Continued Story”, 8–9.
761
Naifeh and Smith, Jackson Pollock, 658–659.
762
Engelmann, Jackson Pollock and Lee Krasner, 70.
763
Potter, To a Violent Grave, 174.
764
Naifeh and Smith, Jackson Pollock, 660–661.
765
Levin, Lee Krasner, 271–272; Naifeh and Smith, Jackson Pollock, 661.
766
George Hartigan, Tibor de Nagy, January 15 to February 2, 1951, Box 36, Grace Hartigan Papers, Syracuse.
767
James Fitzsimmons, “George Hartigan”, 18–19.
768
Mattison, Grace Hartigan, 18.
769
Malina, The Diaries of Judith Malina, 144.
770
Rex Stevens, interview by author; Grace Hartigan Writings for Publication/Note, “Misstatements”, Box 31, Grace Hartigan Papers, Syracuse; oral history interview with Grace Hartigan, AAA-SI; Nemser, Art Talk, 151; Gibson, Abstract Expressionism, 156–157; Munro, Originals, 65. Часто женщины не брали себе откровенно мужской псевдоним, а использовали только фамилию (как и Мэри Кэссетт в начале своей карьеры) и подписывали работы инициалами, а не именем, либо вторым именем, которое могло принадлежать человеку любого пола. Иными словами, он предпочитали двусмысленность, лишь бы не идентифицировать себя как художника женского пола.
771
“A Memorial Service for John Bernard Myers”, transcript courtesy Donna Sesee.
772
Munro, Originals, 65; oral history interview with Grace Hartigan, AAA-SI; Myers, Tracking the Marvelous, 127; Fitzsimmons, “George Hartigan”, 18.
773
Nemser, Art Talk, 150.
774
Nemser, Art Talk, 170.
775
Oral history interview with Tibor de Nagy, AAA-SI.
776
“A Memorial Service for John Bernard Myers”, transcript courtesy Donna Sesee.
777
Grace Hartigan notes for Tibor de Nagy Memorial, April 15, 1994, Box 28, Grace Hartigan Papers, Syracuse.
778
Stahr, The Social Relations of Abstract Expressionism, 91.
779
Helen Frankenthaler, interview by Barbara Rose, GRI.
780
Alfred Leslie, interview by Jack Taylor. Among the people at Helen’s pool were Gaby, Grace, Al, Franz, Harry Jackson, Clem, Pollock, Lee, John Myers, Waldemar Hansen, Mark and Mel Rothko, and Barney and Annalee Newman.
781
Myers, Tracking the Marvelous, 12.
782
Munro, Originals, 236.
783
Astrid Myers Rosset, interview by author.
784
“Joan Mitchell”, transcript Barney/Sandy interview [Sandy Gotham Meehan], January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Patricia Albers, Joan Mitchell, 134; Barney Rosset, interview by Jay Gertzman.
785
“Joan Mitchell”, transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
786
“Joan Mitchell”, transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Barney Rosset, interview by Jay Gertzman.
787
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
788
Joan Mitchell to Barney Rosset, postmarked July 5, 1948, 19 rue Vavin, Paris to 1600 Broadway, New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, postmarked July 9, 1948, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, postmarked July 16, 1948, Paris to New York, JMFA003, JMF.
789
Munro, Originals, 244.
790
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 134.
791
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Albers, Joan Mitchell, 134.
792
Munro, Originals, 244.
793
Zuka Mitelberg, telephone interview by author.
794
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
795
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
796
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
797
Barney Rosset, interview by Jay Gertzman.
798
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
799
“1948 Joan Mitchell”, Barney Rosset/GAP [George A. Plimpton] vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia; “Joan Mitchell”, Transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
800
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
801
Joan Mitchell to Barney Rosset, dated February 3, 1947, postmarked February 4, 1947, Chicago to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, dated February 2, 1947, Chicago to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, postmarked March 21, 1947, Chicago to New York, JMFA003, JMF.
802
Albers, Joan Mitchell, 99; Anne-Elisabeth Moutet, “An American in Paris”, 76.
803
Marion Strobel to Joan Mitchell, dated August 19, 1949, Chicago to Le Lavandou, France, JMFA001, JMF.
804
Marion Strobel to Joan Mitchell, dated August 19, 1949, Chicago to Le Lavandou, France, JMFA001, JMF.
805
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
806
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
807
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; “1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia; Barney Rosset to parents, September 11, 1949, Le Lavendou to Chicago, “Remembering Joan”, Evergreen Review 104 (January 2001), courtesy Astrid Myers Rosset.
808
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
809
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
810
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
811
“Riviera Romance for Joan!”, Chicago Sun Times, September 19, 1949, JMFA001, JMF.
812
Cholly Dearborn, “Smart Set”, Chicago Herald American, September 19, 1949, JMFA001, JMF.
813
Barney Rosset to Joan Mitchell, “Sunday night”, n.d. [ca. 1946], JMFA001, JMF.
814
Lehman, The Last Avant Garde, 50.
815
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; “1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia; “Joan Mitchell”, Transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Albers, Joan Mitchell, 14, 21, 25, 28; Jane Livingston, The Paintings of Joan Mitchell, 10–12. Дед Джоан был инженером на строительстве Чикагского стадиона.
816
Albers, Joan Mitchell, 80–81; Beauvoir, America Day by Day, 348.
817
Munro, Originals, 242. По словам Джоан, «девяносто девять процентов отдыхающих там людей были из высших слоев общества».
818
Albers, Joan Mitchell, 36.
819
Albers, Joan Mitchell, 36–37.
820
Edrita Fried, The Ego in Love and Sexuality, 40–42; Albers, Joan Mitchell, 38, 81. Альберс описывал болезнь Марион как очень серьезную, требующую операции на щитовидной железе, затем мастоидэктомии, затем гистерэктомии и, наконец, удаления опухоли шейки матки.
821
Albers, Joan Mitchell, 37; Judith Bernstock, Joan Mitchell, 15; Fried, The Ego in Love and Sexuality, 40–42.
822
Bernstock, Joan Mitchell, 15.
823
Albers, Joan Mitchell, 118.
824
Bernstock, Joan Mitchell, 15.
825
Munro, Originals, 239; Livingston, The Paintings of Joan Mitchell, 11.
826
Munro, Originals, 239.
827
Albers, Joan Mitchell, 30; Livingston, The Paintings of Joan Mitchell, 11; Bernstock, Joan Mitchell, 22. Джоан так высоко ценила своего деда, что до самой смерти хранила его студенческие тетради и чертежи. А бабушку она не знала, так как та покончила с собой еще до ее рождения.
828
Zuka Mitelberg, telephone interview by author.
829
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 64; Livingston, The Paintings of Joan Mitchell, 11.
830
Joan Mitchell, “Autumn”, Poetry Magazine, 1935, JMFA006, JMF; Marion Strobel Papers, JMF; Albers, Joan Mitchell, 63.
831
Munro, Originals, 233.
832
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 47.
833
Albers, Joan Mitchell, 46–47, 71; Livingston, The Paintings of Joan Mitchell, 12.
834
Marion Cajori, Joan Mitchell: Portrait of an Abstract Painter, film; Munro, Originals, 241; Albers, Joan Mitchell, 47; Livingston, The Paintings of Joan Mitchell, 12.
835
Albers, Joan Mitchell, 70; Cindy Nemser, “An Afternoon with Joan Mitchell”, 6.
836
Albers, Joan Mitchell, 70; Cajori, Joan Mitchell: Portrait of an Abstract Painter, film; Munro, Originals, 242.
837
Albers, Joan Mitchell, 70.
838
Nemser, “An Afternoon with Joan Mitchell”, 6; Albers, Joan Mitchell, 15.
839
Unidentified Chicago newspaper clipping, February 1935, JMFA001, Joan Mitchell Papers, JMF.
840
Unidentified Chicago newspaper clipping, 1938, JMFA001, Joan Mitchell Papers, JMF.
841
Unidentified Chicago newspaper clipping, 1939, JMFA001, Joan Mitchell Papers, JMF; Livingston, The Paintings of Joan Mitchell, 12.
842
Nemser, “An Afternoon with Joan Mitchell”, 6; Albers, Joan Mitchell, 72.
843
Zuka Mitelberg, telephone interview by author; Livingston, The Paintings of Joan Mitchell, 12; Munro, Originals, 241.
844
Albers, Joan Mitchell, 21, 31–33; Conn, The American 1930s, a Literary History, 137. Основанное в 1912 году, Poetry и сегодня остается одним из самых влиятельных литературных изданий в США.
845
Riley, Inventing the American Woman, 203; Honey, “Images of Women in the ‘Saturday Evening Post’”, 352–353, 356.
846
Joan Mitchell to Sally Perry (unsent letter), May 13, 1979, Vétheiul to California, JMFA001, Joan Mitchell Papers, JMF.
847
Deborah Solomon, “In Monet’s Light”, www.nytimes.com/1991/11/24/magazine/in-monet-s-light.html; Cora Cohen and Betsy Sussler, “Mitchell”, 22.
848
Nemser, “An Afternoon with Joan Mitchell”, 6.
849
Albers, Joan Mitchell, 84–85.
850
“Joan Mitchell”, Transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Livingston, The Paintings of Joan Mitchell, 12.
851
Benstock, Joan Mitchell, 14.
852
Albers, Joan Mitchell, 84–85; “Joan Mitchell”, Transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
853
Albers, Joan Mitchell, 86–87.
854
Albers, Joan Mitchell, 87–89, 122.
855
Notes from interview with Barney Rosset by unidentified person, n.d., Barney Rosset Papers, Series II, Box 2, Folder 33, Columbia; Albers, Joan Mitchell, 122; Kaplan, 1959, 46.
856
Barney Rosset, interview by Jay Gertzman; Albers, Joan Mitchell, 122, 152; “The Billboard”, 62.
857
Albers, Joan Mitchell, 122; Rob Goodman, “What Happened to the Roosevelts?”, www.politico.com/magazine.
858
“Joan Mitchell”, transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Zuka Mitelberg, telephone interview by author; Albers, Joan Mitchell, 85–86.
859
Barney Rosset Journal, 1949, Barney Rosset Papers, Series II, Disc 3, Box 3, Folder 19, Columbia.
860
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II,Box 3, Folder 5, Columbia.
861
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II,Box 3, Folder 5, Columbia.
862
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II,Box 3, Folder 5, Columbia; “Joan Mitchell”, Transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
863
Biographical materials, JMFA001, Joan Mitchell Papers, JMF. At fifteen, Joan had a calling card that read “Miss Joan Mitchell”.
864
Joan Mitchell to Barney Rosset, postmarked April 24, 1947, Chicago to Brooklyn, JMFA003, Joan Mitchell Papers, JMF.
865
Barney Rosset, interview by Jay Gertzman; “Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
866
Barney Rosset, interview by Jay Gertzman; “Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
867
Richard Milazzo, “Caravaggio on the Beach”, 6.
868
Richard Milazzo, “Caravaggio on the Beach”, 7.
869
Albers, Joan Mitchell, 90–91.
870
Munro, Originals, 243.
871
Albers, Joan Mitchell, 86, 91–92.
872
Albers, Joan Mitchell, 92–93.
873
Albers, Joan Mitchell, 92–94.
874
Livingston, The Paintings of Joan Mitchell, 12; Albers, Joan Mitchell, 95.
875
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 95.
876
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 95; Livingston, The Paintings of Joan Mitchell, 12; Munro, Originals, 243.
877
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2—ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia; Albers, Joan Mitchell, 95–96; Milazzo, “Caravaggio on the Beach”, 6.
878
Albers, Joan Mitchell, 66–67, 95–96; Joan Mitchell to Mike Goldberg, n.d. [1955], Paris to New York, Michael Goldberg Papers, AAA-SI.
879
Irving Sandler, interview by author; Hamill, “Beyond the Vital Gesture”, 110.
880
Albers, Joan Mitchell, 96–98.
881
Albers, Joan Mitchell, 96.
882
Munro, Originals, 240; oral history interview with Joan Mitchell, AAA-SI. Joan called the experience very “Frenchy”.
883
Sarah Brown Boyden, “Intent Artist Overlooks Own Debut”, unidentified Chicago newspaper, n.d. [October 1943], JMFA001, Joan Mitchell Papers, JMF.
884
Livingston, The Paintings of Joan Mitchell, 16; Albers, Joan Mitchell, 106–7.
885
Munro, Originals, 240; Livingston, The Paintings of Joan Mitchell, 16.
886
Livingston, The Paintings of Joan Mitchell, 16–17.
887
Livingston, The Paintings of Joan Mitchell, 17.
888
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film.
889
Albers, Joan Mitchell, 110–111; Munro, Originals, 242.
890
Albers, Joan Mitchell, 113–114.
891
Barney Rosset, interview by Jay Gertzman; “Joan Mitchell”, Transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
892
Milazzo, “Photos of Joan Mitchell by Barney Rosset”.
893
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film.
894
Zuka Mitelberg, telephone interview with author.
895
Albers, Joan Mitchell, 114.
896
Zuka Mitelberg, telephone interview with author.
897
Zuka Mitelberg, telephone interview with author.
898
Zuka Mitelberg, telephone interview with author.
899
Zuka Mitelberg, e-mail to author, October 14, 2015.
900
Zuka Mitelberg, telephone interview with author; Albers, Joan Mitchell, 105–106.
901
Zuka Mitelberg, telephone interview with author.
902
Zuka Mitelberg, telephone interview with author; Livingston, The Paintings of Joan Mitchell, 17.
903
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Zuka Mitelberg, telephone interview with author. Со временем роман Зуки стал настолько серьезным, что она переехала в Париж, чтобы быть ближе к своему мексиканскому парню, который изучал в Европе право. Эти отношения закончились, когда Зука встретила другого мужчину.
904
Zuka Mitelberg, telephone interview with author.
905
Albers, Joan Mitchell, 117.
906
Livingston, The Paintings of Joan Mitchell, 17.
907
Albers, Joan Mitchell, 119, 121–122.
908
Barney Rosset, interview by Jay Gertzman.
909
Joan Mitchell to Barney Rosset, January 29, 1947, Chicago to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, January 30, 1947, Chicago to New York, JMFA003, JMF; Albers, Joan Mitchell, 123.
910
Milazzo, “Caravaggio on the Beach”, 7; Livingston, The Paintings of Joan Mitchell, 17.
911
Bob Bergin, “Publisher-Hero as Combat Photographer in China”, Columbia, https://exhibitions.cul.columbia.edu/exhibits/show/rosset/introtobr.
912
Bob Bergin, “Publisher-Hero as Combat Photographer in China”, Columbia, https://exhibitions.cul.columbia.edu/exhibits/show/rosset/introtobr.
913
Barney Rosset to parents, June 8, 1945, Barney Rosset and China Exhibition, Columbia, https://exhibitions.cul.columbia.edu/exhibits/show/rosset/introtobr.
914
Astrid Myers Rosset, interview by author.
915
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
916
Notes from interview with Barney Rosset by unidentified person, n.d., Barney Rosset Papers, Series II, Box 2, Folder 33, Barney Rosset Papers, Columbia; Livingston, The Paintings of Joan Mitchell, 17.
917
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Series II, Box 3, Folder 33, Columbia.
918
Joan Mitchell to Barney Rosset, January 29, 1947, Chicago to Brooklyn, JMFA003, JMF; Albers, Joan Mitchell, 113. Joan’s sister, Sally, had just married a Yale dropout and band leader.
919
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Notes from interview with Barney Rosset by unidentified person, Barney Rosset Papers, Series II, Box 2, Folder 33, Columbia.
920
Albers, Joan Mitchell, 85–86. Джимми был ненавистен сам факт того, что школа Паркера принимала учеников-евреев.
921
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Series II, Box 2, Folder 33, Columbia.
922
James Mitchell to Joan Mitchell, dated August 29, 1949, JMFA001, Joan Mitchell Papers, JMF.
923
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
924
Albers, Joan Mitchell, 125–126.
925
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 125–126; Current Population Reports, Consumer Income, U.S. Department of Commerce, January 15, 1960, www.2census.gov/prod2/popscan/p60-33.pdf.
926
Joan Mitchell to Barney Rosset, April 29, 1947, Chicago to Brooklyn, JMFA003, JMF; Albers, Joan Mitchell, 126.
927
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; “1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
928
Notes from interview with Barney Rosset by unidentified person, Barney Rosset Papers, Series II, Box 2, Folder 33, Columbia; Milazzo, “Caravaggio on the Beach”, 8; Livingston, The Paintings of Joan Mitchell, 17.
929
Joan Mitchell to Barney Rosset, March 18, 1947, Chicago to Brooklyn, JMFA003, JMF.
930
Joan Mitchell to Barney Rosset, April 15, 1947, Chicago to Brooklyn, JMFA003, JMF.
931
Joan Mitchell to Barney Rosset, postmarked April 29, 1947, Chicago to Brooklyn, JMFA003, JMF.
932
Barney Rosset interview by Jay Gertzman; Albers, Joan Mitchell, 127.
933
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film.
934
Joan Mitchell to Barney Rosset, dated “Saturday night” February 8, 1947, postmarked February 10, 1947, Chicago to New York, JMFA003, Joan Mitchell Papers, JMF.
935
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
936
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
937
Bernstock, Joan Mitchell, 17.
938
Oral history interview with Joan Mitchell, May 21, 1965, AAA-SI; Bernstock, Joan Mitchell, 17.
939
Joan Mitchell to Sally Perry (unsent), May 13, 1979, Vétheuil, France, to California, JMFA001, JMF.
940
Fried, The Ego in Love and Sexuality, 41.
941
Barney Rosset to Joan Mitchell, dated July 17, 1948, New York to Paris, JMFA001, JMF.
942
Barney Rosset to Joan Mitchell, “Sunday 7 p.m.” n.d. [ca. 1948], New York to Paris, on Frances Osato’s stationery, JMFA001, JMF.
943
Joan Mitchell to Barney Rosset, postmarked July 3, 1948, Le Havre, Seine, to New York, JMFA003, JMF.
944
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
945
Joan Mitchell to Barney Rosset, postmarked July 3, 1948, Le Havre, Seine, to New York, JMFA003, JMF.
946
Joan Mitchell to Barney Rosset, postmarked July 3, 1948, Le Havre, Seine, to New York, JMFA003, JMF.
947
Munro, Originals, 243–244; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
948
Moutet, “An American in Paris”, 74.
949
Zuka Mitelberg, telephone interview by author; Joan Mitchell to Barney Rosset, postmarked July 5, 1948, Paris to New York, JMFA003, JMF; Livingston, The Paintings of Joan Mitchell, 18.
950
Oral history interview with Joan Mitchell, May 21 1965, AAA-SI.
951
Frances Morris, ed., Paris Post War, 16.
952
Frances Morris, ed., Paris Post War, 15–16, 18, 26–27, 39, 46; Simone de Beauvoir, “Eye for Eye”, 135.
953
Morris, Paris Post War, 15–16, 18, 26–27, 39, 46; Jachec, The Philosophy and Politics of Abstract Expressionism, 62–63; William Barrett, “New Innocents Abroad”, 284. Тот год стал началом «величайшего туристического сезона, который когда-либо знала Европа», — писал философ Уильям Барретт.
954
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
955
Joan Mitchell to Barney Rosset, postmarked July 8, 1948, 73 rue Galande, Paris, to New York, JMFA003, JMF.
956
Joan Mitchell to Barney Rosset, postmarked July 16, 1948, Paris to New York, JMFA003, JMF.
957
Joan Mitchell to Barney Rosset, postmarked July 9, 1948, Paris to New York, JMFA003, JMF.
958
Joan Mitchell to Barney Rosset, postmarked July 19, 1948, Paris to New York, JMFA003, JMF.
959
Notes from interview with Barney Rosset by unidentified person, Barney Rosset Papers, Series II, Box 2, Folder 33, Columbia.
960
Joan Mitchell to Barney Rosset, postmarked July 9, 1948, Paris to New York, JMFA003, JMF.
961
Joan Mitchell to Barney Rosset, postmarked July 8, 1948, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, dated July 15, 1948, and postmarked July 17, 1948, Paris to New York, JMFA003, JMF.
962
Joan Mitchell to Barney Rosset, dated July 22, 1948, postmarked July 23, 1948, Paris to New York, JMFA003, JMF.
963
Munro, Originals, 244.
964
Barney Rosset to Joan Mitchell, dated July 21, 1948, New York to Paris, JMFA001, JMF; Barney Rosset to Joan Mitchell, dated August 11, 1948, New York to Paris, JMFA001, JMF.
965
Joan Mitchell to Barney Rosset, postmarked July 9, 1948, Paris to New York, JMFA003, JMF.
966
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia; Barney Rosset to Joan Mitchell, “Sunday 7 p.m.” n.d. [ca. 1948], on Frances Osato’s stationery, New York to Paris, JMFA001, JMF.
967
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
968
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
969
Joan Mitchell to Barney Rosset, dated September 17, 1948, postmarked September 19, 1948, Paris to New York, JMFA003, JMF.
970
Joan Mitchell to Barney Rosset, postmarked September 23, 1948, Paris to New York, JMFA003, JMF.
971
Moutet, “An American in Paris”, 74.
972
Marion Strobel to Joan Mitchell, dated October 1, 1948, Chicago to Paris, JMFA001, JMF; Marion Strobel to Joan Mitchell, dated October 6, 1948, Chicago to Paris, JMFA001, JMF; Joan Mitchell to Barney Rosset, postmarked September 30, 1948, Paris to New York, JMFA003, JMF.
973
Oral history interview with Joan Mitchell, May 21, 1965, AAA-SI; Moutet, “An American in Paris”, 74.
974
Joan Mitchell to Barney Rosset, dated and postmarked September 16, 1948, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, dated September 17, 1948, postmarked September 19, 1948, Paris to New York, JMFA003, JMF.
975
Joan Mitchell to Barney Rosset, n.d., postmarked October 1948, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, postmarked October 8, 1948, Paris to New York, JMFA003,JMF.
976
Joan Mitchell to Barney Rosset, postmarked October 8, 1948, Paris to New York, JMFA003, JMF.
977
Joan Mitchell to Barney Rosset, postmarked October 29, 1948, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, postmarked October 1[?], 1948, Paris to New York, JMFA003, JMF.
978
Joan Mitchell to Barney Rosset, postmarked October 29, 1948, Paris to New York, JMFA003, JMF.
979
Joan Mitchell to Barney Rosset, postmarked October [1?] 1948, Paris to New York, JMFA003, JMF.
980
Joan Mitchell to Barney Rosset, postmarked October 17, 1948, Paris to New York, JMFA003, JMF.
981
Joan Mitchell to Barney Rosset, postmarked October 14, 1948, Paris to New York, JMFA003, JMF.
982
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia; Joan Mitchell to Barney Rosset, postmarked September 27, 1948, Paris to New York, JMFA003, JMF.
983
Barney Rosset autobiographical manuscript excerpt, n.d., JMFA001, JMF, 11–13.
984
Barney Rosset autobiographical manuscript excerpt, n.d., JMFA001, JMF, 11–13.
985
Barney Rosset autobiographical manuscript excerpt, n.d., JMFA001, JMF, 11–15, 17.
986
Barney Rosset autobiographical manuscript excerpt, n.d., JMFA001, JMF, 20, 33, 37.
987
“Joan Mitchell”, transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
988
Barney Rosset autobiographical manuscript excerpt, undated, JMFA001, JMF, 38.
989
Marion Strobel to Joan Mitchell, dated December 14, 1948, Chicago to Paris, JMFA001, JMF.
990
Joan Mitchell to Barney Rosset, dated July 15, 1948, postmarked July 17, 1948, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, postmarked October 29, 1948, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, postmarked November 1, 1948, Paris to New York, JMFA003, JMF.
991
Joan Mitchell to Barney Rosset, dated and postmarked September 16, 1948, Paris to New York, JMFA003, JMF.
992
Lorraine Kowals, “Social Chicago: Set Party Dates Just for Art’s Sake”, unidentified Chicago newspaper, 1949, JMFA001, JMF.
993
Barney Rosset, interview by Patricia Albers, n.d., audiotape courtesy Astrid Myers Rosset; Rosset, “The Subject Is Left Handed”, manuscript, courtesy Astrid Myers Rosset, n.p.; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
994
Adeline Fitzgerald, “At The Moment”, Chicago SunTimes, 1949, JMFA001, JMF.
995
Marion Strobel to Joan Mitchell, dated June 5, 1949, Chicago to Paris, JMFA001, JMF.
996
Marion Strobel to Joan Mitchell, dated June 5, 1949, Chicago to Paris, JMFA001, JMF.
997
Rosset, “The Subject Is Left Handed”, manuscript courtesy Astrid Myers-Rosset, n.p.
998
Hedda Sterne, interview by Colette Roberts, AAA-SI.
999
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia; “Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Rosset, “The Subject Is Left Handed”, manuscript courtesy Astrid Myers Rosset, n.p.
1000
“Joan Mitchell”, Transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Rosset, “The Subject Is Left Handed”, manuscript courtesy Astrid Myers Rosset, n.p.
1001
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film; Albers, Joan Mitchell, 144; oral history interview with Joan Mitchell, May 21 1965, AAA-SI.
1002
Marion Strobel to Joan Mitchell, dated October 28, 1949, Chicago to New York, JMFA001, JMF.
1003
Munro, Originals, 244–245; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 145–146; Diggins, The Proud Decades, 237.
1004
Munro, Originals, 244–245; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1005
Moutet, “An American in Paris”, 74.
1006
Hess, “Franz Kline, 1910–1962”, 53.
1007
Munro, Originals, 244.
1008
Moutet, “An American in Paris”, 74.
1009
Munro, Originals, 244–245; Albers, Joan Mitchell, 149–150.
1010
Albers, Joan Mitchell, 150.
1011
Albers, Joan Mitchell, 150–151.
1012
Munro, Originals, 245.
1013
“Joan Mitchell”, Transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Rosset, “The Subject Is Left Handed”, manuscript courtesy Astrid Myers Rosset, n.p.
1014
Бодлер Шарль, Художник современной жизни, 17.
1015
Irving Sandler, “Mitchell Paints a Picture”; Marion Cajori to collectors to raise funds for film, Joan Mitchell: Portrait of an Abstract Painter, dated May 4, 1990, JMFA001, Joan Mitchell Papers, JMF.
1016
Sandler, “Mitchell Paints a Picture”, 47, 69; oral history interview with Joan Mitchell, May 21, 1965, AAA-SI.
1017
Cholly Dearborn, “Smart Set: Joan Mitchell Rosset’s Paintings to be Exhibited at Lake Forest Show”, Chicago Herald American, May 29, 1950, 6, JMFA001, Joan Mitchell Papers, JMF.
1018
Cholly Dearborn, “Smart Set: Joan Mitchell Rosset’s Paintings to be Exhibited at Lake Forest Show”, Chicago Herald American, May 29, 1950, 6, JMFA001, Joan Mitchell Papers, JMF.
1019
“Joan Mitchell”, transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1020
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 152.
1021
Отель «Олоффсон» — бывший старинный особняк, богато украшенный элементами, вдохновленными культурой вуду. Под управлением шведа Густава Вернера Олоффсона в 1950-х годах отель был известен как «тропический Гринвич-Виллидж», в нем останавливались писатели, художники и пр. Прим. ред.
1022
Joan Mitchell to Barney Rosset, December 12, 1979, Vétheiul to New York, JMFA003, JMF.
1023
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Bernstock, Joan Mitchell, 21.
1024
Albers, Joan Mitchell, 151–152.
1025
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1026
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia; Altshuler, The Avant-Garde in Exhibition, 167.
1027
Grace Glueck, “Michael Goldberg, 83, Abstract Expressionist, Is Dead”, B7.
1028
Albers, Joan Mitchell, 154; “Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1029
Dore Ashton, interview by author.
1030
Gooch, City Poet, 429.
1031
Natalie Edgar, interview by author, January 20, 2014.
1032
Albers, Joan Mitchell, 153; Paul Schimmel, B. H. Friedman, John Bernard Myers, and Robert Rosenblum, Action/Precision, 30.
1033
Michael Goldberg, interview by Jack Taylor; Schimmel et al., Action/Precision, 30.
1034
Glueck, “Michael Goldberg, 83, Abstract Expressionist, Is Dead”, B7.
1035
LeSueur, Digressions on Some Poems by Frank O’Hara, 88.
1036
Albers, Joan Mitchell, 151–152, 154.
1037
Albers, Joan Mitchell, 151–152, 155.
1038
“Joan Mitchell”, transcript Barney/Sandy interview, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1039
Albers, Joan Mitchell, 152.
1040
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 153.
1041
Albers, Joan Mitchell, 152.
1042
Notes from interview with Barney Rosset by unidentified person, Barney Rosset Papers, Series II, Box 2, Folder 33, Columbia; “Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1043
“Larry Rivers on The Club”, The New Criterion Special Issue 49, 1986, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 19, Folder 27, NYU, 51.
1044
“Larry Rivers on The Club”, The New Criterion Special Issue 49, 1986, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 19, Folder 27, NYU, 50.
1045
Barrett, The Truants, 132; oral history interview with Ludwig Sander, AAA-SI.
1046
Oral history interview with Ludwig Sander, AAA-SI.
1047
Oral history interview with Ludwig Sander, AAA-SI; Barrett, The Truants, 132–133.
1048
Barrett, “What Existentialism Offers Modern Man”, 19.
1049
Barrett, The Truants, 133.
1050
Edgar, Club Without Walls, 159; oral history interview with Ludwig Sander, AAA-SI.
1051
Edgar, Club Without Walls, 158–160. В состав 1950 года в числе прочих вошли, в частности, профессор философии Генрих Блюхер, муж Ханны Арендт («стиль модерн»); антрополог Уильям Липкинд (Томас Дьюи); будущий биограф Достоевского Джозеф Франк («пространственная форма в современной литературе»), а также писатель и провокатор Пол Гудман (психология и художник).
1052
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 172; Edgar, Club Without Walls, 86.
1053
Edgar, Club Without Walls, 161–162.
1054
Edgar, Club Without Walls, 161; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 117, 123; Friedman, Give My Regards to Eighth Street, 103.
1055
Edgar, Club Without Walls, 83.
1056
Johnson, ed., The New York School of Music and Visual Arts, 3–4.
1057
Johnson, ed., The New York School of Music and Visual Arts, 63.
1058
John Cage, interview by Dodie Kazanjian, n.d., AAA-SI, 11; Gruen, The Party’s Over Now, 158. Новая музыка оказала огромное влияние не только на художников, но и на писателей. Джон Эшбери признавался Грюну, что уже собирался бросить писать, но, услышав «Музыку перемен» Кейджа в новогодний день 1952 года, нашел в себе смелость продолжать. «Я действительно чувствовал, что это было своего рода обновление» (Johnson, ed., The New York School of Music and Visual Arts, 63).
1059
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 191.
1060
Johnson, The New York School of Music and Visual Arts, 2–3, 5, 63, 78.
1061
Johnson, The New York School of Music and Visual Arts, 2–3, 5, 63, 76.
1062
Johnson, The New York School of Music and Visual Arts, 60–61, 64. Алколли рассказывал, что когда в том же году Верез читал там лекции: «“Клуб” был переполнен настолько, что некоторые присутствовавшие… боялись, что здание рухнет».
1063
Johnson, The New York School of Music and Visual Arts, 21; Friedman, Give My Regards to Eighth Street, 15.
1064
Johnson, The New York School of Music and Visual Arts, 34.
1065
Friedman, Give My Regards to Eighth Street, 5, 115–116.
1066
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 229; Johnson, The New York School of Music and Visual Arts, 10.
1067
Johnson, The New York School of Music and Visual Arts, 5, 80–81, 159–160.
1068
Friedman, Give My Regards to Eighth Street, 116.
1069
Friedman, Give My Regards to Eighth Street, 47.
1070
Friedman, Give My Regards to Eighth Street, 97; LeSueur, Digressions on Some Poems by Frank O’Hara, 142.
1071
Potter, To a Violent Grave, 139; Naifeh and Smith, Jackson Pollock, 663; oral history interview with Hans Namuth, AAA-SI.
1072
Friedman, Give My Regards to Eighth Street, 97.
1073
Albers, Joan Mitchell, 181.
1074
Gooch, City Poet, 272.
1075
Livingston, The Paintings of Joan Mitchell, 20.
1076
Albers, Joan Mitchell, 173; Munro, Originals, 243; Livingston, The Paintings of Joan Mitchell, 19.
1077
Joan Mitchell to Mike Goldberg, n.d. [1955], Paris to New York, Michael Goldberg Papers, AAA-SI; Gooch, City Poet, 271–272; Gruen, The Party’s Over Now, 41–42.
1078
Riley, Inventing the American Woman, 239; Rosen, Popcorn Venus, 282–284.
1079
Dorfman, Out of the Picture, 279; Albers, Joan Mitchell, 176.
1080
Joan Mitchell to Mike Goldberg, Sat., n.d. [ca. 1951], Michael Goldberg Papers, 1942–1981, AAA-SI; Rosset, “The Subject Is Left Handed”, courtesy Astrid Myers Rosset, n.p.; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Livingston, The Paintings of Joan Mitchell, 20.
1081
Rosset, “The Subject Is Left Handed”, courtesy Astrid Myers Rosset, n.p.; “1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2— ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
1082
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1083
Joan Mitchell to Mike Goldberg, April 26, 1951, Michael Goldberg Papers, 1942–1981, AAA-SI; Albers, Joan Mitchell, 158.
1084
Joan Mitchell to Mike Goldberg, April 26, 1951, Michael Goldberg Papers, 1942–1981, AAA-SI.
1085
Joan Mitchell to Mike Goldberg, Sat., n.d. [c. 1951], Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Mike Goldberg, April 26, 1951, Michael Goldberg Papers, 1942–1981, AAA-SI.
1086
Joan Mitchell to Mike Goldberg, April 26, 1951, Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Mike Goldberg, Tuesday evening, 1951, Michael Goldberg Papers, 1942–1981, AAA-SI.
1087
Joan Mitchell to Mike Goldberg, Tuesday evening, 1951, Michael Goldberg Papers, 1942–1981, AAA-SI.
1088
Joan Mitchell to Mike Goldberg, Sat., n.d. [c. 1951], Michael Goldberg Papers, 1942–1981, AAA-SI; Fried, The Ego in Love and Sexuality, 15.
1089
Edrita Fried, Active/Passive: The Crucial Psychological Dimension (New York: Grune & Stratton, 1970), 4–5, Joan Mitchell Library, JMF.
1090
Fried, The Ego in Love and Sexuality, 1, 15, 17.
1091
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1092
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1093
Albers, Joan Mitchell, 163.
1094
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1095
Gruen, The Party’s Over Now, 41–42; Rosset, “The Subject Is Left Handed”, manuscript courtesy Astrid Myers Rosset, n.p.
1096
Joan Mitchell to Mike Goldberg, April 26, 1951, Michael Goldberg Papers, 1942–1981, AAA-SI.
1097
Кэмпбелл Дж. Тысячеликий герой. СПб.: Питер, 2018. С. 169.
1098
Perloff, Frank O’Hara, 31. Фраза взята из записи в дневнике Фрэнка О’Хары, сделанной им в первый год учебы в Гарвардском университете, 1948–1949.
1099
Joseph Campbell, The Hero with a Thousand Faces, 178.
1100
Grigor, Shattering Boundaries, film.
1101
Larry Campbell to Grace Hartigan, April 10, 1984, Box 6, Grace Hartigan Papers, Syracuse.
1102
Grigor, Shattering Boundaries, film.
1103
Bennett, “Lee Krasner, in Her Own Right”, 2.
1104
Helen Frankenthaler to Sonya Gutman, postcard postmarked March 15, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton.
1105
Helen Frankenthaler to Sonya Gutman, January 30, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 2; Helen Frankenthaler to Sonya Gutman, Sunday, postmarked March 19, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, Princeton, 1.
1106
Helen Frankenthaler to Sonya Gutman, postmarked January 17, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1107
Potter, To a Violent Grave, 135.
1108
Engelmann, Jackson Pollock and Lee Krasner, 74.
1109
Helen Frankenthaler to Sonya Gutman, January 30, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 3.
1110
Helen Frankenthaler to Sonya Gutman, postmarked January 17, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1111
Helen Frankenthaler to Sonya Gutman, dated “Sunday”, postmarked March 19, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1112
Helen Frankenthaler, interview by John Gruen, AAA-SI, 1.
1113
Helen Frankenthaler to Sonya Gutman, May 7, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 2.
1114
Helen Frankenthaler to Sonya Gutman, Sunday, postmarked March 19, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton; Elderfield, “Painted on 21st Street”, 49.
1115
Helen Frankenthaler to Sonya Gutman, dated “Monday pm”, postmarked May 29, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1116
Helen Frankenthaler, interview by Deborah Solomon.
1117
Helen Frankenthaler to Sonya Gutman, dated “Monday pm”, postmarked May 29, 1951, Box 1 Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1118
“After Mountains and Sea”, 29.
1119
Helen Frankenthaler, interview by Barbara Rose, GRI.
1120
Helen Frankenthaler, interview by Deborah Solomon.
1121
Helen Frankenthaler, interview by Deborah Solomon.
1122
Helen Frankenthaler to Sonya Gutman, May 7, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 2.
1123
Solomon, Jackson Pollock, 221.
1124
Robert Goodnough, “Pollock Paints a Picture”, 78; “Jackson Pollock: Black and White”, 7–8.
1125
Lee Krasner, interview by Robert Coe, videotape courtesy PKHSC; Naifeh and Smith, Jackson Pollock, 672; Solomon, Jackson Pollock, 222.
1126
Friedman, Jackson Pollock: Energy Made Visible, 179–80; Naifeh and Smith, Jackson Pollock, 672.
1127
Lee Krasner, interview by Robert Coe, videotape courtesy PKHSC.
1128
Potter, To a Violent Grave, 139.
1129
Naifeh and Smith, Jackson Pollock, 672.
1130
Rose, Frankenthaler, 29; Munro, Originals, 216–217; Deborah Solomon, “Interview with Helen Frankenthaler”, 793.
1131
Solomon, “Interview with Helen Frankenthaler”, 793.
1132
Naifeh and Smith, Jackson Pollock, 641.
1133
Potter, To a Violent Grave, 139.
1134
Landau, Lee Krasner: A Catalogue Raisonné, 123.
1135
Helen Frankenthaler, interview by Deborah Solomon.
1136
Rose, Frankenthaler, 30–31; Solomon, “Interview with Helen Frankenthaler”, 793.
1137
Rose, Frankenthaler, 30–31.
1138
“After Mountains and Sea”, 31.
1139
“Jackson Pollock: An Artists’ Symposium, Part I”; Alison Rowley, Helen Frankenthaler, 8.
1140
Potter, To a Violent Grave, 156–157.
1141
“Jackson Pollock: An Artists’ Symposium, Part I”.
1142
Potter, To a Violent Grave, 156–157.
1143
“Jackson Pollock: An Artists’ Symposium, Part I”.
1144
Alfred Leslie, interview conducted by Jack Taylor; Rose, Frankenthaler, 30; Helen Frankenthaler, interview by Dodie Kazanjian, AAA-SI, 4.
1145
Hiram Carruthers Butler, “De Kooning and Friends”, 25; Helen Frankenthaler, interview by Dodie Kazanjian, AAA-SI, 5.
1146
Alcopley, interview by Jack Taylor.
1147
Grace Hartigan journal excerpts, April 17, 1951, Box 31, Grace Hartigan Papers, Syracuse; Grace Hartigan journal excerpts, April 25, 1951, Box 31, Grace Hartigan Papers, Syracuse; Grace Hartigan Journal Excerpts, April 30, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1148
Grace Hartigan journal excerpts, April 30, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1149
Grace Hartigan journal excerpts, April 30, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1150
Oral history interview with Grace Hartigan, AAA-SI.
1151
Stevens and Swan, De Kooning, 315.
1152
Stevens and Swan, De Kooning, 316.
1153
Oral history interview with Leo Castelli, July 1969, AAA-SI.
1154
Oral history interview with James Rosati, AAA-SI.
1155
Mary Abbott, interview by author; Lieber, Reflections in the Studio, 38; oral history interview with Ludwig Sander, AAA-SI.
1156
Lieber, Reflections in the Studio, 38.
1157
Lieber, Reflections in the Studio, 38.
1158
Herman Cherry, interview by Jack Taylor; oral history interview with Ludwig Sander, AAA-SI; Edgar, Club Without Walls, 96; Giorgio Cavallon, interview by Jack Taylor.
1159
Harold and May Rosenberg, interview by John Gruen, AAA-SI, 30.
1160
Herman Cherry, interview by Jack Taylor; oral history interview with Ludwig Sander, AAA-SI; Edgar, Club Without Walls, 96; Giorgio Cavallon, interview by Jack Taylor; Harold and May Rosenberg, interview by John Gruen, AAA-SI, 30.
1161
Lee Krasner, unpublished notes for a lecture at the New York Studio School, December 1977, Series 2, Subseries 5, Box 10, Folder 11, Jackson Pollock and Lee Krasner Papers, AAA-SI, 36.
1162
Helen Frankenthaler to Grace Hartigan, August 3, 1951, Box 12, Grace Hartigan Papers, Syracuse.
1163
Grace Hartigan journal excerpts, June 11, 1951, Box 31, Grace Hartigan Papers, Syracuse; Grace Hartigan journal excerpts, June 26, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1164
Grace Hartigan journal excerpts, June 26, 1951, Box 31, Grace Hartigan Papers, Syracuse; Grace Hartigan journal excerpts, July 5, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1165
Grace Hartigan journal excerpts, July 30, 1951, Box 31, Grace Hartigan Papers, Syracuse; oral history interview with Grace Hartigan, AAA-SI; Grace Hartigan journal excerpts, July 5, Box 31, Grace Hartigan Papers, Syracuse.
1166
Helen Frankenthaler to Grace Hartigan, August 3, 1951, Box 12, Grace Hartigan Papers, Syracuse; Grace Hartigan journal excerpts, August 21, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1167
Oral history interview with Joan Mitchell, May 21, 1965, AAA-SI; Albers, Joan Mitchell, 172.
1168
Albers, Joan Mitchell, 172.
1169
Albers, Joan Mitchell, 171; Joan Mitchell to Michael Goldberg, “Wednesday”, n.d., 1951, Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Michael Goldberg, n.d., 1951, Michael Goldberg Papers, AAA-SI.
1170
Joan Mitchell to Michael Goldberg, n.d., 1951, Michael Goldberg Papers, 1942–1981, AAA-SI.
1171
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 170; Bernstock, Joan Mitchell, 21.
1172
Marion Stroebel to Joan Mitchell, n.d. [spring/summer 1951], JMFA001, JMF.
1173
Albers, Joan Mitchell, 177–179.
1174
Oral history interview with Eugene V. Thaw, AAA-SI; oral history interview with Joan Mitchell, May 21, 1965, AAA-SI; Stefanelli, “The Cedar Bar”, 59; Albers, Joan Mitchell, 172–173.
1175
Joan Mitchell to Michael Goldberg, n.d., 1951, Michael Goldberg Papers, 1942–1981, Archives of American Art.
1176
Milazzo, “Caravaggio on the Beach”, 12.
1177
“Grove Genesis”, interview with Barney Rosset, Barney Rosset Papers, Series II, Box 3, Folder 21, Disk 12, Columbia.
1178
“Grove Genesis”, interview with Barney Rosset, Series II, Box 3, Folder 21, Disk 12, Barney Rosset Papers, Columbia; “On Buying Grove”, Barney Rosset interview, Barney Rosset Papers, Box 3, Folder 34, Series II, Disk 30, Columbia.
1179
“Barney Rosset Reminiscences of Moving to New York in 1949”, Barney Rosset Papers, Columbia University Library; “Grove Genesis”, Barney Rosset interview, Barney Rosset Papers, Series II, Box 3, Folder 34, Disk 12, Columbia; “On Buying Grove”, Barney Rosset interview, Barney Rosset Papers, Box 3, Folder 34, Series II, Disk 30, Columbia.
1180
“Barney Rosset Reminiscences of Moving to New York in 1949”, Barney Rosset Papers, Columbia University Library; “Grove Genesis”, Barney Rosset interview, Barney Rosset Papers, Series II, Box 3, Folder 34, Disk 12, Columbia. Джоан читала эту книгу на французском, но на английском она тоже выходила.
1181
Группа художников-абстракционистов, выражавших протест против политики нью-йоркского Метрополитен-музея по отношению к изобразительному искусству Соединенных Штатов 1940-х гг. Прим. пер.
1182
Landau, Lee Krasner: A Catalogue Raisonné, 123.
1183
Landau, Lee Krasner: A Catalogue Raisonné, 123.
1184
Solomon, Jackson Pollock, 225.
1185
Norma Broude and Mary D. Garrard, eds., The Expanding Discourse, 431.
1186
Landau, Lee Krasner: A Catalogue Raisonné, 123.
1187
Potter, To a Violent Grave, 146.
1188
Oral history interview with Lee Krasner, November 2, 1964 — April 11, 1968, AAA-SI; Solomon, Jackson Pollock, 222–223; Landau, Lee Krasner: A Catalogue Raisonné, 123.
1189
Paintings by Helen Frankenthaler, Tibor de Nagy Gallery, November 12, 1951.
1190
Nemser, Art Talk, 92.
1191
Lee Krasner, interview by Barbara Cavaliere, AAA-SI, 24.
1192
Livingston, The Paintings of Joan Mitchell, 22.
1193
Grace Hartigan, journal excerpts, October 23, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1194
Helen Frankenthaler, interview by Deborah Solomon.
1195
Ellen M. Iseman, “Helen Frankenthaler”, 338; Helen Frankenthaler to Sonya Gutman, November 8, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1196
Helen Frankenthaler to Sonya Gutman, postmarked November 23, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 1–2.
1197
Myers, Tracking the Marvelous, 154.
1198
Grace Hartigan journal excerpts, December 3, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1199
Greer, The Obstacle Race, 142; Charles Sterling, “A Fine ‘David’ Reattributed”, 121–132; Parker and Pollock, Old Mistresses, 106; Marie Joséphine Charlotte du Val d’Ognes (d. 1868), http://www.metmuseum.org/art/collection/search/437903. The portrait of Marie Joséphine Charlotte du Val d’Ognes was later determined by the Met to be the work of another woman, French artist Marie Denise Villers.
1200
Malina, The Diaries of Judith Malina, 248; Lynn White Jr., Educating Our Daughters, 46. В этой книге Уайт пишет: «Перед лицом быстро растущего числа свидетельств, подтверждающих, что творчество тесно связано с полом, ортодоксальная феминистка… просто вынуждена сделать трагический вывод о том, что женщина есть низшая разновидность нашего биологического вида».
1201
Philip Pavia, interview by Jack Taylor.
1202
Grace Hartigan journal excerpts, December 3, 1951, Box 31, Grace Hartigan Papers, Syracuse.
1203
Mattison, Grace Hartigan, 42; La Moy and McCaffrey, The Journals of Grace Hartigan, 19.
1204
Helen Frankenthaler to Sonya Gutman, December 17, 1951, Box 1, Folder 3, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1205
Helen Frankenthaler, interview by Deborah Solomon.
1206
Naifeh and Smith, Jackson Pollock, 678; Solomon, Jackson Pollock, 225–226.
1207
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 3:105; Rubenfeld, Clement Greenberg, 160.
1208
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 3:105.
1209
Munro, Originals, 116.
1210
“Jackson Pollock: Black and White”, 7–8.
1211
Solomon, Jackson Pollock, 227.
1212
Solomon, Jackson Pollock, 226–227.
1213
Munro, Originals, 116.
1214
“Jackson Pollock: Black and White”, 8.
1215
Perloff, Frank O’Hara, 31. Фраза взята из записи в дневнике Фрэнка О’Хары, сделанной им в первый год учебы в Гарвардском университете, 1948–1949.
1216
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Joan Mitchell to Michael Goldberg, June 13, 1954, Springs, East Hampton, to New York, Michael Goldberg Papers, AAA-SI.
1217
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; oral history interview with Joan Mitchell, May 21, 1965, AAA-SI; Larry Rivers Journal, Monday, January 14, 1952, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU.
1218
Albers, Joan Mitchell, 182–183.
1219
Milazzo, “Caravaggio on the Beach”, 13; Albers, Joan Mitchell, 182–83; Rosset, “The Subject Is Left Handed”, manuscript courtesy Astrid Myers Rosset, n.p.
1220
Oral history interview with Eugene V. Thaw, AAA-SI.
1221
Paul Brach, “Review: Joan Mitchell”, n.p.; Livingston, The Paintings of Joan Mitchell, 21–22.
1222
Oral history interview with Joan Mitchell, May 21, 1965, AAA-SI.
1223
Elaine de Kooning, interview by Amei Wallach, 7, 12; Ernestine Lassaw, interview by author; Elaine de Kooning to Josef Albers, n.d., New York to New Haven, Connecticut, courtesy The Josef and Anni Albers Foundation.
1224
La Moy and McCaffrey, The Journals of Grace Hartigan, 22; Albers, Joan Mitchell, 182–183.
1225
La Moy and McCaffrey, The Journals of Grace Hartigan, 21–22.
1226
Albers, Joan Mitchell, 183; Edgar, Club Without Walls, 168; Munro, Originals, 245.
1227
Philip Pavia, “The Hess Problem”, 9, 12.
1228
Hess, Abstract Painting, 66–67, 69, 83.
1229
Hess, Abstract Painting, 28–92, 83; Pavia, “The Hess Problem”, 9; Morris Wright, “The Violent Land”, 99, 101. Любопытно, что Гесс почти не тратит времени на такие темы, как импрессионизм или влияние Мане на современное искусство.
1230
Pavia, “The Hess Problem”, 9; Hess, Abstract Painting, 83. Гесс тоже говорил о таком факторе влияния сюрреализма — не из-за способа нанесения краски на холст, а из-за идеи сюрреализма, согласно которой бессознательное является источником вдохновения художника. Он описывал абстракционистов как людей, обладающих «авторитетом»; экспрессионистов — как носителей «эмоциональной интенсивности», а сюрреалистов — как тех, для кого характерна «личная свобода».
1231
Sandler, A Sweeper Up After Artists, 36; Edgar, Club Without Walls, 109; Pavia, “The Hess Problem”, 9.
1232
Pavia, “The Hess Problem”, 12.
1233
Pavia, “The Hess Problem”, 9, 12; Edgar, Club Without Walls, 165.
1234
Edgar, Club Without Walls, 168–69; Natalie Edgar, interview by author, December 8, 2013; Lehman, The Last Avant-Garde, 7.
1235
LeSueur, Digressions on Some Poems by Frank O’Hara, 85; “Art with the Touch of a Poet: Frank O’Hara”, n.p.
1236
Frank O’Hara to Judith Schmidt, January 18, 1957, Donald Allen Collection of Frank O’Hara Letters, UConn.
1237
Perloff, Frank O’Hara, 3.
1238
Ashbery, Reported Sightings, 241; Lehman, The Last Avant-Garde, 56.
1239
Gooch, City Poet, 14–16.
1240
Gooch, City Poet, 23, 31–32.
1241
Gooch, City Poet, 38–39.
1242
Gooch, City Poet, 47, 56; Perloff, Frank O’Hara, 34.
1243
James Schuyler, “Frank O’Hara: Poet Among Painters”, 44; Lehman, The Last Avant-Garde, 40; Gooch, City Poet, 47, 58–59, 77.
1244
Perloff, Frank O’Hara, 32.
1245
Perloff, Frank O’Hara, 32; Lehman, The Last Avant-Garde, 40.
1246
Rivers, What Did I Do?, 464.
1247
Rivers, What Did I Do?, 464; Gooch, City Poet, 51; LeSueur, Digressions on Some Poems by Frank O’Hara, 62, 68–69; Terrell Scott Herring, “Frank O’Hara’s Open Closet”, 416, 425–426. Херринг утверждает, что Фрэнк также никогда не пытался выступать в своих стихах как поэт «традиционной» ориентации. В его стихах не было открытого признания в гомосексуальности, но он никогда не старался скрыть, кем был.
1248
John D’Emilio, Sexual Politics, Sexual Communities, 14.
1249
John D’Emilio, Sexual Politics, Sexual Communities, 24; Bram, Eminent Outlaws, 12.
1250
Gooch, City Poet, 85.
1251
Gooch, City Poet, 90, 92, 95, 102, 106; Schuyler, “Frank O’Hara: Poet Among Painters”, 44.
1252
Perloff, Frank O’Hara, 31, 35.
1253
Gooch, City Poet, 115; Perloff, Frank O’Hara, 35; Albers, Joan Mitchell, 89–90.
1254
Gooch, City Poet, 136–137.
1255
Gooch, City Poet, 136–137.
1256
Lehman, The Last Avant-Garde, 9–11; John Ashbery, “The Invisible Avant-Garde”, 125. Эшбери писал: «На самом деле в этой стране практически никто не занимался экспериментальной поэзией, если не считать довольно жалких попыток горстки поэтов, которые пытались подражать некоторым эффектам французских сюрреалистов. В других видах искусства ситуация была несколько иной».
1257
Frank O’Hara to Jane Freilicher, June 6, 1951, Michigan to New York, Series I, F10, Jane Freilicher Papers, 1945–1995 (MS Am 2072), Houghton Library, Harvard University.
1258
Lehman, The Last Avant-Garde, 256.
1259
Lehman, The Last Avant-Garde, 41.
1260
Lehman, The Last Avant-Garde, 257, 259; Bill Berkson and Joe LeSueur, eds., Homage to Frank O’Hara, 82; LeSueur, Digressions, xiv.
1261
Rivers, What Did I Do?, 273.
1262
Kenneth Koch notes for “On Frank O’Hara”, July 7, 1988, Box 166, Folder 3, Kenneth Koch Papers, NYPL.
1263
Lehman, The Last Avant-Garde, 213–216.
1264
Пер. с англ.: cock — петух. Прим. пер.
1265
Lehman, The Last Avant-Garde, 42–43, 217.
1266
Rivers, What Did I Do?, 214.
1267
Lehman, The Last Avant-Garde, 121–123.
1268
Lehman, The Last Avant-Garde, 126, 131.
1269
Jane Freilicher, interview by author; Lehman, The Last Avant-Garde, 55.
1270
Kenneth Koch, “A Physical World”, lecture at Jane Freilicher exhibition, Manchester, New Hampshire, 1986, Box 165, Folder 10, Kenneth Koch Papers, 1939–1995, NYPL; Jane Freilicher, interview by author; Lehman, The Last Avant-Garde, 55.
1271
Jane Freilicher, interview by author; Ashbery, Reported Sightings, 240.
1272
Hauser, The Social History of Art, 2:57.
1273
Gooch, City Poet, 174; Gruen, The Party’s Over Now, 141; LeSueur, Digressions, xxiii.
1274
Jane Freilicher, Painter Among the Poets, 50; Berkson and LeSueur, Homage to Frank O’Hara, 23.
1275
Kenneth Koch notes for “On Frank O’Hara”, July 7, 1988, Box 166, Folder 3, Kenneth Koch Papers, NYPL.
1276
Schuyler, “Frank O’Hara: Poet Among Painters”, 45.
1277
Perloff, Frank O’Hara, 196; Lehman, The Last Avant-Garde, 166.
1278
Howard Griffin notes on Frank O’Hara, Holograph Draft, ca. 1966, Frank O’Hara Collection of Papers, NYPL; Kenneth Koch notes for “On Frank O’Hara”, July 7, 1988, Box 166, Folder 3, Kenneth Koch Papers, NYPL.
1279
Berkson and LeSueur, Homage to Frank O’Hara, 13; Friedman, Give My Regards to Eighth Street, 105.
1280
Gooch, City Poet, 177–178.
1281
Rivers, What Did I Do?, 228; Gruen, The Party’s Over Now, 141.
1282
Gooch, City Poet, 175–176.
1283
Rivers, What Did I Do?, 228.
1284
Barrett, Irrational Man, 130.
1285
Baudelaire, The Painter of Modern Life, 9–10.
1286
Schuyler, “Frank O’Hara: Poet Among Painters”, 45; Gooch, City Poet, 207; Perloff, Frank O’Hara, 57–58.
1287
Schuyler, “Frank O’Hara: Poet Among Painters,” 45.
1288
Allen, The Collected Poems of Frank O’Hara, viii.
1289
Kenneth Koch, Frank O’Hara Random Remarks, or an Adventure in Conversation, Box 166, Folder 3, Kenneth Koch Papers, 1939–1995, NYPL; Robert Hampson and Will Montgomery, eds., Frank O’Hara Now, 196; Allen, The Collected Poems of Frank O’Hara, viii.
1290
Frank O’Hara, “Larry Rivers: A Memoir”, offprint from an exhibition catalog, Brandeis University, 1965, Box 182, Folder 18, Kenneth Koch Papers, 1939–1995, NYPL.
1291
Frank O’Hara, “Larry Rivers: A Memoir”, offprint from an exhibition catalog, Brandeis University, 1965, Box 182, Folder 18, Kenneth Koch Papers, 1939–1995, NYPL.
1292
Natalie Edgar, interviews by author, October 20, 2014, New York, and December 8, 2013, East Hampton, New York; Edgar, Club Without Walls, 61; Lehman, The Last Avant-Garde, 7; Gooch, City Poet, 216.
1293
Elaine de Kooning, interview by Arthur Tobier, 9.
1294
Edgar, Club Without Walls, 168–169; Gooch, City Poet, 216.
1295
“Larry Rivers on The Club”, 50.
1296
Larry Rivers Journals, March 11, 1952, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU; Notes on Larry Rivers, Sam Hunter Papers, Roll 630, AAA-SI.
1297
La Moy and McCaffrey, The Journals of Grace Hartigan, 25.
1298
Larry Rivers Journals, March 11, 1952, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU.
1299
Alfred Leslie, interview by Jack Taylor; Larry Rivers Journals, March 11, 1952, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU.
1300
Larry Rivers Journals, March 11, 1952, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU.
1301
Alfred Leslie, interview by Jack Taylor; Larry Rivers Journals, March 11, 1952, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU.
1302
David Lund, “Scenes from the Cedar”, 49; Alfred Leslie, interview by Jack Taylor.
1303
Dorfman, Out of the Picture, 277; Lund, “Scenes from the Cedar”, 49; Alfred Leslie, interview by Jack Taylor.
1304
Alfred Leslie, interview by Jack Taylor.
1305
Alfred Leslie, interview by Jack Taylor; oral history interview with Elaine de Kooning, AAA-SI.
1306
“Larry Rivers on The Club”, 51; Rivers, What Did I Do?, 282; oral history interview with Harold Rosenberg, AAA-SI.
1307
Edgar, Club Without Walls, 64; oral history interview with Harold Rosenberg, AAA-SI.
1308
Edgar, Club Without Walls, 64.
1309
Австро-американская актриса и певица. Прим. пер.
1310
Schloss, “The Loft Generation,” Edith Schloss Burckhardt Papers, Columbia, 234.
1311
Hartigan exhibition catalog, Gruenebaum Gallery, January 4 — January 29, 1986, Box 36, Grace Hartigan Papers, Syracuse; Mattison, Grace Hartigan, 20.
1312
Mattison, Grace Hartigan, 20; Hartigan exhibition catalog, Gruenebaum Gallery, January 4 — January 29, 1986, Box 36, Grace Hartigan Papers, Syracuse; Polcari, Abstract Expressionism and the Modern Experience, 349; Allen, The Collected Poems of Frank O’Hara, 513.
1313
Oral history interview with Grace Hartigan, AAA-SI; Nemser, Art Talk, 156.
1314
Gibson, Abstract Expressionism, 22.
1315
Polcari, Abstract Expressionism and the Modern Experience, 349; La Moy and McCaffrey, The Journals of Grace Hartigan, 1951–1955, 24.
1316
Nemser, Art Talk, 156–157.
1317
Nemser, Art Talk, 157.
1318
Oral history interview with Grace Hartigan, AAA-SI.
1319
Larry Rivers, “Cedar”, unpublished notes, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU, 12–13.
1320
Mattison, Grace Hartigan, 21.
1321
“Grace Hartigan, Painting from Popular Culture, Three Decades”, Susquehanna Art Museum.
1322
“Grace Hartigan, Painting from Popular Culture, Three Decades”, Susquehanna Art Museum.
1323
La Moy and McCaffrey, The Journals of Grace Hartigan, 1951–1955, 24.
1324
Curtis, Restless Ambition, 81.
1325
Rex Stevens, interview by author.
1326
Rivers, What Did I Do?, 302.
1327
Grace Hartigan journal excerpts, August 31, 1951, Box 31, Grace Hartigan Papers, Syracuse; Curtis, Restless Ambition, 81.
1328
Rex Stevens, interview by author.
1329
Rex Stevens, interview by author.
1330
Oral history interview with Grace Hartigan, AAA-SI; Gooch, City Poet, 211.
1331
Koch, “A Physical World”, lecture at Jane Freilicher exhibition, Kenneth Koch Papers, Box 165, Folder 10, Kenneth Koch Papers, 1939–1995, NYPL; Lehman, The Last Avant-Garde, 59.
1332
Jane Freilicher, interview by author.
1333
Sawin, Nell Blaine, 45.
1334
Lehman, The Last Avant-Garde, 64.
1335
Gooch, City Poet, 13, 210–11.
1336
Frank O’Hara to Philip O’Hara, January 11, 1963, Donald Allen Collection of Frank O’Hara Letters, UConn.
1337
Gooch, City Poet, 211.
1338
Grigor, Shattering Boundaries, film.
1339
LeSueur, Digressions, 103.
1340
Gooch, City Poet, 213.
1341
Gooch, City Poet, 212; Maggie Nelson, Women, the New York School, and Other True Abstractions, 53. Отношения Грейс и Фрэнка не были для того времени чем-то необычным. Из-за неприятия общества многие гомосексуалы и лесбиянки заключали традиционные браки и даже строили своеобразные любовные отношения, удовлетворяя сексуальные потребности на стороне.
1342
Larry Rivers Journals, February 14, 1952, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU; Larry Rivers Journals, February 17, 1952, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 20, Folder 3, NYU.
1343
Rivers, What Did I Do?, 129.
1344
Jane Freilicher, interview by author.
1345
Frank O’Hara Poems from the Tibor de Nagy Editions, 7; Gooch, City Poet, 213.
1346
Berksen and LeSueur, Homage to Frank O’Hara, 142.
1347
La Moy and McCaffrey, The Journals of Grace Hartigan, 27; Grace Hartigan Journals, March 12, 1952, Box 31, Grace Hartigan Papers, Syracuse.
1348
La Moy and McCaffrey, The Journals of Grace Hartigan, 26.
1349
La Moy and McCaffrey, The Journals of Grace Hartigan, 27.
1350
Rubenfeld, Clement Greenberg, 156.
1351
Mattison, Grace Hartigan, 20.
1352
Rubenfeld, Clement Greenberg, 156–157.
1353
Mary Abbott, interview by author.
1354
Grace Hartigan Journals, March 29, 1952, Box 31, Grace Hartigan Papers, Syracuse.
1355
La Moy and McCaffrey, The Journals of Grace Hartigan, 1951–1955, 30.
1356
T. S. Eliot, The Sacred Wood, 45.
1357
La Moy and McCaffrey, The Journals of Grace Hartigan, 29–30, 31–32.
1358
La Moy and McCaffrey, The Journals of Grace Hartigan, 28, 31.
1359
La Moy and McCaffrey, The Journals of Grace Hartigan, 28, 40.
1360
Elaine de Kooning, “Two Americans in Action”, 89.
1361
Marquis, Alfred H. Barr, Jr., 139, 141; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 69; oral history interview with Dorothy C. Miller, AAA-SI.
1362
Szarkowski and Elderfield, The Museum of Modern Art at MidCentury, 69–70; Perl, New Art City, 417.
1363
Oral history interview with Dorothy C. Miller, AAA-SI.
1364
Oral history interview with Dorothy C. Miller, AAA-SI; Marquis, Alfred H. Barr, Jr., 140; Dorothy C. Miller, interview by Barbara Rose, GRI; Matossian, Black Angel, 309.
1365
Oral history interview with Dorothy C. Miller, AAA-SI; John Gruen, typewritten draft article on Dorothy Miller, 1976, John Jonas Gruen and Jane Wilson Papers, 1952–2003, AAA-SI, 5; Potter, To a Violent Grave, 79–80, 157.
1366
Paul Jenkins, interview by Deborah Solomon, January 12, 1984, New York, © 2017 Estate of Paul Jenkins, transcript courtesy of Suzanne D. Jenkins.
1367
Irving Sandler, interview by author.
1368
Lynes, “The Eye of the Beholder”, lecture notes for Smith College Museum of Art, May 5, 1985, Box 1, Russell Lynes Papers 1935–1986, AAA-SI, 19.
1369
Oral history interview with Dorothy C. Miller, AAA-SI; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 58; Gruen, typewritten draft article on Dorothy Miller, 1976, John Jonas Gruen and Jane Wilson Papers, 1952–2003, AAA-SI, 8.
1370
Oral history interview with Dorothy C. Miller, AAA-SI.
1371
Oral history interview with Dorothy C. Miller, AAA-SI; Dore Ashton, interview by author.
1372
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 58, 68; Marquis, Alfred H. Barr, Jr., 139.
1373
Oral history interview with Dorothy C. Miller, AAA-SI; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 57–58.
1374
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 58–59.
1375
Myers, Tracking the Marvelous, 79.
1376
Oral history interview with Dorothy C. Miller, AAA-SI; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 65.
1377
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 70, 73.
1378
Oral history interview with Dorothy C. Miller, AAA-SI; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 74–75.
1379
Oral history interview with Dorothy C. Miller, AAA-SI.
1380
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 75.
1381
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 73, 88; Seitz, Abstract Expressionist Painting in America, 56. Зейтц сказал, что истинный художник-авангардист всегда понимает, что при первом просмотре его работа может показаться «отвратительной». «Они осознают психологическую и историческую истину, гласящую, что связь произведения искусства с аудиторией является транзакцией долгосрочной».
1382
Szarkowski and Elderfield, The Museum of Modern Art at MidCentury, 68; Lukach, Hilla Rebay, 48, 293; Daniel Belasco, “Between the Waves”, 121; Kaplan, 1959, 161. Одной из немногих была Хилла Рибей, в течение двадцати пяти лет формировавшая коллекцию Музея Гуггенхайма, но в 1952 году племянник покойного Соломона Гуггенхайма ее уволил. Он решил, что музеем Соломона Р. Гуггенхайма должен руководить мужчина.
1383
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 67–68.
1384
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 72; Marquis, Alfred H. Barr, Jr., 255.
1385
Oral history interview with Dorothy C. Miller, AAA-SI.
1386
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 71; Marquis, Alfred H. Barr, Jr., 255; Eric Hodgins and Parker Lesley, “The Great International Art Market”, 156; Deirdre Robson, “The Avant-Garde and the On-Guard”, 220.
1387
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 70.
1388
Stevens and Swan, De Kooning, 320; Willem de Kooning 1951 income tax return, Willem and Elaine de Kooning Papers, AAA-SI.
1389
Stevens and Swan, De Kooning, 320.
1390
Elaine de Kooning, interview by Arthur Tobier, 4–5; Stevens and Swan, De Kooning, 331.
1391
“Philip Pavia Talks on the War Years”, 19.
1392
Elaine de Kooning to Josef Albers, n.d. [ca. spring 1952], courtesy The Josef and Anni Albers Foundation.
1393
Elaine de Kooning, interview by Arthur Tobier, 4–5; Dawson, An Emotional Memoir of Franz Kline, 35–37.
1394
Gruen, The Party’s Over Now, 218; Stevens and Swan, De Kooning, 331.
1395
Elaine de Kooning, interview by Jeffrey Potter, courtesy the PKHSC; oral history interview with Harold Rosenberg, AAA-SI.
1396
Herrera, “Le Feu Ardent”, 8–9.
1397
Elaine de Kooning, interview by Jeffrey Potter, courtesy the PKHSC.
1398
De Coppet and Jones, The Art Dealers, 85–86; Stevens and Swan, De Kooning, 316, 319. Кастелли посоветовал Биллу начать сотрудничать с галереей Джениса в 1951 году.
1399
Stevens and Swan, De Kooning, 316.
1400
Oral history interview with Leo Castelli, July 1969, AAA-SI.
1401
Gruen, The Party’s Over Now, 218.
1402
Elaine de Kooning to Aristodemis Kaldis, June 1952, Aristodemis Kaldis Papers, Roll D177, AAA-SI.
1403
Elaine de Kooning, interview by Charles Hayes, 27.
1404
Gruen, The Party’s Over Now, 218; “Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 17; Hall, Elaine and Bill, 134.
1405
Stahr, “Elaine de Kooning, Portraiture, and the Politics of Sexuality”, 28.
1406
Hess, Willem de Kooning (1968), 75; Gooch, City Poet, 235.
1407
Mercedes Matter, interview by Sigmund Koch, Tape 4A, Aesthetics Research Archive.
1408
Gruen, The Party’s Over Now, 218; Stevens and Swan, De Kooning, 344–45; Gooch, City Poet, 235.
1409
Mercedes Matter, interview by Jack Taylor; Lionel Abel, “Scenes from the Cedar Bar”, 42.
1410
Abel, The Intellectual Follies, 216.
1411
Abel, “Scenes from the Cedar Bar”, 42; Elaine de Kooning, interview by Ellen Auerbach, 25–26.
1412
Abel, The Intellectual Follies, 215; Abel, “Scenes from the Cedar Bar”, 42.
1413
Elaine de Kooning, interview by Ellen Auerbach, 25–26; Lieber, Reflections in the Studio, 37.
1414
Elaine de Kooning, interview by Minna Daniels, 40.
1415
Gruen, The Party’s Over Now, 218–19.
1416
Harrison and Denne, Hamptons Bohemia, 75; Potter, To a Violent Grave, 122.
1417
Oral history interview with Harold Rosenberg, AAA-SI; Stevens and Swan, De Kooning, 334; Kleeblatt, Action/Abstraction, 208, 212–213.
1418
Waldemar Hanson to Grace Hartigan, Sept. 10, 1952, Easthampton to New York, Box 14, Grace Hartigan Papers, Syracuse.
1419
Richard M. Cook, ed., Alfred Kazin’s Journals, 134n59.
1420
Harold Rosenberg, “The American Action Painters”, 49.
1421
Rosenberg, “The American Action Painters”, 22; Dewey, Art as Experience, 26–27. В 1934 году Дьюи, которого Розенберг читал и обсуждал со своими коллегами, писал, что для настоящего искусства характерен «акт» творчества. Он пришел к выводу, что различие между истинным искусством и искусством коммерческим заключается в способности зрителя видеть на холсте или в камне деятельность художника; ощущать художника в его произведении как живого, независимо от того, как далеко он ушел.
1422
Rosenberg, “The American Action Painters”, 23.
1423
Rosenberg, “The American Action Painters”, 23, 48.
1424
Rosenberg, “The American Action Painters”, 48.
1425
Rosenberg, “The American Action Painters”, 23.
1426
Rosenberg, The Anxious Object, 42, 44; Kleeblatt, Action/Abstraction, 126.
1427
Oral history interview with Harold Rosenberg, AAA-SI.
1428
Thomas B. Hess, interview by Barbaralee Diamonstein, provided by Dr. Barbaralee Diamonstein Spielvogel, interviewer and author, from Inside New York’s Art World, 140.
1429
Sandler, A Sweeper Up After Artists, 182. Сэндлер добавляет к этому списку художника, которым они все восхищались, Билла.
1430
Rubenfeld, Clement Greenberg, 173.
1431
Hall, Elaine and Bill, 117.
1432
Gruen, The Party’s Over Now, 183.
1433
Oral history interview with Herman Cherry, AAA-SI.
1434
George McNeil, interview by Jack Taylor.
1435
Elizabeth Baker, interview by author; “Larry Rivers on The Club”, 51; Myers, Tracking the Marvelous, 196; Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 280.
1436
Elizabeth Baker, interview by author, January 20, 2014.
1437
Oral history interview with Fairfield Porter, June 6, 1968, AAA-SI.
1438
Rubenfeld, Clement Greenberg, 174; Hess, Abstract Painting, 110.
1439
Natalie Edgar, interview by author.
1440
Rubenfeld, Clement Greenberg, 173.
1441
Gruen, The Party’s Over Now, 208.
1442
Hall, Elaine and Bill, 116–117.
1443
Stevens and Swan, De Kooning, 346.
1444
Stahr, “The Social Relations of Abstract Expressionism”, 209.
1445
Natalie Edgar, interview by author, January 20, 2014.
1446
Stahr, “The Social Relations of Abstract Expressionism”, 210.
1447
Elaine de Kooning, interview by Molly Barnes, 10.
1448
Stevens and Swan, De Kooning, 347; Natalie Edgar, interview by author, January 20, 2014.
1449
Gruen, The Party’s Over Now, 208; Stevens and Swan, De Kooning, 347–349.
1450
Natalie Edgar, interview by author, January 20, 2014; Clay Fried, interview by author.
1451
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 279; Hellstein, “Grounding the Social Aesthetics of Abstract Expressionism”, 51–52; oral history interview with Ibram Lassaw and Ernestine Lassaw, AAA-SI.
1452
Diggins, The Proud Decades, 126–127; Halberstam, The Fifties, 234.
1453
Halberstam, The Fifties, 232, 236.
1454
Friedan, The Feminine Mystique, 53; Chafe, Women and Equality, 16.
1455
Halberstam, The Fifties, 234.
1456
Diggins, The Proud Decades, 125–126; Halberstam, The Fifties, 211–212, 239–240, 250–251.
1457
Barbara Guest to Mr. And Mrs. John Pelzel, November 15, 1952, Uncat ZA MS 271, Box 24, Barbara Guest Papers, Yale; Diggory and Miller, The Scene of My Selves, 3, 232, 245–246. Диггори пишет, что репутация Гест до недавнего времени была «подпольной», потому что в 1970 году, когда писалась антология поэтов Нью-Йоркской школы, ее в эту антологию не включили. В 1970-е поэтессу не жаловали и феминистки, которые старались вернуть некоторым обойденным вниманием деятелям искусства их законное место. Но Гест действительно была одним из поэтов Нью-Йоркской школы. Описывая своих друзей-поэтов, которые в первые дни «клубились» вокруг «Кедрового бара» и «Клуба», Фрэнк О’Хара, например, перечислял, как правило, Джона Эшбери, Кеннета Коха и Барбару Гест.
1458
La Moy and McCaffrey, The Journals of Grace Hartigan, 54.
1459
Diggins, The Proud Decades, 128, 131; Brogan, The Penguin History of the United States, 609.
1460
Miller and Nowak, The Fifties: The Way We Really Were, 383.
1461
Cindy Nemser, “Art Talk, Forum Women in Arts”, 18.
1462
Cindy Nemser, “Art Talk, Forum Women in Arts”, 18.
1463
Helen Frankenthaler, interview by John Jones, AAA-SI, 5.
1464
Rubenfeld, Clement Greenberg, 284; de Antonio, Painters Painting, film; Marquis, Art Czar, 129; Helen Frankenthaler, interview by Mitch Tuchman, AAA-SI, 6.
1465
Helen Frankenthaler, interview by Deborah Solomon.
1466
Rose, Frankenthaler, 54.
1467
Friedel Dzubas, interview by Charles Millard, Friedel Dzubas Interviews, AAA-SI; Charles W. Millard, Friedel Dzubas, 26.
1468
Friedel Dzubas, interview by Charles Millard, AAA-SI; Millard, Friedel Dzubas, 22.
1469
Friedel Dzubas, interview by Charles Millard, AAA-SI; Millard, Friedel Dzubas, 23.
1470
Friedel Dzubas, interview by Charles Millard, AAA-SI; Millard, Friedel Dzubas, 23–24.
1471
Millard, Friedel Dzubas, 25.
1472
Sandler, A Sweeper Up After Artists, 190–191.
1473
Millard, Friedel Dzubas, 27; Friedel Dzubas, interview, n.d., Box 1, Folder 14, Irving Sandler Papers, ca. 1944–2007 (bulk 1944–1980), AAA-SI.
1474
Friedel Dzubas, interview by Charles Millard, AAA-SI; Millard, Friedel Dzubas, 11, 26.
1475
Friedel Dzubas, interview by Charles Millard, AAA-SI.
1476
Rubenfeld, Clement Greenberg, 157; La Moy and McCaffrey, The Journals of Grace Hartigan, 107; E. A. Carmean Jr., Helen Frankenthaler, 12.
1477
Donna Poydinecz-Conley, unpublished interview with Helen Frankenthaler, June 14, 1978. Helen Frankenthaler Papers, HFF.
1478
De Antonio, Painters Painting, film; Munro, Originals, 218; Helen Frankenthaler, interview by Mitch Tuchman, AAA-SI, 6–7.
1479
Helen Frankenthaler, interview by Mitch Tuchman, AAA-SI, 7.
1480
“After Mountains and Sea”, 39.
1481
Helen Frankenthaler, interview by Mitch Tuchman, AAA-SI, 8.
1482
Friedel Dzubas, interview by Charles Millard, AAA-SI.
1483
Rose, Frankenthaler, 34–35, 56–57; Gregory Battcock, “Helen Frankenthaler”, 54.
1484
John Elderfield, Helen Frankenthaler, 66.
1485
Helen Frankenthaler, interview by Mitch Tuchman, AAA-SI, 9.
1486
Elderfield, Helen Frankenthaler, 66.
1487
Carmean Jr., Helen Frankenthaler, 12.
1488
Helen Frankenthaler, interview by Mitch Tuchman, AAA-SI, 9; Friedel Dzubas, interview by Charles Millard, AAA-SI; Elderfield, Helen Frankenthaler, 66.
1489
Carmean Jr., Helen Frankenthaler, 12; E. A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
1490
James Brooks, interview by Jack Taylor; Polcari, Abstract Expressionism and the Modern Experience, 259.
1491
Elderfield, Helen Frankenthaler, 66.
1492
John Bernard Myers, interview by Barbara Rose, audiotape, March 12, 1968, Series V, Box 13, R3, GRI.
1493
Naifeh and Smith, Jackson Pollock, 674.
1494
Potter, To a Violent Grave, 165.
1495
Solomon, Jackson Pollock, 233; Naifeh and Smith, Jackson Pollock, 698.
1496
Potter, To a Violent Grave, 166–167.
1497
Naifeh and Smith, Jackson Pollock, 674; Levin, Lee Krasner, 276–177.
1498
Naifeh and Smith, Jackson Pollock, 674–175.
1499
Solomon, Jackson Pollock, 226; Naifeh and Smith, Jackson Pollock, 674.
1500
Solomon, Jackson Pollock, 227.
1501
Levin, “The Extraordinary Interventions of Alfonso Ossorio”, 14; Gaines, Philistines at the Hedgerow, 91, 102; B. H. Friedman, “Alfonso Ossorio”, 30.
1502
Naifeh and Smith, Jackson Pollock, 677–179.
1503
Solomon, Jackson Pollock, 230; Naifeh and Smith, Jackson Pollock, 677–79, 684; Levine, “Portrait of Sidney Janis”, 52; Potter, To a Violent Grave, 147; Hall, Betty Parsons, 94.
1504
Levine, “Portrait of Sidney Janis”, 52.
1505
Potter, To a Violent Grave, 163.
1506
Hall, Betty Parsons, 102–103; Naifeh and Smith, Jackson Pollock, 677–179; Betty Parsons, interview by John Gruen, AAA-SI, 9.
1507
Solomon, Jackson Pollock, 231.
1508
Levin, Lee Krasner, 279; Lee Krasner, interview by John Gruen, AAA-SI, 22.
1509
Potter, To a Violent Grave, 159, 162–63; oral history interview with Conrad Marca-Relli, AAA-SI; Levin, Lee Krasner, 282; Stevens and Swan, De Kooning, 335.
1510
Ангар полуцилиндрической формы из гофрированного железа. Первые строения такого типа были собраны в местечке Куонсет-Пойнт, штат Род-Айленд, в 1941 г. Прим. пер.
1511
Potter, To a Violent Grave, 161.
1512
Potter, To a Violent Grave, 185.
1513
Solomon, Jackson Pollock, 234; Naifeh and Smith, Jackson Pollock, 696.
1514
Naifeh and Smith, Jackson Pollock, 696.
1515
Solomon, Jackson Pollock, 235–136. Двадцать один год спустя, в 1952 году, картина Поллока под названием «Номер 11», получившая к тому времени название «Голубые полюса», была продана за два миллиона долларов; тогда это была самая высокая цена, когда-либо заплаченная за произведение американского художника.
1516
Solomon, Jackson Pollock, 235; Potter, To a Violent Grave, 165.
1517
Levine, “Portrait of Sidney Janis”, 52; Solomon, Jackson Pollock, 235. Секретарь Джениса купил одну маленькую работу за тысячу долларов.
1518
Solomon, Jackson Pollock, 235.
1519
Solomon, Jackson Pollock, 236.
1520
Solomon, Jackson Pollock, 236; Levin, Lee Krasner, 284.
1521
Solomon, Jackson Pollock, 236; Naifeh and Smith, Jackson Pollock, 697; Rubenfeld, Clement Greenberg, 163; 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. Клем позже говорил, что Ли и Джексон сами выбирали работы.
1522
Potter, To a Violent Grave, 169.
1523
Levin, “The Extraordinary Interventions of Alfonso Ossorio”, 14.
1524
Rubenfeld, Clement Greenberg, 164; Karen Wilkin, David Smith, 11; Landau, Reading Abstract Expressionism, 636–637.
1525
Wilkin, David Smith, 42, 45; Landau, Reading Abstract Expressionism, 634–35, 636, 644n. Смита признали негодным к военной службе из-за его «склонности к насилию».
1526
Landau, Reading Abstract Expressionism, 636–637.
1527
Rubenfeld, Clement Greenberg, 164.
1528
Ashton with Banach, The Writings of Robert Motherwell, 282. Этот жест творческой и финансовой поддержки обеспечил Хелен место в его сердце до самой его смерти в 1965 году.
1529
Rubenfeld, Clement Greenberg, 164.
1530
Rubenfeld, Clement Greenberg, 164.
1531
Levin, Lee Krasner, 285.
1532
Solomon, Jackson Pollock, 236.
1533
Solomon, Jackson Pollock, 236; Rubenfeld, Clement Greenberg, 164; Levin, Lee Krasner, 286.
1534
Naifeh and Smith, Jackson Pollock, 693; Levin, Lee Krasner, 286.
1535
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, 236; Rubenfeld, Clement Greenberg, 164.
1536
Solomon, Jackson Pollock, 237; Rubenfeld, Clement Greenberg, 164.
1537
Clement Greenberg, interview by James T. Valliere, AAA-SI; Rubenfeld, Clement Greenberg, 164.
1538
Rubenfeld, Clement Greenberg, 164–165; Solomon, Jackson Pollock, 237; Naifeh and Smith, Jackson Pollock, 698.
1539
Lee Krasner, interview by John Gruen, AAA-SI, 2; Solomon, Jackson Pollock, 237.
1540
Copy of ArtNews issue with “American Action Painters”, by Harold Rosenberg, with Lee Krasner’s notations, Series 2, Subseries 8, Box 13, Folder 7, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 19, 21.
1541
Lee Krasner, interview by John Gruen, AAA-SI, 2–3.
1542
Potter, To a Violent Grave, 169.
1543
Пер. Е. Суриц. В кн.: Вулф В. Избранное. М.: Художественная литература, 1989.
1544
Virginia Woolf, To the Lighthouse, 118–119.
1545
Вулф В. Своя комната / Пер. Д. Горяниной. М.: МИФ, 2019.
1546
Virginia Woolf, A Room of One’s Own, 54.
1547
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1548
Greer, The Obstacle Race, 105; Woolf, A Room of One’s Own, 44–45. Вулф описывала историческую роль женщины в творчестве как максимально парадоксальную. С одной стороны, она была источником вдохновения для величайшей литературы и изобразительного искусства, и в то же время — «рабыней» собственной семьи и мужа, и ей очевидно не хватало социальной значимости. «В итоге возник чрезвычайно странный микс… Женщина пронизывает поэзию человечества от корки до корки и при этом практически отсутствует в истории. В художественной литературе она доминирует в жизни королей и завоевателей, а на самом деле становится рабыней любого мальчишки, родители которого силой наденут ей на палец обручальное кольцо».
1549
Woolf, A Room of One’s Own, 6.
1550
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1551
Decree of Divorce, JMFA001, Joan Mitchell Papers, JMF; Cholly Dearborn, “Barney Rosset Jr. Sues his Socialite Artist Wife”, Smart Set, Chicago Herald American, May 8, 1952, JMFA001, Joan Mitchell Papers, JMF, 14.
1552
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 189.
1553
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2, ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
1554
“1948 Joan Mitchell”, Barney Rosset/GAP, vol. 2, ca. 1998, Barney Rosset Papers, Series II, Box 3, Folder 5, Columbia.
1555
“Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
1556
“Grove Genesis,” interview with Barney Rosset, Barney Rosset Papers, Series II, Box 3, Folder 34, Disk 12, Columbia.
1557
Albers, Joan Mitchell, 190–191.
1558
Edgar, Club Without Walls, 168–169.
1559
Benstock, Joan Mitchell, 46; Cajori, Joan Mitchell: Portrait of an Abstract Painter, film.
1560
Milazzo, “Caravaggio on the Beach”, 14; Albers, Joan Mitchell, 190–191.
1561
Rosset, “The Subject Is Left Handed”, manuscript courtesy Astrid Myers Rosset, n.p.; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1562
Marcia Tucker, Joan Mitchell, 7.
1563
Albers, Joan Mitchell, 190–191.
1564
Albers, Joan Mitchell, 190–191; Bernstock, Joan Mitchell, 21.
1565
Joan Mitchell to Barney Rosset, October 8, 1948, Paris to New York, JMFA003, JMF.
1566
Albers, Joan Mitchell, 193; Bernstock, Joan Mitchell, 33.
1567
Bernstock, Joan Mitchell, 21; Albers, Joan Mitchell, 191.
1568
Bard, Tenth Street Days, vi, 1. В 1952 году также были открыты две кооперативные галереи, управляемые самими художниками; в них выставлялось «второе поколение» и молодые художники-неабстракционисты.
1569
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1570
Buck, Of Men and Women, 67.
1571
Eleanor Heartney, “How Wide Is the Gender Gap?”, 141.
1572
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1573
Summer of ’57, videotape courtesy LTV.
1574
Nemser, Art Talk, 60.
1575
Chadwick, Women, Art, and Society, 266.
1576
Doris Aach, interview by author.
1577
Stahr, “The Social Relations of Abstract Expressionism”, 224–225; Heartney, “How Wide Is the Gender Gap?”, 141.
1578
Les Levin, “The Golden Years, A Portrait of Eleanor Ward”, 42; oral history interview with Eleanor Ward, February 8, 1972, AAA-SI; oral history interview with Esteban Vicente, AAA-SI; Myers, Tracking the Marvelous, 194; Stahr, “The Social Relations of Abstract Expressionism”, 224.
1579
Levine, “The Golden Years: A Portrait of Eleanor Ward”, 42; oral history interview with Eleanor Ward, AAA-SI.
1580
John Bernard Myers to Larry Rivers, February 11, 1954, Larry Rivers Papers, Series 1, Subseries A, Box 10, Folder 11, NYU.
1581
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1582
Levine, “The Golden Years, A Portrait of Eleanor Ward”, 42; oral history interview with Eleanor Ward, AAA-SI.
1583
Letter to artists from committee organizing third Stable Annual, dated December 9, 1953, Stable Gallery business records, JMFA001, Joan Mitchell Papers, JMF; Stahr, “The Social Relations of Abstract Expressionism”, 143.
1584
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 3:120.
1585
Myers, Tracking the Marvelous, 194; oral history interview with Grace Hartigan, AAA-SI; Mary Lynn Kotz, Rauschenberg, 83. Коллеги-художники расценили произведения Раушенберга, которые в то время включали в себя требующие полива живые растения, как эстетическую шутку. Грейс даже назвала Раушенберга «придворным шутом».
1586
Oral history interview with Eleanor Ward, AAA-SI; “Abstract Expressionism”, January 1953, warholstars.org; Stahr, “The Social Relations of Abstract Expressionism”, 224; Myers, Tracking the Marvelous, 194.
1587
Levine, “The Golden Years, A Portrait of Eleanor Ward”, 42; oral history interview with Eleanor Ward, AAA-SI.
1588
La Moy and McCaffrey, The Journals of Grace Hartigan, 66–67.
1589
Elaine de Kooning, interview by Arthur Tobier, 18; Les Levine, “The Golden Years, A Portrait of Eleanor Ward”, 43; Myers, Tracking the Marvelous, 185. Майерс говорил, что к 1956 году его лучшими клиентами были люди со «средним уровнем дохода», которые могли позволить себе потратить на произведения искусства до девятисот долларов и часто покупали их в рассрочку.
1590
Letter to artists from committee organizing third Stable Annual, dated December 9, 1953, Stable Gallery Business records, IMFA001, JMF; The Second Stable Annual, Charles Cajori Papers, 1940–2015, Series 4, Box 3, Folder 11, AAA-SI; Stahr, “The Social Relations of Abstract Expressionism”, 143; Herman Cherry, interview by Jack Taylor. По правилам ежегодника в «Конюшенной галерее» художники, которые выставлялись в одном ежегоднике, могли пригласить художников в следующий; приглашенный сам выбирал работу для выставки, а комитет был обязан ее выставить.
1591
Albers, Joan Mitchell, 196–197.
1592
Dore Ashton, interview by author; Albers, Joan Mitchell, 197. «Францу и Биллу нравились шлюхи, — утверждала Дори Эштон. — Думаю, таким образом они защищали свою свободу».
1593
Albers, Joan Mitchell, 197.
1594
Margaret Randall, telephone interview by author.
1595
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Stahr, “The Social Relations of Abstract Expressionism”, 170; Chafe, Women and Equality, 3; Ruddick and Daniels, Working It Out, 287. Художница Мими Шапиро сказала: «Я не думаю, что какую-то другую женщину в то время действительно интересовало мое мнение об ее работе. В отличие от мнения мужчины». И это явление характерно не только для мира искусства и не только для западной культуры. Как писал Уильям Чейф, «женщины очевидно составляют самую большую группу в мире… [и при этом] единственную группу, к которой в целом относятся не как к равным, но члены которой чувствуют большую близость к своим “угнетателям”, нежели друг к другу».
1596
Nemser, “Art Talk, Forum Women in Arts”, 18.
1597
Levine, “The Golden Years, A Portrait of Eleanor Ward”, 42.
1598
Stahr, “The Social Relations of Abstract Expressionism”, 190.
1599
“Joan Mitchell Paintings, 1950–55”, Robert Miller Gallery, May 5 to June 5, 1998, New York; Gooch, City Poet, 145; Benstock, Joan Mitchell, 46.
1600
Elderfield, Helen Frankenthaler, 88.
1601
“After Mountains and Sea”, 37.
1602
“After Mountains and Sea”, 37.
1603
“After Mountains and Sea”, 36.
1604
“After Mountains and Sea”, 38.
1605
Halberstam, The Fifties, 273, 277–278, 570–571; Kimmel, Manhood in America, 255; Nowak and Miller, The Fifties, 152.
1606
Weibel, Mirror, Mirror, 124; Haskell, From Reverence to Rape, 230.
1607
Helen Frankenthaler, interview by Deborah Solomon.
1608
Elderfield, “Painted on 21st Street”, 53.
1609
Elderfield, “Painted on 21st Street”, 53.
1610
Stuart Preston, “Diverse Showings, Realism and Surrealism” X9; “Reviews and Previews”, ArtNews 31, no. 10 (February 1953): 55.
1611
Deborah Solomon, “An Interview with Helen Frankenthaler”, 244.
1612
Deborah Solomon, “An Interview with Helen Frankenthaler”, 244.
1613
John Bernard Myers, interview by Barbara Rose, transcript, Series II, Box 1 Folder 26, Barbara Rose Papers, GRI (930100), 20.
1614
Rubenfeld, Clement Greenberg, 157.
1615
La Moy and McCaffrey, The Journals of Grace Hartigan, 68.
1616
Larry Rivers to Helen Frankenthaler, Tuesday, February 17, 1953. Helen Frankenthaler Papers, HFF.
1617
Helen Frankenthaler scribbled notes on envelope, n.d. [ca. February 1951]. Helen Frankenthaler Papers, HFF.
1618
Helen Frankenthaler to Larry Rivers, February 1953, unknown if sent. Helen Frankenthaler Papers, HFF.
1619
Larry Rivers to Helen Frankenthaler, March 11, 1953. Helen Frankenthaler Papers, HFF.
1620
John Bernard Myers to Helen Frankenthaler, June 14, 1957. Helen Frankenthaler Papers, HFF; Myers, Tracking the Marvelous, 155; Gruen, The Party’s Over Now, 188; Rivers, What Did I Do?, 206–207.
1621
La Moy and McCaffrey, The Journals of Grace Hartigan, 107; Gruen, The Party’s Over Now, 188.
1622
Rubenfeld, Clement Greenberg, 181.
1623
Rubenfeld, Clement Greenberg, 181; Clement Greenberg and Janice Van Horne, interview by Dodie Kazanjian, n.d., AAA-SI; Deborah Solomon, “Artful Survivor”, 66; Katz, Black Mountain College, 66. Хотя Хелен впоследствии говорила друзьям, что, когда Клем привел компанию посмотреть ее картину, ее самой в мастерской не было, и хотя то же самое утверждала биограф Клема Флоренс Рубенфельд после интервью с ним, в его дневнике говорится, что в тот день он был с Хелен на вечеринке, потом они вместе пришли на 57-ю улицу, а затем, после посещения мастерской, поужинали у Хелен в квартире.
1624
Carmean Jr., Helen Frankenthaler, 12; Helen Frankenthaler, interview by Deborah Solomon.
1625
Carmean Jr., Helen Frankenthaler, 12; Rubenfeld, Clement Greenberg, 181.
1626
Carmean Jr., Helen Frankenthaler, 12.
1627
Rubenfeld, Clement Greenberg, 181.
1628
Elderfield, “Morris Louis and Twentieth-Century Painting”, 24.
1629
Jones, Eyesight Alone, 332; E. A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF; Elderfield, “Morris Louis and Twentieth-Century Painting”, 24.
1630
E. A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
1631
Rubenfeld, Clement Greenberg, 182.
1632
Clement Greenberg, “Louis and Noland”, 27; Jones, Eyesight Alone, 332.
1633
Oral history interview with Helen Frankenthaler, AAA-SI; Clifford Ross, interview by author, February 18, 2014.
1634
Irving Sandler, interview by author.
1635
Marquis, Art Czar, 139.
1636
Helen Frankenthaler to Sonya Gutman, “Tues a.m.”, postmarked October 11, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 2.
1637
Elderfield, “Painted on 21st Street”, 53.
1638
Scrivani, Collected Writings of Willem de Kooning, 88–89.
1639
James Fitzsimmons, “Art”, 4; Ashton, The New York School, 213; Cateforis, “Willem de Kooning’s Women of the 1950s”, 24.
1640
Oral history interview with Grace Hartigan, AAA-SI; Nemser, Art Talk, 158.
1641
La Moy and McCaffrey, The Journals of Grace Hartigan, 74.
1642
Sylvester et al., Willem de Kooning, 130; oral history interview with Grace Hartigan, AAA-SI; Nemser, Art Talk, 158.
1643
Fitzsimmons, “Art”, 4, 6, 8.
1644
La Moy and McCaffrey, The Journals of Grace Hartigan, 75.
1645
Cateforis, “Willem de Kooning’s Women of the 1950s”, 24, 41.
1646
Cateforis, “Willem de Kooning’s Women of the 1950s”, 132–133.
1647
Miller and Nowak, The Fifties, 86.
1648
Millet, Sexual Politics, 38, 46; Friedan, The Feminine Mystique, 11–12, 29–32, 37–38, 41, 48, 124, 152, 161, 170; Clements, Prosperity, Depression and the New Deal, 228. Фридан пишет: «Эта новая мистика делает домохозяек-матерей, у которых никогда не было возможности заняться чем-либо еще, образцом для подражания для всех остальных женщин; она изначально предполагает, что в том, что касается женщин, история достигла окончательного и славного конца, здесь и сейчас». Она утверждает, что многие из этих женщин покидают свой дом, «только чтобы сходить в магазин, сводить куда-то детей или поприсутствовать на мероприятии вместе со своими мужьями».
1649
Lawrence K. Frank and Mary Frank, How to Be a Woman, 83; Hess and Nochlin, “Woman as Sex Object”, 230.
1650
Gaugh, Willem de Kooning, 48–49. К 1954 г. личная и профессиональная жизнь Монро регулярно отображалась в газетных заголовках. В этот период она вышла замуж и развелась с Джо Ди Маджо; она развлекала военных в Южной Корее; ее фото украсило обложку журнала Life. У Билла де Кунинга в мастерской висел знаменитый календарь с Мэрилин. В 1954 г. он написал картину, которую назвал ее именем. Позже, в 1962 году, Грейс также написала свою собственную «Мэрилин».
1651
Frank and Frank, How to Be a Woman, 83.
1652
Hess and Nochlin, “Woman as Sex Object”, 230.
1653
Hess and Nochlin, “Woman as Sex Object”, 230.
1654
Марианна (фр. Marianne) — символ Французской республики, а также прозвище Франции с 1792 г. (времен Великой французской революции). Изображается молодой женщиной во фригийском колпаке. Прим. пер.
1655
Sylvester et al., Willem de Kooning, 34.
1656
Rosenberg, The Anxious Object, 119.
1657
Cateforis, “Willem de Kooning’s Women of the 1950s”, 51; Elaine de Kooning to William Theophilus Brown, ca. 1953, Reel 1095, Frames 39–40, William Theo Brown Papers, 1845–1971, AAA-SI.
1658
Cateforis, “Willem de Kooning’s Women of the 1950s”, 164; Elaine de Kooning to William Theophilus Brown, ca. 1953, Reel 1095, Frames 39–40, William Theo Brown Papers, 1845–1971, AAA-SI.
1659
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 3:122; Hess, Willem de Kooning (1968), 74.
1660
Stevens and Swan, De Kooning, 358–359.
1661
Stevens and Swan, De Kooning, 358.
1662
Stevens and Swan, De Kooning, 358.
1663
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 156.
1664
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 157, 159, 165.
1665
Tim Clifford, e-mail to author, December 18, 2015. Мазервелл купил этот особняк в начале марта 1953 года, возможно, 9 марта. Хотя Эдит вспоминает вечеринку после выставки, проходившую в этом доме на 94-й улице, на самом деле мероприятие могло иметь место в квартире Мазервелла, расположенной неподалеку, на 82-й улице.
1666
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 165–166, 171.
1667
Joint federal tax return, Willem and Elaine de Kooning, 1953, Elaine and Willem de Kooning financial records, 1951–1969, AAA-SI.
1668
Hess, Willem de Kooning, 74; joint federal tax return, Willem and Elaine de Kooning, 1953, Elaine and Willem de Kooning financial records, 1951–1969, AAA-SI.
1669
Friedman, Give My Regards to Eighth Street, 116.
1670
Edgar, Club Without Walls, 73–74.
1671
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 41.
1672
Oral history interview with Jane Freilicher, AA-SI; Tabak, But Not for Love, 79–80. Табак пишет, что художница-«домохозяйка» так же относилась и к своему творчеству. «Женщина, которая выстирала две ванны белья, приготовила обед из трех блюд и позаботилась о больном ребенке, жалуется подруге, что у нее за весь день не было возможности “поработать”. Именно этим специфическим отношением к “работе” они отличаются от остального человечества».
1673
La Moy and McCaffrey, The Journals of Grace Hartigan, 72; Rex Stevens, interview by author.
1674
Oral history interview with Grace Hartigan, AAA-SI.
1675
William Lach, ed., New York, New York, 41.
1676
White, Here Is New York, 25–26.
1677
La Moy and McCaffrey, The Journals of Grace Hartigan, 72.
1678
“Grace Hartigan, Painting from Popular Culture, Three Decades”, Susquehanna Art Museum.
1679
Berksen and LeSueur, Homage to Frank O’Hara, 24.
1680
Sandler, A Sweeper Up After Artists, 22.
1681
Gooch, City Poet, 231.
1682
Wydenbruck, Rilke, Man and Poet, 246.
1683
La Moy and McCaffrey, The Journals of Grace Hartigan, 67, 79, 152.
1684
Larry Rivers, interview by Barbaralee Diamonstein, provided by Dr. Barbaralee Diamonstein-Spielvogel, interviewer and author, from Inside New York’s Art World, 324–325.
1685
Rodger Kamenetz, “Frank’s Grace”, 13.
1686
Rodger Kamenetz, “Frank’s Grace”, 13.
1687
Gooch, City Poet, 141; Frank O’Hara: Poems from the Tibor de Nagy Editions, 9; Perloff, Frank O’Hara, 49.
1688
Gooch, City Poet, 236; Frank O’Hara: Poems from the Tibor de Nagy Editions, 9.
1689
Kamenetz, “Frank’s Grace”, 13.
1690
Mattison, Grace Hartigan, 30.
1691
Mattison, Grace Hartigan, 30–31.
1692
Gooch, City Poet, 236.
1693
Grace Hartigan, Paintings from Popular Culture, Three Decades, Susquehanna Art Museum.
1694
La Moy and McCaffrey, The Journals of Grace Hartigan, 67.
1695
La Moy and McCaffrey, The Journals of Grace Hartigan, 62.
1696
La Moy and McCaffrey, The Journals of Grace Hartigan, 70, 75.
1697
La Moy and McCaffrey, The Journals of Grace Hartigan, 70, 75.
1698
Kamenetz, “Frank’s Grace”, 13; A Memorial Service for John Bernard Myers, Thursday, October 15, 1988, The Grey Art Gallery; La Moy and McCaffrey, The Journals of Grace Hartigan, 75; Crase and Quilter, Painters and Poets, 40; Frank O’Hara: Poems from the Tibor de Nagy Editions, 9. Джон произвел дополнительную серию в количестве около пятидесяти экземпляров.
1699
La Moy and McCaffrey, The Journals of Grace Hartigan, 75.
1700
Crase and Quilter, Painters and Poets, 8, 32–33, 34.
1701
Crase and Quilter, Painters and Poets, 8, 34.
1702
James Fitzsimmons, “Art”, Arts & Architecture 70, no. 5 (May 1953): 9.
1703
La Moy and McCaffrey, The Journals of Grace Hartigan, 75, 77.
1704
Crase and Quilter, Painters and Poets, 7; Grace Hartigan, notes for Tibor de Nagy memorial, April 15, 1994, Box 28, Grace Hartigan Papers, Syracuse; La Moy and McCaffrey, The Journals of Grace Hartigan, 77–78.
1705
Grace Hartigan, notes for Tibor de Nagy memorial, April 15, 1994, Box 28, Grace Hartigan Papers, Syracuse; Crase and Quilter, Painters and Poets, 7.
1706
Crase and Quilter, Painters and Poets, 8.
1707
Crase and Quilter, Painters and Poets, 8; Al Leslie to Grace Hartigan, July 11, 1953, Box 17, Grace Hartigan Papers, Syracuse.
1708
Grace Hartigan Journals, May 9, 1953, Box 31, Grace Hartigan Papers, Syracuse.
1709
Grace Hartigan Journals, May 12, 1953, Box 31, Grace Hartigan Papers, Syracuse.
1710
Grace Hartigan Journals, May 12, 1953, Box 31, Grace Hartigan Papers, Syracuse; Perloff, Frank O’Hara, 70; Grace Hartigan Journals, May 13, 1953, Box 31, Grace Hartigan Papers, Syracuse. Эту картину продали за четыреста долларов.
1711
Oral history interview with Tibor de Nagy, AAA-SI.
1712
Oral history interview with Tibor de Nagy, AAA-SI.
1713
Rivers, What Did I Do?, 209; Myers, Tracking the Marvelous, 169; Kamenetz, “Frank’s Grace”, 13.
1714
John Bernard Myers to Larry Rivers, n.d., ca. 1952, Series I, Subseries A, Box 10, Folder 14, NYU.
1715
Malina, The Diaries of Judith Malina, 209.
1716
“A Memorial Service for John Bernard Myers”, Thursday, October 15, 1988, The Grey Art Gallery.
1717
The Artists’ Theatre, subscription statement, 1953; Myers, Tracking the Marvelous, 164; Rivers, What Did I Do?, 207.
1718
Abel, The Intellectual Follies, 217–18; Myers, Tracking the Marvelous, 166.
1719
Офф-Бродвей (англ. Off-Broadway, в пер. — «вне Бродвея») — сценические площадки в Нью-Йорке с вместимостью от 100 до 499 посетителей. По своим размерам эти театры меньше бродвейских. Они появились в Нью-Йорке в конце 1940-х гг. в связи с растущей коммерциализацией Бродвея и его ориентацией на массового зрителя. Расцвет офф-бродвейских театров с альтернативным репертуаром пришелся на 1950-е гг. Прим. пер.
1720
Artists’ Theatre New York, Four Plays, 7; Gruen, The Party’s Over Now, 92; Perl, New Art City, 197. Перл пишет, что «золотой век театра» и «золотой век живописи» в Нью-Йорке «практически совпали во времени».
1721
Англ. Great White Way — буквальный перевод: «Великий белый путь». Прим. пер.
1722
Caute, The Great Fear, 535; Sandler, Abstract Expressionism and the American Experience, 204.
1723
Artists’ Theatre New York, Four Plays, 8–9.
1724
Diggins, The Proud Decades, 238.
1725
The Artists’ Theatre, subscription statement, 1953.
1726
Artists’ Theatre New York, Four Plays, 8–9.
1727
The Artists’ Theatre, subscription statement, 1953; Malina, The Diaries of Judith Malina, 270; Lehman, The Last Avant-Garde, 22; Myers, Tracking the Marvelous, 166; Art Barge — Artists Speak, with Elaine de Kooning, videotape courtesy LTV.
1728
Oral history interview with Grace Hartigan, AAA-SI; Gooch, City Poet, 232; “A Memorial Service for John Bernard Myers”, Thursday, October 15, 1987, The Grey Art Gallery.
1729
“A Memorial Service for John Bernard Myers”, Thursday, October 15, 1987, The Grey Art Gallery.
1730
Mercedes Matter, interview by Sigmund Koch, Tape 1B, Aesthetics Research Archive.
1731
Gruen, The Party’s Over Now, 214–215.
1732
Artists’ Theatre New York, Four Plays, 7; Abel, The Intellectual Follies, 218. Grove Press Барни со временем издаст пьесы, поставленные в этом театре.
1733
Art Barge — Artists Speak, with Elaine de Kooning, videotape courtesy LTV.
1734
William Faulkner, banquet speech, 1949, “Nobel Prizes and Laureates”, nobelprize.org.
1735
Caute, The Great Fear, 106.
1736
Caute, The Great Fear, 85, 88–89, 164–165, 166, 187, 284; Davidson, Guys Like Us, 56, 66; Halberstam, The Fifties, 360, 371. Действительно, в американских правительственных кругах зародилась культура наблюдения всех за всеми; для этого было создано пять новых федеральных агентств.
1737
I. F. Stone, The Haunted Fifties, 35.
1738
William H. Whyte, The Organization Man, 162–163.
1739
Caute, The Great Fear, 349–350; Miller and Nowak, The Fifties, 111; Clements, Prosperity: Depression and the New Deal, 234.
1740
Malina, The Diaries of Judith Malina, 284; Caute, The Great Fear, 62, 66; Davidson, Guys Like Us, 54.
1741
Lieber, Reflections in the Studio, 39; Barney Rosset, “Real Estate”, notes, Series II, Box 3, Folder 32, Barney Rosset Papers, Columbia.
1742
Stahr, “The Social Relations of Abstract Expressionism”, 191–192.
1743
Stahr, “The Social Relations of Abstract Expressionism”, 131.
1744
Oral history interview with Jane Freilicher, AAA-SI; Barbara Guest, Notebook 8, Box 5, Uncat ZA MS 271, Barbara Guest Papers, Yale; Harrison and Denne, Hamptons Bohemia, 95.
1745
Stahr, “The Social Relations of Abstract Expressionism”, 191–192; Gruen, The Party’s Over Now, 218.
1746
Stahr, “The Social Relations of Abstract Expressionism”, 192; Elaine de Kooning Lecture, C. F. S. Hancock Lecture, 4.
1747
Frank O’Hara to Larry Rivers, May 6, 1953, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 7, NYU.
1748
Frank O’Hara to Larry Rivers, June 27, 1953, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 7, NYU; La Moy and McCaffrey, The Journals of Grace Hartigan, 85.
1749
Gooch, City Poet, 237.
1750
Larry Rivers to Frank O’Hara, n.d., Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 7, NYU; Larry Rivers to Frank O’Hara, September 18, 1953, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 8, NYU.
1751
Gooch, City Poet, 239.
1752
La Moy and McCaffrey, The Journals of Grace Hartigan, 86; oral history interview with Jane Freilicher, AAA-SI.
1753
La Moy and McCaffrey, The Journals of Grace Hartigan, 86.
1754
Frank O’Hara to Larry Rivers, June 27, 1953, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 7, NYU.
1755
La Moy and McCaffrey, The Journals of Grace Hartigan, 86.
1756
Fried, The Ego in Love and Sexuality, 41, 195; Livingston, The Paintings of Joan Mitchell, 21.
1757
Livingston, The Paintings of Joan Mitchell, 21.
1758
Albers, Joan Mitchell, 202.
1759
Nelson, Women: The New York School, 22.
1760
James Fitzsimmons, “Art”, Arts & Architecture 70, no. 5 (May 1953): 8.
1761
Albers, Joan Mitchell, 196.
1762
Oral history interview with Patricia Faure, November 17–24, 2004, AAA-SI.
1763
Gruen, The Party’s Over Now, 43.
1764
Gruen, The Party’s Over Now, 60.
1765
Gruen, The Party’s Over Now, 42–43.
1766
Albers, Joan Mitchell, 67–68.
1767
Abel, The Intellectual Follies, 227; Bradford Morrow, “Not Even Past: Hybrid Histories”, 9.
1768
Nelson, Women: The New York School, 18.
1769
Grace Hartigan Journal Entry, July 31, 1953, Box 32, Grace Hartigan Papers, Syracuse.
1770
Grace Hartigan Journal Entry, July 31, 1953, Box 32, Grace Hartigan Papers, Syracuse.
1771
Albers, Joan Mitchell, 199.
1772
La Moy and McCaffrey, The Journals of Grace Hartigan, 94–95.
1773
Grace Hartigan journal entry, August 11, 1953, Box 32, Grace Hartigan Papers, Syracuse.
1774
Nemser, Art Talk, 235.
1775
Торговое название амфетамина. Прим. пер.
1776
Albers, Joan Mitchell, 198; Malina, The Diaries of Judith Malina, 30, 235–37; Gruen, The Party’s Over Now, 111.
1777
Belgrad, The Culture of Spontaneity, 181, 193–94; Kaplan, 1959, 84, 88–89; Michael Magee, “Tribes of New York”, 708–709.
1778
Lawrence Rivers, “The Heroin Addicts”, Neurotica Quarterly 7 (Autumn 1950): 41, Larry Rivers Papers, MSS 293, Series II, Subseries A, Box 19, Folder 44, NYU.
1779
Frank O’Hara to Larry Rivers, August 4, 1953, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder, 7, NYU.
1780
La Moy and McCaffrey, The Journals of Grace Hartigan, 96.
1781
La Moy and McCaffrey, The Journals of Grace Hartigan, 96.
1782
La Moy and McCaffrey, The Journals of Grace Hartigan, 96.
1783
Gooch, City Poet, 228.
1784
Jane Freilicher, interview, Larry Rivers Papers, MSS 293, Series II, Subseries C, Box 25, Folder 28, NYU.
1785
Elaine de Kooning, interview by Amei Wallach, 2.
1786
Elaine de Kooning, interview by Amei Wallach, 3–4.
1787
Jane Freilicher, Painter Among the Poets, 16.
1788
Grace Hartigan to Larry Rivers, n.d. [ca. 1953], Larry Rivers Papers, MSS 293, Series I Subseries A, Box 6, Folder 17, NYU.
1789
Larry Rivers to Frank O’Hara, September 18, 1953, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 8, NYU.
1790
Gooch, City Poet, 243.
1791
Potter, To a Violent Grave, 122.
1792
Ellen G. Landau, “Channeling Desire”, 28.
1793
Lee Krasner, unpublished notes, Series 2, Subseries 5, Box 10, Folder 11, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 16; Landau, “Channeling Desire”, 28.
1794
Lee Krasner, interview by Barbaralee Diamonstein, provided by Dr. Barbaralee Diamonstein-Spielvogel, interviewer and author, from Inside New York’s Art World, 204–205; Nemser, “A Conversation with Lee Krasner”, 45; Hobbs, Lee Krasner (1993), 51.
1795
Lee Krasner, interview by Barbara Novak, videotape courtesy PKHSC; Nemser, “A Conversation with Lee Krasner”, 49.
1796
Oral history interview with Lee Krasner, November 2, 1964 — April 11, 1968, AAA-SI.
1797
Landau, Lee Krasner: A Catalogue Raisonné, 131, 134; Landau, “Channeling Desire”, 27; Levin, Lee Krasner, 290; Lee Krasner, interview by Barbara Rose, 1975, GRI; Ellen G. Landau, “Lee Krasner, Collages, 1953–1955”, 3–4; oral history interview with Lee Krasner, November 2, 1964 — April 11, 1968, AAA-SI.
1798
Fairfield Porter, ArtNews Annual (1957): 174; Landau, Lee Krasner: A Catalogue Raisonné, 131; Rose, Lee Krasner, 79.
1799
Friedman, Jackson Pollock: Energy Made Visible, 220.
1800
Lee Krasner, a Conversation with Hermine Freed, videotape courtesy PKHSC; Rose, Lee Krasner: A Retrospective, 89. Вместо того чтобы подписывать работы инициалами LK, как раньше, два больших коллажа этого периода Ли подписала полным именем: «Ли Краснер».
1801
Lee Krasner, interview by Barbara Novak, videotape courtesy PKHSC.
1802
Naifeh and Smith, Jackson Pollock, 699–700, 753.
1803
Levin, Lee Krasner, 290.
1804
Exhibition notices, Series 2, Subseries 8, Box 10, Folder 40, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 4, 7, 9.
1805
Lee Krasner, unpublished notes, Series 2, Subseries 5, Box 10, Folder 11, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 9–10; Landau, “Channeling Desire”, 28.
1806
Potter, To a Violent Grave, 157.
1807
Naifeh and Smith, Jackson Pollock, 695, 723–725.
1808
Friedman, Jackson Pollock: Energy Made Visible, 205; Naifeh and Smith, Jackson Pollock, 727.
1809
Wetzsteon, Republic of Dreams, 472, 481; Dan Wakefield, New York in the Fifties, 130.
1810
Oral history interview with Ibram Lassaw and Ernestine Lassaw, AAA-SI.
1811
Wetzsteon, Republic of Dreams, 482–483.
1812
Wetzsteon, Republic of Dreams, 483–484.
1813
Wetzsteon, Republic of Dreams, 484–485.
1814
Wetzsteon, Republic of Dreams, 486.
1815
Sara W. Tracy, Alcoholism in America, 1, 3.
1816
Sara W. Tracy, Alcoholism in America, 276, 279; Rotskoff, Love on the Rocks, 61–62, 198–199. В конце 1940-х пили 75% американских мужчин и 65% американских женщин.
1817
Rotskoff, Love on the Rocks, 86, 92.
1818
Malina, The Diaries of Judith Malina, 301–302.
1819
Malina, The Diaries of Judith Malina, 302.
1820
Malina, The Diaries of Judith Malina, 302.
1821
“Abstract Expressionism”, December 23, 1953, warholstars.org.
1822
“NO! Boris Lurie”, David David Gallery, 6.
1823
Gooch, City Poet, 252–253; Grace Hartigan to Larry Rivers, November 14, 1953, Sunday, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 6, Folder 17, NYU.
1824
Rivers, What Did I Do?, 314.
1825
Larry Rivers, interview by Nell Blaine, unpublished notes, Larry Rivers Papers, MSS 293, Series II, Subseries C, Box 25, Folder 23, NYU; Larry Rivers, interview by Barbaralee Diamonstein, provided by Dr. Barbaralee Diamonstein-Spielvogel, interviewer and author, from Inside New York’s Art World, 321–322.
1826
Larry Rivers to Grace Hartigan, September 10, 1953, Box 24, Grace Hartigan Papers, Syracuse.
1827
Larry Rivers to Elaine de Kooning, n.d. [ca. fall 1953], Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 3, Folder 31, NYU.
1828
Gooch, City Poet, 253. Позже он говорил, что она в любом случае была «слишком большой, слишком многословной». Он предпочитал «нянь».
1829
Grace Hartigan to Larry Rivers, November 14, 1953, Sunday, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 3, Folder 17, NYU.
1830
John Bernard Myers to Grace Hartigan, August 1954, New York to Southampton, Box 21, Grace Hartigan Papers, Syracuse; La Moy and McCaffrey, The Journals of Grace Hartigan, 107–108.
1831
La Moy and McCaffrey, The Journals of Grace Hartigan, 107–109.
1832
La Moy and McCaffrey, The Journals of Grace Hartigan, 108–109.
1833
Nemser, Art Talk, 157; Nemser, “Grace Hartigan: Abstract Artist”, 33; La Moy and McCaffrey, The Journals of Grace Hartigan, 117.
1834
Mattison, Grace Hartigan, 34; Nemser, Art Talk, 157.
1835
Schimmel et al., Action/Precision, 36.
1836
Sandler, Sweeper Up After Artists, 33; Les Levine, “Suffer, Suffer, Suffer”, 38; Ashton, The New York School, 209; Clement Greenberg, “Abstract and Representational”, 7. Клем на одной из лекций в Йельском университете, прочитанной им в то время, сказал: «Лучшим искусством нашего времени все чаще становится абстрактное искусство. И большинство попыток переломить эту тенденцию, судя по всему, приводят к живописи подержанной, второсортной… Фактически создается впечатление, что сегодня образ и объект можно вернуть в искусство только путем подлости или пародии».
1837
Elaine de Kooning, “Subject: What, How or Who?”, 62.
1838
Faulkner, “Banquet Speech”, nobelprize.org; Miller and Nowak, The Fifties, 22–23, 89; Halberstam, The Fifties, 345, 347, 406, 410; Zinn, A People’s History, 341; Diggins, The Proud Decades, 279, 283; Stone, The Haunted Fifties, 61; Belgrad, “The Culture of Spontaneity”, 144. Национальный опрос показал, что три четверти американцев были готовы доносить на своих соседей, если подозревали их в коммунизме.
1839
Caute, The Great Fear, 106.
1840
Zinn, A People’s History of the United States, 430, 436; Miller and Nowak, The Fifties, 32, 36; Caute, The Great Fear, 107.
1841
Miller and Nowak, The Fifties, 36; Clements, Prosperity, Depression and the New Deal, 236; Caute, The Great Fear, 108; Malina, The Diaries of Judith Malina, 323. Малина рассказывала, что эти слушания привлекали всеобщее внимание.
1842
“McCarthy Army Hearings Begin”, April 22, 1954, www.history.com.
1843
Morton Borden, Voices of the American Past, 341; Stone, The Haunted Fifties, 61, 72; Miller and Nowak, The Fifties, 37; Caute, The Great Fear, 107–108; Diggins, The Proud Decades, 152.
1844
Miller and Nowak, The Fifties, 234–235; Diggins, The Proud Decades, 199, 201.
1845
Kaplan, 1959, 77.
1846
Miller and Nowak, The Fifties, 292, 295–296; Zinn, A People’s History of the United States, 442.
1847
Oral history interview with Elaine de Kooning, AAA-SI.
1848
Gruen, The Party’s Over Now, 175.
1849
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 32; Sherman Drexler, telephone interview by author. Позже Элен отвергала любые предположения о распущенности, говоря, что, конечно, в их кругу были романтические связи — они ведь больше практически ни с кем не общались!
1850
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 32.
1851
Gruen, The Party’s Over Now, 197.
1852
Sandler, A Sweeper Up After Artists, 41–42.
1853
Pacini, Marisol, 159.
1854
Pacini, Marisol, 12; Marisol, interview by Colette Roberts, AAA-SI.
1855
Marina Pacini, Marisol, 12.
1856
Marina Pacini, Marisol, 12; Marisol, interview by John Gruen, AAA-SI, 5.
1857
Marisol, interview by John Gruen, AAA-SI, 35; Gruen, The Party’s Over Now, 205.
1858
Pacini, Marisol, 14.
1859
Berman, All That Is Solid Melts into Air, 14.
1860
Allen, The Collected Poems of Frank O’Hara, 513.
1861
Elaine de Kooning, “Two Americans in Action”, 90.
1862
Pacini, Marisol, 117.
1863
Marisol, interview by John Gruen, AAA-SI, 33; Gruen, The Party’s Over Now, 204.
1864
Gruen, The Party’s Over Now, 204.
1865
Elaine de Kooning, interview by Antonina Zara, 27.
1866
Elaine de Kooning, interview by Amei Wallach, 5.
1867
Dorfman, Out of the Picture, 299.
1868
Clay Fried, interview by author.
1869
Elaine de Kooning to Larry Rivers, n.d., Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 3, Folder 31, NYU.
1870
Elaine de Kooning, interview by Antonina Zara, 27.
1871
Elaine de Kooning, interview by Molly Barnes, 5; Chancey, “Elaine de Kooning”, 114, 117; Lewallen, “Interview with Elaine de Kooning”, 14.
1872
Helen Harrison, telephone interview by author.
1873
“Elaine de Kooning Statement”, It Is 5 (Spring 1960): 29; “Elaine de Kooning, Portraits”, The Art Gallery, Brooklyn College, 9.
1874
Rose Slivka, “Elaine de Kooning: The Bacchus Paintings”, 68.
1875
Clay Fried, interview by author.
1876
Elaine de Kooning to Aristodemos Kaldis, June 1952, Aristodemos Kaldis Papers, Roll D177, AAA-SI.
1877
Elaine de Kooning, interview by Antonina Zara, 34.
1878
Elaine de Kooning to Larry Rivers, February 26 — March 4, 1954, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 3, Folder 31, NYU.
1879
James Thrall Soby, Lloyd Goodrich, John I. H. Baur, and Dorothy C. Miller, “The Eastern Seaboard”, 10–11, 18; Tibor de Nagy pamphlet for 1954 Grace Hartigan exhibition, Box 36, Grace Hartigan Papers, Syracuse.
1880
La Moy and McCaffrey, The Journals of Grace Hartigan, 126.
1881
La Moy and McCaffrey, The Journals of Grace Hartigan, 126.
1882
La Moy and McCaffrey, The Journals of Grace Hartigan, 126.
1883
Frank O’Hara, “Reviews and Previews, George Hartigan”, 45.
1884
Larry Rivers to Grace Hartigan, February 9, 1954, Long Island to New York City, Box 24, Grace Hartigan Papers, Syracuse.
1885
Tibor de Nagy to Sandra L. Langar, July 17, 1980, New York to Columbia, South Carolina, Tibor de Nagy Gallery Records, 1941–1993, Series 1, Subseries 5, Box 7, Folder 12, AAA-SI.
1886
La Moy and McCaffrey, The Journals of Grace Hartigan, 119, 123–126.
1887
La Moy and McCaffrey, The Journals of Grace Hartigan, 119, 123–126.
1888
Frank O’Hara to Grace Hartigan, February 20 [1954], Frank O’Hara folder, Box 22, Grace Hartigan Papers, Syracuse.
1889
La Moy and McCaffrey, The Journals of Grace Hartigan, 127–128, 138; Curtis, Restless Ambition, 124.
1890
Hermine Ford, interview by author; Levy, Memoir of an Art Gallery, 19; Grace Hartigan to Larry Rivers, postmarked April 16, 1954, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 6, Folder 17, NYU.
1891
La Moy and McCaffrey, The Journals of Grace Hartigan, 104, 117 126; Grace Hartigan to Larry Rivers, postmarked April 16, 1954, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 6, Folder 17, NYU.
1892
John Bernard Myers, transcript of interview by Barbara Rose, n.d., Series II, Box 1, Folder 26, Barbara Rose Papers, GRI (930100), 29–30.
1893
John Bernard Myers, transcript of interview by Barbara Rose, n.d., Series II, Box 1, Folder 26, Barbara Rose Papers, GRI (930100), 29–30; Gruen, The Party’s Over Now, 216; De Coppet and Jones, The Art Dealers, 46.
1894
Hermine Ford, interview by author.
1895
Elaine de Kooning, interview by John Gruen, AAA-SI, 9.
1896
Hermine Ford, interview by author; oral history interview with Tibor de Nagy, AAA-SI; Josephine Novak, “Tracking the Marvelous Grace Hartigan”, Baltimore Evening Sun, n.d. [ca. 1983], C5.
1897
La Moy and McCaffrey, The Journals of Grace Hartigan, 104.
1898
Alexander Bing to Grace Hartigan, April 20, 1954, Athens, Greece, to New York, Box 4, Grace Hartigan Papers, Syracuse; Grace Hartigan to Larry Rivers, postmarked April 16, 1954, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 6, Folder 17, NYU.
1899
Alexander Bing to Grace Hartigan, May 15, 1954, Madrid to New York, Box 4, Grace Hartigan Papers, Syracuse.
1900
Alexander Bing to Grace Hartigan, April 22, 1954, Athens, Greece, to New York, Box 4, Grace Hartigan Papers, Syracuse; La Moy and McCaffrey, The Journals of Grace Hartigan, 126.
1901
Dorothy Miller to Grace Hartigan, June 8, 1954, Museum of Modern Art File, Box 21, Grace Hartigan Papers, Syracuse.
1902
Dorothy Miller to Grace Hartigan, July 2, 1954, Museum of Modern Art File, Box 21, Grace Hartigan Papers, Syracuse.
1903
Fairfield Porter, “Reviews and Previews, Elaine de Kooning”, 45.
1904
Fairfield Porter, “Reviews and Previews, Elaine de Kooning”, 45.
1905
Elaine de Kooning, “Renoir: As If by Magic”, 43.
1906
Elaine de Kooning, “My First Exhibition… To Now”, 1; Grace Hartigan to Larry Rivers, Tuesday March 2 [n.d.], Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 6, Folder 17, NYU.
1907
Campbell, “Elaine de Kooning Paints a Picture”, 63; “Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 15; Sandler, A Sweeper Up After Artists, 184; Irving Sandler, interview by author.
1908
Stahr, “The Social Relations of Abstract Expressionism”, 217.
1909
Elaine de Kooning to Larry Rivers, February 26 — March 4, 1954, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 3, Folder 31, NYU.
1910
Stevens and Swan, De Kooning, 87–88, 282, 382; Elaine de Kooning to Larry Rivers, February 26 — March 4, 1954, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 3, Folder 31, NYU.
1911
Stevens and Swan, De Kooning, 382; Wakefield, New York in the Fifties, 233–236. Уэйкфилд пишет, что аборты считались законными, если у женщины были для этого «психиатрические причины», либо если беременность угрожала ее жизни. Но многие женщины прибегали к нелегальным абортам. В 1956 году Reader’s Digest писал, что по весьма консервативным оценкам в США ежегодно производилось более трехсот тысяч таких абортов.
1912
Lieber, Reflections in the Studio, 40.
1913
Lieber, Reflections in the Studio, 40.
1914
“Helen Frankenthaler: A Retrospective”, Modern Art Museum of Fort Worth, September — October 1989 Calendar, Office of the Director, 1.
1915
Helen Frankenthaler to Grace Hartigan, February 23, 1961, Box 12, Grace Hartigan Papers, Syracuse.
1916
Poydinecz-Conley, unpublished interview with Helen Frankenthaler, HFF.
1917
Poydinecz-Conley, unpublished interview with Helen Frankenthaler, HFF.
1918
Poydinecz-Conley, unpublished interview with Helen Frankenthaler, HFF.
1919
Helen Frankenthaler to Clement Greenberg, postcard, August 15, 1953, Spain to New York, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, 1937–1983, AAA-SI.
1920
Poydinecz-Conley, unpublished interview with Helen Frankenthaler, HFF.
1921
Poydinecz-Conley, unpublished interview with Helen Frankenthaler, HFF.
1922
Helen Frankenthaler to Clement Greenberg, postcard, August 9, 1953, Spain to New York, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, 1937–1983, AAA-SI; Helen Frankenthaler to Clement Greenberg, postcard, July 26, 1953, Spain to New York, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, AAA-SI; Helen Frankenthaler to Clement Greenberg, postcard, July 23, 1953, Madrid to New York, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, AAA-SI.
1923
Helen Frankenthaler to Clement Greenberg, postcard, August 24, 1953, France to New York, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, 1937–1983, AAA-SI.
1924
Helen Frankenthaler to Clement Greenberg, postcard, August 25, 1953, Cannes, France, to New York, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, 1937–1983, AAA-SI.
1925
Helen Frankenthaler to Clement Greenberg, postcard, August 27, 1953, Clement Greenberg Papers, 1937–1983, AAA-SI; Helen Frankenthaler, interview by John Gruen, AAA-SI, 6–8.
1926
Helen Frankenthaler to Sonya Gutman, February 12, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1927
Friedel Dzubas, interview by Charles Millard, AAA-SI; Millard, Friedel Dzubas, 26.
1928
Helen Frankenthaler to Sonya Gutman, February 12, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1929
La Moy and McCaffrey, The Journals of Grace Hartigan, 107; John Bernard Myers to Helen Frankenthaler, postcard, January 30, 1954, Helen Frankenthaler Papers, HFF.
1930
La Moy and McCaffrey, The Journals of Grace Hartigan, 107. Это был довольно освежающий поворот привычной темы, потому что вместо того чтобы обвинять Грейс в использовании женских чар в интересах художника-мужа, ее обвиняли в том, что она использовала их для саморекламы.
1931
Helen Frankenthaler to Sonya Gutman, February 12, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 2.
1932
La Moy and McCaffrey, The Journals of Grace Hartigan, 119.
1933
Helen Frankenthaler to Sonya Rudikoff, February 12, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1–2. Хелен считала, что среди картин, стоящих упоминания, была работа Боба Мазервелла.
1934
Seitz, Abstract Expressionist Painting in America, 165.
1935
Helen Frankenthaler to Sonya Gutman, February 12, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1936
Uniform Crime Reports for the United States, issued by the Federal Bureau of Investigation, U.S. Department of Justice, Washington, DC, Annual Bulletin 25, no. 2 (1954), National Archive of Criminal Justice Data, icpsr.umich.edu, 69–70.
1937
LeSueur, Digressions on Some Poems by Frank O’Hara, 42; Gooch, City Poet, 194.
1938
Malina, The Diaries of Judith Malina, 312; Alan M. Wald, American Night, 250; Edward Field and Dylan Foley, “The Last Bohemians”, April 1, 2013, lastbohemians.blogspot.com/.
1939
Helen Frankenthaler to Sonya Gutman, February 12, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 3.
1940
Malina, The Diaries of Judith Malina, 312.
1941
Gooch, City Poet, 250–251.
1942
Kenneth Koch notes for “On Frank O’Hara”, July 7, 1988, Box 166, Folder 3, Kenneth Koch Papers, NYPL; Gooch, City Poet, 250.
1943
Gooch, City Poet, 251; Berkson and LeSueur, Homage to Frank O’Hara, 82.
1944
Современное название — остров Рузвельт. Это узкий остров в проливе Ист-Ривер, Нью-Йорк, находится между островами Манхэттен и Лонг-Айленд (боро Куинс). Прим. пер.
1945
Gooch, City Poet, 250–251; Kenneth Koch notes for “On Frank O’Hara”, July 7, 1988, Box 166, Folder 3, Kenneth Koch Papers, NYPL.
1946
Gooch, City Poet, 250–251.
1947
Lehman, The Last Avant-Garde, 72.
1948
Kenneth Koch notes for “On Frank O’Hara”, July 7, 1988, Box 166, Folder 3, Kenneth Koch Papers, NYPL.
1949
LeSueur, Digressions on Some Poems by Frank O’Hara, 40–41.
1950
Kenneth Koch notes for “On Frank O’Hara”, July 7, 1988, Box 166, Folder 3, Kenneth Koch Papers, NYPL.
1951
Gooch, City Poet, 251; Kenneth Koch notes for “On Frank O’Hara”, July 7, 1988, Box 166, Folder 3, Kenneth Koch Papers, NYPL.
1952
Frank O’Hara to Ben Weber, March 20, 1954, Southampton, Donald Allen Collection of Frank O’Hara Letters, UConn.
1953
Frank O’Hara to Grace Hartigan, March 17, 1954, Southampton to New York, Box 22, Grace Hartigan Papers, Syracuse.
1954
Helen Frankenthaler to Sonya Gutman, March 15, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1955
Fred Iseman, interview by author. Племянник Хелен Фред Айсман слышал эту историю от своей матери, старшей сестры Хелен, Марджори, которую одна из подруг Вассара вскоре после переезда Хелен пригласила на обед. Они встретились в ресторане на пересечении 78-й улицы и Мэдисон; Фред назвал заведение «очень дамским; для истинных леди, решивших отобедать». Марджори не знала, почему подруге вдруг так сильно захотелось с ней увидеться. Но та вскоре сама подошла к интересующей ее теме, спросив: «Слушай, Марджори, а это правда — то, что я слышала?»
«Ты о чем?» — спросила в ответ мама.
«О твоей младшей сестре, о Хелен».
«А что ты о ней слышала?»
«Ну, что она живет с мужчиной в Вест-Сайде».
«Мама никогда не могла смириться с тем, что жить с мужчиной — это ничего, это нормально, но не в Вест-Сайде же!» — вспоминал Фред.
1956
Clement Greenberg Diary, 1954, Series II, Box 19, Clement Greenberg Papers, GRI (950085); Rubenfeld, Clement Greenberg, 186; Helen Frankenthaler, interview by John Gruen, AAA-SI; Clement Greenberg Journal, June 3, 1956, Box 16, Folder 3, Journal 18, Series II, Clement Greenberg Papers, GRI (950085).
1957
Helen Frankenthaler to Clement Greenberg, postcard, August 15, 1953, Spain to New York, Series 3, Box 3, Folder 38, the Clement Greenberg Papers, 1937–1983, AAA-SI; Belasco, “Between the Waves”, 62.
1958
Rubenfeld, Clement Greenberg, 186.
1959
Helen Frankenthaler to Sonya Gutman, March 15, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1960
Don Cyr, “A Conversation with Helen Frankenthaler”, 31–32.
1961
Grace Hartigan to Clement Greenberg, April 1, 1954, Box 13, Grace Hartigan Papers, Syracuse.
1962
Larry Rivers to Helen Frankenthaler, “Thursday” April [16], 1954, Helen Frankenthaler Papers, HFF.
1963
Grace Hartigan to Clement Greenberg, April 1, 1954, Box 13, Grace Hartigan Papers, Syracuse.
1964
Nicolas Calas, Art in the Age of Risk, xii.
1965
Varnadoe with Karmel, Jackson Pollock, 46.
1966
Mary Abbott, interview by author.
1967
Clifford Ross, interview by author, January 15, 2014.
1968
Nemser, “Art Talk, Forum Women in Art”, 18.
1969
Clement Greenberg Appointment Book, April 22, 1954, Series II, Box 19, Clement Greenberg Papers, GRI (950085); Fred Iseman, interview by author; Elderfield, “Painted on 21st Street”, 54.
1970
Fred Iseman, interview by author.
1971
Ellen M. Iseman, interview by author.
1972
Fred Iseman, interview by author; Clifford Ross, interview by author, January 15, 2014; Helen Frankenthaler to Sonya Gutman, February 12, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 3.
1973
Helen Frankenthaler to Sonya Gutman, March 15, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton.
1974
Helen Frankenthaler to Sonya Gutman, postmarked March 30, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1975
Clement Greenberg Appointment Book, February 7, 1954 — April 20, 1954, Series II, Box 19, Clement Greenberg Papers, GRI (950085).
1976
Clement Greenberg Appointment Book, April 22, 1954, Series II, Box 19, Clement Greenberg Papers, GRI (950085).
1977
Fred Iseman, interview by author; Clifford Ross, interview by author, January 15, 2014.
1978
Бенедикт Х. Бегство от предсказуемости // Antioch Review. 1985. № 1 (пер. Н. Строиловой).
1979
Poydinecz-Conley, unpublished interview with Helen Frankenthaler, HFF.
1980
Poydinecz-Conley, unpublished interview with Helen Frankenthaler, HFF.
1981
Poydinecz-Conley, unpublished interview with Helen Frankenthaler, HFF.
1982
Clement Greenberg Appointment Book, April 25, 1954, Series II, Box 19, Clement Greenberg Papers, GRI (950085).
1983
Helen Frankenthaler, interview by Deborah Solomon.
1984
Helen Frankenthaler, interview by Deborah Solomon.
1985
Rubenfeld, Clement Greenberg, 186.
1986
Helen Frankenthaler to Barbara Guest, July 3, 1954, New York to Reno, Nevada, Box 16, Uncat ZA MS 271, Barbara Guest Papers, Yale.
1987
Helen Frankenthaler to Barbara Guest, July 3, 1954, New York to Reno, Nevada, Box 16, Uncat ZA MS 271, Barbara Guest Papers, Yale.
1988
Helen Frankenthaler to Sonya Gutman, July 2, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1989
Helen Frankenthaler to Barbara Guest, July 16, 1954, New York to Reno, Nevada, Box 16, Uncat ZA MS 271, Barbara Guest Papers, Yale.
1990
Rubenfeld, Clement Greenberg, 186; Helen Frankenthaler to Sonya Gutman, July 2, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
1991
Clement Greenberg Journal, June 3, 1956, Box 16, Folder 3, Journal 18, Series II, Clement Greenberg Papers, GRI (950085).
1992
Fred Iseman, interview by author; Rubenfeld, Clement Greenberg, 186. Клем зарабатывал около семи тысяч долларов в год, что превышало средний заработок американской семьи в пять тысяч долларов, но с заработками Хелен это было несравнимо.
1993
Clement Greenberg Journal, June 3, 1956, Box 16, Folder 3, Journal 18, Series II, Clement Greenberg Papers, GRI (950085); Clement Greenberg Journal, June 7, 1955, Box 16, Folder 2, Journal 17, Clement Greenberg Papers, GRI (950085).
1994
Rubenfeld, Clement Greenberg, 186.
1995
Clement Greenberg Journal, January 10, 1957, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085).
1996
Marquis, Art Czar, 139–140.
1997
Marquis, Art Czar, 139–140.
1998
Helen Frankenthaler to Sonya Gutman, postcard, September 6, 1954, Padua, Italy, to Hanover, New Hampshire, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton.
1999
Helen Frankenthaler to Sonya Gutman, postmarked November 8, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 6.
2000
Helen Frankenthaler to Sonya Gutman, October 15, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
2001
Helen Frankenthaler to Sonya Gutman, postmarked November 8, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 3, 4.
2002
Peggy Guggenheim guestbook page, November 9, 1954, Helen Frankenthaler Papers, HFF.
2003
Helen Frankenthaler to Sonya Gutman, October 15, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
2004
Myers, Tracking the Marvelous, 155.
2005
Rubenfeld, Clement Greenberg, 186; Marquis, Art Czar, 141.
2006
Elderfield, “Painted on 21st Street”, 54; Helen Frankenthaler to Sonya Gutman, postmarked November 8, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1, 2.
2007
Joan Mitchell to Barney Rosset, August 26, 1979, Paris to New York, JMFA003, JMF.
2008
Elaine de Kooning, interview by Jeffrey Potter, courtesy PKHSC.
2009
Elaine de Kooning, interview by Jeffrey Potter, courtesy PKHSC.
2010
Elaine de Kooning, interview by Jeffrey Potter, courtesy PKHSC.
2011
Lieber, Reflections in the Studio, 40; Harrison and Denne, Hamptons Bohemia, 79.
2012
Lieber, Reflections in the Studio, 40.
2013
Oral history interview with Ludwig Sander, AAA-SI.
2014
Lieber, Reflections in the Studio, 40.
2015
Lieber, Reflections in the Studio, 40.
2016
Larry Rivers to Grace Hartigan, June 16, 1954, Southampton to New York, Box 24, Grace Hartigan Papers, Syracuse.
2017
Frank O’Hara to Larry Rivers, June 4, 1954, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 8, NYU.
2018
Oral history interview with Ludwig Sander, AAA.
2019
Stevens and Swan, De Kooning, 370.
2020
Lieber, Reflections in the Studio, 41.
2021
Stevens and Swan, De Kooning, 375.
2022
Lieber, Reflections in the Studio, 40; Stevens and Swan, De Kooning, 375.
2023
Lieber, Reflections in the Studio, 40; Stevens and Swan, De Kooning, 377.
2024
Lieber, Reflections in the Studio, 40; Dorfman, Out of the Picture, 294.
2025
Stevens and Swan, De Kooning, 376.
2026
Dorfman, Out of the Picture, 294–295.
2027
Stevens and Swan, De Kooning, 376–377.
2028
Stevens and Swan, De Kooning, 376–377.
2029
Stevens and Swan, De Kooning, 373.
2030
Oral history interview with Ludwig Sander, AAA-SI.
2031
Elaine de Kooning and Slivka, Elaine de Kooning, 27; Stevens and Swan, De Kooning, 163.
2032
Stahr, “The Social Relations of Abstract Expressionism”, 166. Есть много вариаций этой истории, с другими персонажами, игравшими на разных позициях. Но все они сходятся в том, что заводилой шалости с грейпфрутом была Элен, а отбивал разрисованный фрукт Филипп Павия.
2033
Solomon, Jackson Pollock, 239.
2034
Naifeh and Smith, Jackson Pollock, 731–732.
2035
Friedman, Jackson Pollock: Energy Made Visible, 214; Solomon, Jackson Pollock, 242.
2036
Potter, To a Violent Grave, 189, 197; Levin, Lee Krasner, 292.
2037
Potter, To a Violent Grave, 189; Naifeh and Smith, Jackson Pollock, 735.
2038
Potter, To a Violent Grave, 198.
2039
Potter, To a Violent Grave, 198–199.
2040
Potter, To a Violent Grave, 199.
2041
Robert McG. Thomas Jr., “Patsy Southgate, Who Inspired 50’s Literary Paris, Dies at 70”, July 26, 1998, www.nytimes.com/1998/…/26/…/patsy-southgate-who-inspired-50-s; Gooch, City Poet, 307.
2042
Gooch, City Poet, 30; “Joan Mitchell”, transcript Barney/Sandy interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia. Один профессор в Смитсоновском колледже, где училась Пэтси, признавался, что ходил в бассейн, просто чтобы посмотреть, как она плавает. «Это было для него главным событием дня», — рассказывал Барни, который лично знал влюбленного.
2043
Naifeh and Smith, Jackson Pollock, 734–735; Potter, To a Violent Grave, 189.
2044
Naifeh and Smith, Jackson Pollock, 736.
2045
Harrison, “East Hampton Avant-Garde”, 13; Lieber, Reflections in the Studio, 128n74.
2046
Potter, To a Violent Grave, 208; Harrison, “East Hampton Avant-Garde”, 13; Harrison and Denne, Hamptons Bohemia, 100.
2047
Potter, To a Violent Grave, 208; Naifeh and Smith, Jackson Pollock, 736.
2048
Potter, To a Violent Grave, 202.
2049
Lieber, Reflections in the Studio, 41.
2050
Mary Abbott, interview by author.
2051
Lieber, Reflections in the Studio, 39.
2052
Elaine de Kooning, interview by Jeffrey Potter, courtesy PKHSC.
2053
Elaine de Kooning, interview by Jeffrey Potter, courtesy PKHSC.
2054
Potter, To a Violent Grave, 201.
2055
Naifeh and Smith, Jackson Pollock, 736.
2056
Potter, To a Violent Grave, 205; Naifeh and Smith, Jackson Pollock, 736.
2057
Potter, To a Violent Grave, 201–202.
2058
Potter, To a Violent Grave, 202.
2059
Potter, To a Violent Grave, 202.
2060
Potter, To a Violent Grave, 202–203.
2061
Miriam Schapiro to Grace Hartigan, June 19, 1954, Box 25, Grace Hartigan Papers, Syracuse.
2062
Joan Mitchell to Mike Goldberg, dated “Friday afternoon” [June 18, 1954], postmarked June 19, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2063
Joan Mitchell to Mike Goldberg, dated “Friday afternoon” [June 18, 1954], postmarked June 19, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2064
Joan Mitchell to Mike Goldberg, dated “Friday afternoon” [June 18, 1954], postmarked June 19, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2065
Alison Lurie, V. R. Lang, 46.
2066
Marion Strobel to Joan Mitchell, June 9, 1954, Chicago to New York, JMFA001, JMF.
2067
“Grove Genesis”, interview with Barney Rosset, Barney Rosset Papers, Series II, Box 3, Folder 34, Disk 12, Columbia.
2068
Kaplan, 1959, 46.
2069
Gooch, City Poet, 148.
2070
Joan Mitchell to Mike Goldberg, dated “Friday afternoon” [June 18, 1954], postmarked June 19, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2071
Lurie, V. R. Lang, 5, 9, 11.
2072
Lurie, V. R. Lang, 3; Gooch, City Poet, 75.
2073
Lurie, V. R. Lang, 3.
2074
Lurie, V. R. Lang, 27.
2075
Lurie, V. R. Lang, 13, 36.
2076
Lurie, V. R. Lang, 13, 13.
2077
Lurie, V. R. Lang, 37–38.
2078
Gooch, City Poet, 270.
2079
Gooch, City Poet, 270; Albers, Joan Mitchell, 202.
2080
Lurie, V. R. Lang, 46.
2081
Bunny Lang to Mike Goldberg, undated, Michael Goldberg Papers, 1942–1981, AAA-SI.
2082
Lurie, V. R. Lang, 46–47, 49–50.
2083
Lurie, V. R. Lang, 46–47, 49–50; Gooch, City Poet, 271.
2084
Lurie, V. R. Lang, 50.
2085
Lurie, V. R. Lang, 52–53.
2086
Bunny Lang to Mike Goldberg, July 13, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2087
Lurie, V. R. Lang, 53, 62–63; Gooch, City Poet, 272; Albers, Joan Mitchell, 215. В следующем году журнал Poetry присудит пьесе Банни приз.
2088
Albers, Joan Mitchell, 204–205.
2089
Albers, Joan Mitchell, 205.
2090
Hermine Ford, interview by author.
2091
Albers, Joan Mitchell, 206.
2092
Albers, Joan Mitchell, 207.
2093
Natalie Edgar, interview by author, October 20, 2014.
2094
Joan Mitchell to Mike Goldberg, August 13, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2095
Albers, Joan Mitchell, 207.
2096
Albers, Joan Mitchell, 207.
2097
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film.
2098
Joan Mitchell to Mike Goldberg, dated “Friday afternoon” [June 18, 1954], postmarked June 19, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2099
Joan Mitchell to Mike Goldberg, August 28, 1954, Chicago to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Albers, Joan Mitchell, 207.
2100
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film.
2101
Joan Mitchell to Mike Goldberg, August 19, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2102
Joan Mitchell to Mike Goldberg, July 31, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2103
Joan Mitchell to Mike Goldberg, July 31, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2104
Joan Mitchell to Mike Goldberg, July 31, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2105
Joan Mitchell to Mike Goldberg, August 13, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2106
Joan Mitchell to Mike Goldberg, August 28, 1954, Chicago to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2107
Albers, Joan Mitchell, 211; Joan Mitchell to Mike Goldberg, August 28, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Mike Goldberg, n.d., Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Mike Goldberg, n.d., Grand Hotel du Mont Blanc, Paris, to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2108
Joan Mitchell to Mike Goldberg, August 20, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2109
Lieber, Reflections in the Studio, 43; Harrison and Denne, Hamptons Bohemia, 80.
2110
Lieber, Reflections in the Studio, 44; Hall, Elaine and Bill, 168.
2111
Lieber, Reflections in the Studio, 44; Harrison and Denne, Hamptons Bohemia, 80; Lindsey Gruson, “Is It Art or Just a Toilet Seat? Bidders to Decide on a de Kooning”, New York Times, January 15, 1992; “Bidders Close Wallets, Lid on Toilet Seat Painting”, articles.orlandosentinel.com/1992-03-01/news/9203010383. Элен называла идею, что крышка от унитаза может быть картиной, «нелепой».
2112
Lieber, Reflections in the Studio, 44; Hall, Elaine and Bill, 168; Stevens and Swan, De Kooning, 373–374.
2113
Lieber, Reflections in the Studio, 44; Stevens and Swan, De Kooning, 373.
2114
Lieber, Reflections in the Studio, 44; Stevens and Swan, De Kooning, 374.
2115
La Moy and McCaffrey, The Journals of Grace Hartigan, 147; Frank O’Hara to Kenneth Koch, August 14, 1954, Series XI, Kenneth Koch Papers, NYPL.
2116
Joan Mitchell to Mike Goldberg, August 10, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2117
Frank O’Hara to Grace Hartigan, May 21, 1954, 1:98, Allen Collection of Frank O’Hara Letters, UConn.
2118
La Moy and McCaffrey, The Journals of Grace Hartigan, 144; Berkson and LeSueur, Homage to Frank O’Hara, 29. The Folder crew included Daisy Aldan, Olga Petroff, Richard Miller, and print impresario Floriano Vecchi.
2119
La Moy and McCaffrey, The Journals of Grace Hartigan, 142.
2120
Grace Hartigan to Larry Rivers, postmarked April 16, 1954, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box Folder 17, NYU.
2121
John Bernard Myers to Grace Hartigan, August 1954, New York to Southampton, Box 21, Grace Hartigan Papers, Syracuse.
2122
Myers, Tracking the Marvelous, 197; Albers, Joan Mitchell, 206.
2123
Potter, To a Violent Grave, 208.
2124
Myers, Tracking the Marvelous, 197.
2125
Potter, To a Violent Grave, 198; Naifeh and Smith, Jackson Pollock, 739.
2126
Stevens and Swan, De Kooning, 373.
2127
Elaine de Kooning, interview by John Gruen, AAA-SI, 12.
2128
Hall, Elaine and Bill, 169.
2129
Lieber, Reflections in the Studio, 44; Malina, The Diaries of Judith Malina, 340.
2130
Albers, Joan Mitchell, 212; Stevens and Swan, De Kooning, 374.
2131
Lieber, Reflections in the Studio, 44–45.
2132
Lieber, Reflections in the Studio, 45.
2133
Lieber, Reflections in the Studio, 45; Naifeh and Smith, Jackson Pollock, 739.
2134
Albers, Joan Mitchell, 213.
2135
Lieber, Reflections in the Studio, 45.
2136
Potter, To a Violent Grave, 206.
2137
Potter, To a Violent Grave, 206.
2138
Potter, To a Violent Grave, 206; Naifeh and Smith, Jackson Pollock, 739–740.
2139
Potter, To a Violent Grave, 206–7; Naifeh and Smith, Jackson Pollock, 740.
2140
Naifeh and Smith, Jackson Pollock, 740.
2141
Hess and Baker, Art and Sexual Politics, 84–85.
2142
La Moy and McCaffrey, The Journals of Grace Hartigan, 151; René d’Harnoncourt, “The Museum of Modern Art Twenty-Fifth Anniversary Year”, 9.
2143
D’Harnoncourt, “The Museum of Modern Art Twenty-Fifth Anniversary Year”, 9; Lynes, Good Old Modern, 349, 354.
2144
La Moy and McCaffrey, The Journals of Grace Hartigan, 151–52.
2145
La Moy and McCaffrey, The Journals of Grace Hartigan, 152.
2146
La Moy and McCaffrey, The Journals of Grace Hartigan, 152.
2147
La Moy and McCaffrey, The Journals of Grace Hartigan, 152.
2148
La Moy and McCaffrey, The Journals of Grace Hartigan, 154.
2149
La Moy and McCaffrey, The Journals of Grace Hartigan, 154.
2150
La Moy and McCaffrey, The Journals of Grace Hartigan, 154.
2151
La Moy and McCaffrey, The Journals of Grace Hartigan, 149.
2152
La Moy and McCaffrey, The Journals of Grace Hartigan, 157.
2153
La Moy and McCaffrey, The Journals of Grace Hartigan, 152.
2154
La Moy and McCaffrey, The Journals of Grace Hartigan, 163; joint federal tax return Willem and Elaine de Kooning, 1954, Elaine and Willem de Kooning financial records, 1951–1969, AAA-SI.
2155
La Moy and McCaffrey, The Journals of Grace Hartigan, 157.
2156
La Moy and McCaffrey, The Journals of Grace Hartigan, 157.
2157
La Moy and McCaffrey, The Journals of Grace Hartigan, 153, 154, 160; Exhibitions, Box 37, Grace Hartigan Papers, Syracuse; John Bernard Myers to Larry Rivers, Larry Rivers Papers, MSS 293, Series 1, Subseries A, Box 10, Folder 12, NYU.
2158
Curtis, Restless Ambition, 134–135.
2159
“A transcript of a recorded conversation between Linda Nochlin and Molly Nesbit in New York City”, January 28, 2011, vassar.edu/histories/art/nochlin.html.
2160
LeSueur, Digressions on Some Poems by Frank O’Hara, 103.
2161
LeSueur, Digressions on Some Poems by Frank O’Hara, 104.
2162
LeSueur, Digressions on Some Poems by Frank O’Hara, 104.
2163
LeSueur, Digressions on Some Poems by Frank O’Hara, 105.
2164
La Moy and McCaffrey, The Journals of Grace Hartigan, 163; LeSueur, Digressions on Some Poems by Frank O’Hara, n.p.
2165
La Moy and McCaffrey, The Journals of Grace Hartigan, 163; LeSueur, Digressions on Some Poems by Frank O’Hara, n.p.
2166
Diggins, The Proud Decades, 181, 187; Miller and Nowak, The Fifties, 277; Deirdre Robson, “The Market for Abstract Expressionism”, 20.
2167
Robson, “The Avant-Garde and the On-Guard”, 221; Hodgins and Lesley, “The Great International Art Market”, 157.
2168
Lynes, The Tastemakers, 259; Robson, “The Avant-Garde and the On-Guard”, 220.
2169
Oral history interview with Nathan Halper, AAA-SI.
2170
Hodgins and Lesley, “The Great International Art Market”, 118; Robson, “The Market for Abstract Expressionism”, 20.
2171
Hodgins and Lesley, “The Great International Art Market”, 118–119.
2172
Hodgins and Lesley, “The Great International Art Market”, 120–121, 152.
2173
То есть акциям наиболее крупных, ликвидных и надежных компаний со стабильными показателями доходности. Прим. пер.
2174
Hodgins and Lesley, “The Great International Art Market”, 121, 152.
2175
Hodgins and Lesley, “The Great International Art Market”, 121, 152.
2176
Lynes, The Tastemakers, 262; Arthur A. Houghton Jr. “The Artist in an Industrial Society”, lecture delivered at the Museum of Fine Arts, Boston, March 22, 1955, Russell Lynes Papers, Box 1, Folder 3, AAA-SI, 12; Robson, “The Avant-Garde and the On-Guard”, 215.
2177
Houghton, “The Artist in an Industrial Society”, Russell Lynes Papers, Box 1, Folder 3, AAA-SI, 12; Lynes, The Tastemakers, 262.
2178
D’Harnoncourt, “The Museum of Modern Art Twenty-Fifth Anniversary Year”, 5; Lynes, The Tastemakers, 262.
2179
Lynes, The Tastemakers, 263; Rosenberg, The Anxious Object, 264–265.
2180
Oral history interview with Samuel M. Kootz, April 13, 1964, AAA-SI.
2181
Malina, The Diaries of Judith Malina, 353.
2182
Interview with May Tabak Rosenberg, AAA-SI.
2183
La Moy and McCaffrey, The Journals of Grace Hartigan, 167, 170, 171.
2184
Exhibitions, Box 30, Grace Hartigan Archives, Syracuse.
2185
Thomas B. Hess, “Trying Abstraction on Pittsburgh”, 42, 56. Гесс особо выделял в своей статье Хелен, Джоан и Элен, назвав картину Хелен «успешной попыткой конкретизации опыта в непосредственном вихре красок», работу Джоан — «бравурным эквивалентом великого пейзажа», а Элен — одним из «выдающихся молодых усложнителей», выпекающих фигуры в «печи цвета».
2186
Hess, “Trying Abstraction on Pittsburgh”, 40; Tibor de Nagy Gallery Files, Box 28, Folder 1, AAA-SI. ArtNews сопроводил статью об этой выставке репродукцией работы Хелен. Картину за триста долларов купил Бернард Райс.
2187
Helen Frankenthaler to Sonya Gutman, Tuesday, December 14, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1; “Frankenthaler: The 1950s”, 30; Elderfield, “Painted on 21st Street”, 55.
2188
Dore Ashton, interview by author.
2189
Nemser, Art Talk, 181,
2190
Irving Sandler, interview by author.
2191
Munro, Originals, 52; oral history interview with Yvonne Jacquette, AAA-SI. Художник и гравер Ивонн Жакетт, которой в середине 1950-х годов было немногим больше двадцати, говорила, что жертву старших подруг, которым ради занятий творчеством приходилось лезть из кожи вон, нужно принимать всерьез; что именно благодаря предшественницам более молодым художницам уже не нужно было идти на «экстремальные шаги». «Нам не надо было быть невероятными», — сказала она.
2192
Фридан, Женская мистика, 41, 122, 124, 152, 158, 161, 165, 170; Mead, Male and Female, 290. В 1954 году журнал McCall’s ввел в обиход термин «духовное единение» — для описания связи, в которой женщина не соглашалась на подчинение мужчине. Прежде с того момента, как женщина говорила «да» и становилась женой, сама ее личность должна была подчиняться мужу. Она приходила на церемонию бракосочетания как женщина по имени, скажем, Джейн Смит, а уходила социально завуалированным существом по имени миссис Том Джонс. А самой Джейн уже не существовало.
2193
Chafe, Women and Equality, 106; William H. Whyte Jr, “The Wife Problem”, 34.
2194
Alfred C. Kinsey, Clyde Martin, and Wardell Pomeroy, Sexual Behavior in the Human Female, 339, 442.
2195
Miller and Nowak, The Fifties, 157–158; Фридан, Женская мистика, 184.
2196
Miller and Nowak, The Fifties, 157–158.
2197
Здесь и далее — перевод с английского языка Н. Щабельской. Прим. пер.
2198
Фридан, Женская мистика, 249–250, 255, 315; Рисман Дэвид, Одинокая толпа, 148. Эта тенденция отмечалась также в бестселлере Рисмана: «Сегодня миллионы женщин, освобожденных технологиями от любой домашней работы и получивших благодаря технологиям большое „подспорье в романтических отношениях”, становятся вместе с мужчинами первооткрывателями на передовых рубежах секса». Он охарактеризовал такой секс как лишенный радости и вызывающий беспокойство и утверждал, что хоть такой секс и легко доступен, он представляет собой «слишком священную иллюзию».
2199
Фридан, Женская мистика, 250.
2200
Фридан, Женская мистика, 161; Miller and Nowak, The Fifties, 256.
2201
Mead, Male and Female, 28–29; Фридан, Женская мистика, 128–130.
2202
Beauvoir, The Second Sex, 69.
2203
Beauvoir, The Second Sex, 711.
2204
Здесь и далее — перевод с английского языка А. Сабашниковой, Е. Орловой, И. Малаховой. Прим. пер.
2205
Beauvoir, The Second Sex, 713–717, 723.
2206
Rose, The Norton Book of Women’s Lives, 433–434.
2207
Pacini, Marisol, 118.
2208
La Moy and McCaffrey, The Journals of Grace Hartigan, 171.
2209
La Moy and McCaffrey, The Journals of Grace Hartigan, 176.
2210
Mary Clyde (Abbott) to Grace Hartigan, n.d., 1955, Box 8, Grace Hartigan Papers, Syracuse.
2211
Larry Rivers to Grace Hartigan, May 16, 1955, Box 24, Grace Hartigan Papers, Syracuse.
2212
La Moy and McCaffrey, The Journals of Grace Hartigan, 175.
2213
Jane Freilicher, interview by author.
2214
John Ashbery to Larry Rivers, May 18 [ca. 1955], Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 1, Folder 19, NYU; Jane Freilicher, interview by author.
2215
Grace Hartigan Journals, May 31, 1955, Box 32, Grace Hartigan Papers, Syracuse.
2216
Grace Hartigan Journals, May 30, 1955, Box 31, Grace Hartigan Papers, Syracuse; Frank O’Hara to Anne and Fairfield Porter, June 9, 1955, 1:134, Allen Collection of Frank O’Hara Letters, UConn.
2217
Curtis, Restless Ambition, 338n111.
2218
Jane Freilicher, interview by author; Grace Hartigan Journals, June 6, 1955, Box 32, Grace Hartigan Papers, Syracuse.
2219
Grace Hartigan Journals, June 6, 1955, Box 32, Grace Hartigan Papers, Syracuse.
2220
Grace Hartigan Journals, June 6, 1955, Box 32, Grace Hartigan Papers, Syracuse.
2221
La Moy and McCaffrey, The Journals of Grace Hartigan, 179, 183.
2222
Grace Hartigan Journals, June 10, 1955, Box 32, Grace Hartigan Papers, Syracuse; Grace Hartigan Journals, June 15, 1955, Box 32, Grace Hartigan Papers, Syracuse; La Moy and McCaffrey, The Journals of Grace Hartigan, 183.
2223
La Moy and McCaffrey, The Journals of Grace Hartigan, 183–184.
2224
La Moy and McCaffrey, The Journals of Grace Hartigan, 184.
2225
Larry Rivers with Carol Brightman, “The Cedar Bar”, 41–42.
2226
Rex Stevens, interview by author.
2227
La Moy and McCaffrey, The Journals of Grace Hartigan, 184.
2228
La Moy and McCaffrey, The Journals of Grace Hartigan, 185; Nemser, Art Talk, 168–169.
2229
La Moy and McCaffrey, The Journals of Grace Hartigan, 187.
2230
La Moy and McCaffrey, The Journals of Grace Hartigan, 188.
2231
La Moy and McCaffrey, The Journals of Grace Hartigan, 188.
2232
Rose, The Norton Book of Women’s Lives, 666–667.
2233
Chancey, “Elaine de Kooning”, 106; Elaine de Kooning, interview by Arthur Tobier, 5.
2234
Elaine de Kooning, interview by Arthur Tobier, 5–6.
2235
Elaine de Kooning, interview by John Gruen, AAA-SI, 12.
2236
Stevens and Swan, De Kooning, 377.
2237
Elaine de Kooning, interview by Antonina Zara, 27.
2238
Elaine de Kooning, interview by Antonina Zara, 29.
2239
Interview with Natalie Edgar, author, December 8, 2013, East Hampton, New York.
2240
Sales in ’55 worksheet, Elaine and Willem de Kooning financial records, 1951–1969. AAA-SI; Hess, Willem de Kooning (1968), 100. В этом году Билл продаст работ на тринадцать тысяч долларов.
2241
Elaine de Kooning, interview by Arthur Tobier, 6.
2242
Lytle Shaw, Frank O’Hara: The Poetics of Coterie, 89; La Moy and McCaffrey, The Journals of Grace Hartigan, 174; Mattison, Grace Hartigan, 35; Crase and Quilter, Painters and Poets, 8.
2243
John Ashbery, “Frank O’Hara’s Question”.
2244
Edgar, Club Without Walls, 176–177.
2245
Franco Zeffirelli, “Turned-On Architecture”, 20; Elaine de Kooning and Slivka, Elaine de Kooning, 143–149.
2246
Elaine de Kooning, “Subject: What, How or Who?”, 29.
2247
Elaine de Kooning, “Subject: What, How or Who?”, 29, 62.
2248
Edgar, Club Without Walls, 177.
2249
Albers, Joan Mitchell, 213.
2250
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Mike Goldberg, postmarked August 28, 1954, Chicago to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2251
Joan Mitchell to Mike Goldberg, December 27, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2252
Joan Mitchell to Mike Goldberg, December 27, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2253
Joan Mitchell to Mike Goldberg, December 27, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Mike Goldberg, December 28, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2254
Joan Mitchell to Mike Goldberg, December 28, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2255
Joan Mitchell to Mike Goldberg, December 29, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2256
Joan Mitchell to Mike Goldberg, December 29, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2257
Joan Mitchell to Mike Goldberg, December 29, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2258
Joan Mitchell to Mike Goldberg, December 29, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI.
2259
Albers, Joan Mitchell, 216. Джимми Митчелл, в отличие от своей дочери, вернулся домой практически без изменений.
2260
Joan Mitchell to Mike Goldberg, December 27, 1954, Michael Goldberg Papers, 1942–1981, AAA-SI, 3.
2261
Рильке Р.-М. Письма к молодому поэту // Рильке Р.-М. Ворпсведе. Огюст Роден. Письма. Стихи. М.: Искусство, 1971.
2262
Rilke, Letters to a Young Poet, 42, 86, 54.
2263
Photograph by Rudy Burckhardt for “Mitchell Paints a Picture”, by Irving Sandler, ArtNews 56, no. 6 (October 1957): 44.
2264
Bernstock, Joan Mitchell, 31.
2265
Bernstock, Joan Mitchell, 34.
2266
Nemser, “An Afternoon with Joan Mitchell”, 6.
2267
Albers, Joan Mitchell, 218; Marion Strobel to Joan Mitchell, n.d. [ca. early 1955], JMFA001, JMF.
2268
Joan Mitchell to Mike Goldberg, December 27, 1954, Chicago to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Barbara Guest, Diary 1955, February 22, Uncat MSS 947, Box 26, Barbara Guest Papers, Yale.
2269
“Reviews and Previews”, ArtNews 54, no. 1 (March 1955): 50.
2270
Albers, Joan Mitchell, 233.
2271
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Belasco, “Between the Waves”, 218; Joan Mitchell to Mike Goldberg, postmarked September 15, 1965, Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2272
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; LeSueur, Digressions on Some Poems by Frank O’Hara, 163.
2273
Lurie, V. R. Lang, 62–65.
2274
LeSueur, Digressions on Some Poems by Frank O’Hara, 163.
2275
Elaine de Kooning, interview by Amei Wallach, 3.
2276
LeSueur, Digressions on Some Poems by Frank O’Hara, 162.
2277
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2278
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Albers, Joan Mitchell, 218; Joan Mitchell to Mike Goldberg, postmarked September 15, 1965, Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Joan Mitchell to Mike Goldberg, December 27, 1954, Chicago to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Belasco, “Between the Waves”, 218.
2279
Albers, Joan Mitchell, 218.
2280
Elizabeth Baker, telephone interview by author.
2281
Thomas B. Hess to Elaine de Kooning, October 10, 1955, Series 1, Box 1, Reel 5821, Stable Gallery Records, 1916–1999, bulk 1953–1970, AAA-SI; Albers, Joan Mitchell, 233.
2282
Jane Freilicher, interview by author.
2283
Oral history interview with Joan Mitchell, May 21, 1965, AAA-SI.
2284
Frank O’Hara to Kenneth Koch, May 9, 1955, Series XI, Kenneth Koch Papers, NYPL; “April — July 3, 1955, Fifty Years of American Art in Paris”, Abstract Expressionism, 1955, warholstars.org.
2285
“April — July 3, 1955, Fifty Years of American Art in Paris”, Abstract Expressionism, 1955, warholstars.org.
2286
Frank O’Hara to Kenneth Koch, May 9, 1955, Series XI, Kenneth Koch Papers, NYPL; La Moy and McCaffrey, The Journals of Grace Hartigan, 166.
2287
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Albers, Joan Mitchell, 230; La Moy and McCaffrey, The Journals of Grace Hartigan, 185–186.
2288
“April — July 3, 1955, Fifty Years of American Art in Paris”, Abstract Expressionism, 1955, warholstars.org; Gooch, City Poet, 258; Jachec, The Philosophy and Politics of Abstract Expressionism, 190, 211; Kleeblatt, Action/Abstraction, 27.
2289
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins.
2290
Shirley Jaffe, telephone interview by author.
2291
Shirley Jaffe, telephone interview by author.
2292
Shirley Jaffe, telephone interview by author.
2293
Joan Mitchell to Barney Rosset, postmarked May 23, 1955, Paris to New York, JMFA003, JMF; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
2294
Albers, Joan Mitchell, 219; LeSueur, Digressions on Some Poems by Frank O’Hara, 162; Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Shirley Jaffe, telephone interview by author.
2295
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2296
Joan Mitchell to Barney and Loly Rosset, postmarked June 17, 1955, Paris to New York, JMFA003, JMF.
2297
Joan Mitchell to Barney and Loly Rosset, postmarked May 23, 1955, Paris to New York, JMFA003, JMF.
2298
Bernstock, Joan Mitchell, 106.
2299
“Joan Mitchell”, Transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
2300
Deirdre Bair, Samuel Beckett, 488.
2301
Cora Cohen and Betsy Sussler, “Joan Mitchell”, 20.
2302
Bair, Samuel Beckett, 488.
2303
Joan Mitchell to Barney and Loly Rosset, postmarked June 17, 1955, Paris to New York, JMFA003, JMF.
2304
Albers, Joan Mitchell, 281.
2305
Joan Mitchell to Barney and Loly Rosset, postmarked June 17, 1955, Paris to New York, JMFA003, JMF; Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2306
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI, 4.
2307
Joan Mitchell to Barney and Loly Rosset, postmarked June 17, 1955, Paris to New York, JMFA003, JMF.
2308
Joan Mitchell to Barney and Loly Rosset, postmarked June 17, 1955, Paris to New York, JMFA003, JMF; Frank O’Hara to Kenneth Koch, May 9, 1955, Series XI, Kenneth Koch Papers, NYPL; Frank O’Hara to Kenneth Koch, May 23, 1955, Series XI, Kenneth Koch Papers, NYPL.
2309
Joan Mitchell to Barney and Loly Rosset, postmarked June 17, 1955, Paris to New York, JMF.
2310
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2311
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2312
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2313
Albers, Joan Mitchell, 232; Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2314
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2315
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, Archives of American Art, Smithsonian Institution.
2316
Joan Mitchell to Mike Goldberg, n.d., Michael Goldberg Papers, 1942–1981, Archives of American Art, Smithsonian Institution.
2317
Gilbert Érouart, Riopelle in Conversation, 5.
2318
Hélène de Billy, Riopelle, 109–110; Albers, Joan Mitchell, 226.
2319
De Billy, Riopelle, 87.
2320
De Billy, Riopelle, 17, 48, 125; Frank O’Hara, “Riopelle: International Speedscapes”, 33.
2321
De Billy, Riopelle, 56, 67, 71, 80, 88, 102, 106, 107.
2322
De Billy, Riopelle, 13, 99, 120.
2323
De Billy, Riopelle, 117, 119.
2324
De Billy, Riopelle, 84, 112, 119.
2325
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; de Billy, Riopelle, 61. По иронии судьбы в том же здании раньше жил Риопель с женой.
2326
In My Solitude. Прим. пер.
2327
Joan Mitchell to Barney Rosset, postmarked July [?] 9, 1955, Paris to New York, JMFA003, JMF; Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI, 3.
2328
Joan Mitchell to Barney Rosset, postmarked July [?] 9, 1955, Paris to New York, JMFA003, JMF; Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI, 3.
2329
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI, 1.
2330
De Billy, Riopelle, 120.
2331
Joan Mitchell to Barney Rosset, postmarked May 23, 1955, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney and Loly Rosset, n.d. [ca. 1955], Paris to New York, JMFA003, JMF.
2332
Joan Mitchell to Barney Rosset, postmarked October 17, 1955 [?], Paris to New York, JMFA003, JMF.
2333
De Billy, Riopelle, 80.
2334
Jill Weinberg Adams, interview by author. This anecdote was told to Jill by Joan.
2335
Jill Weinberg Adams, interview by author. This anecdote was told to Jill by Joan.
2336
De Billy, Riopelle, 117, 120.
2337
De Billy, Riopelle, 108, 120.
2338
Shirley Jaffe, telephone interview by author.
2339
De Billy, Riopelle, 116.
2340
Joan Mitchell to Barney and Loly Rosset, postmarked September 19, 1955, Paris to New York, JMFA003, JMF.
2341
Joan Mitchell to Mike Goldberg, n.d., Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
2342
Joan Mitchell to Barney and Loly Rosset, postmarked September 19, 1955, Paris to New York, JMFA003, Joan Mitchell Papers, JMF.
2343
Joan Mitchell to Barney and Loly Rosset, postmarked October 17, 1955 [?], Paris to New York, JMFA003, JMF; Albers, Joan Mitchell, 232.
2344
Joan Mitchell to Barney and Loly Rosset, postmarked September 5, 1955, Paris to New York, JMFA003, JMF.
2345
Ernestine and Denise Lassaw, e-mail to author, January 20, 2014.
2346
Dr. Guy Fried, telephone interview by author.
2347
Hall, Elaine and Bill, 174.
2348
Hall, Elaine and Bill, 172; Elaine de Kooning, interview by John Gruen, AAA-SI, 12.
2349
Clay Fried, interview by author.
2350
Grace Hartigan notes for Elaine de Kooning memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse.
2351
Hall, Elaine and Bill, 172, 174.
2352
Margaret Randall, telephone interview by author.
2353
Stevens and Swan, De Kooning, 385; Hall, Elaine and Bill, 172, 174.
2354
Draft manuscript for Thomas B. Hess’s De Kooning Show at the Museum of Modern Art, draft dated July 8, 1968, Thomas B. Hess/De Kooning Papers, Box 1/1, MOMA, 52; Hess, Willem de Kooning (1968), 100.
2355
Thomas B. Hess to Elaine de Kooning, October 10, 1955, Series 1, Box 1, Reel 5821, Stable Gallery Records, 1916–1999, bulk 1953–1970, AAA-SI; Albers, Joan Mitchell, 233.
2356
Elaine de Kooning, interview by Charles Hayes, 5.
2357
Elaine de Kooning, interview by Antonina Zara, 28.
2358
Tennessee Williams, The Theatre of Tennessee Williams, 39.
2359
Helen Frankenthaler to Barbara Guest, July 23, 1955, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale; Elderfield, “Painted on 21st Street”, 55.
2360
Van Horne, A Complicated Marriage, 70.
2361
Helen Frankenthaler to Barbara Guest, July 13, 1955, New York to Southampton, Box 16, Uncat ZA MS 271, Barbara Guest Papers, Yale.
2362
Helen Frankenthaler to Sonya Gutman, Tuesday, postmarked December 14, 1954, Box 1, Folder 6, Rudikoff Papers, 1935–2000, Princeton, 1.
2363
Rubenfeld, Clement Greenberg, 186.
2364
Rubenfeld, Clement Greenberg, 186.
2365
Rubenfeld, Clement Greenberg, 187, 189; John Bernard Myers to Larry Rivers, postmarked April 18, 1955, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 10, Folder 11, NYU.
2366
Rubenfeld, Clement Greenberg, 189; Clement Greenberg Journal, October 12, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085).
2367
Marquis, Art Czar, 144.
2368
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 3: 217.
2369
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 228.
2370
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 226.
2371
O’Brian, Clement Greenberg: The Collected Essays and Criticism, 236.
2372
Naifeh and Smith, Jackson Pollock, 746.
2373
Rubenfeld, Clement Greenberg, 187–188.
2374
Jones, Eyesight Alone, 426; Phoebe Hoban, “Psycho Drama”, 45–46.
2375
Rubenfeld, Clement Greenberg, 188; Jones, Eyesight Alone, 428; Hoban, “Psycho Drama”, 46.
2376
Rubenfeld, Clement Greenberg, 188–189; Naifeh and Smith, Jackson Pollock, 768; Marquis, Art Czar, 142–43, 146; David Black, “Totalitarian Therapy on the Upper West Side”, 54, 56, 57, 58, 60, 62; Hoban, “Psycho Drama”, 46.
2377
Rubenfeld, Clement Greenberg, 249.
2378
Rubenfeld, Clement Greenberg, 189.
2379
Janice Van Horne, interview by author.
2380
Rubenfeld, Clement Greenberg, 189; Marquis, Art Czar, 144.
2381
Naifeh and Smith, Jackson Pollock, 744, 753.
2382
Naifeh and Smith, Jackson Pollock, 744, 742.
2383
Potter, To a Violent Grave, 221.
2384
O’Connor, Jackson Pollock, 71; Levin, Lee Krasner, 303.
2385
Potter, To a Violent Grave, 193.
2386
Levine, “A Portrait of Sidney Janis”, 52.
2387
Hilton Kramer, “Interview with Helen Frankenthaler”, 240.
2388
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 1.
2389
Naifeh and Smith, Jackson Pollock, 744–745.
2390
Levin, Lee Krasner, 303–304.
2391
Potter, To a Violent Grave, 192–193.
2392
Potter, To a Violent Grave, 202.
2393
Naifeh and Smith, Jackson Pollock, 747.
2394
Rubenfeld, Clement Greenberg, 194.
2395
Rubenfeld, Clement Greenberg, 194; Marquis, Art Czar, 145.
2396
Naifeh and Smith, Jackson Pollock, 746–747.
2397
Rubenfeld, Clement Greenberg, 194–195.
2398
Naifeh and Smith, Jackson Pollock, 746–747.
2399
Rubenfeld, Clement Greenberg, 195.
2400
Naifeh and Smith, Jackson Pollock, 742–743.
2401
Rubenfeld, Clement Greenberg, 195.
2402
Rubenfeld, Clement Greenberg, 188, 195; Marquis, Art Czar, 145; Levin, Lee Krasner, 295.
2403
Potter, To a Violent Grave, 223.
2404
Levin, Lee Krasner, 296; Black, “Totalitarian Therapy on the Upper West Side”, 57; Pat Lipsky, “What Tony and Lee and Clem Told Me, a Reminiscence”, transcript of a lecture delivered at the Pollock-Krasner House and Study Center on July 1995, Pat Lipsky Papers, AAA-SI. По словам Клема, после того как Ли перестала видеться с Сигелом, он стал настолько от нее зависимым, что звонил ей каждый день.
2405
Levin, Lee Krasner, 299; Landau, Lee Krasner: A Catalogue Raisonné, 311.
2406
Lee Krasner, unpublished notes, Series 2, Subseries 5, Box 10, Folder 11, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 6–9, 11, 13.
2407
Lee Krasner, unpublished notes, Series 2, Subseries 5, Box 10, Folder 11, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 9–10, 14.
2408
Lee Krasner, unpublished notes, Series 2, Subseries 5, Box 10, Folder 11, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 9–10, 30.
2409
Lee Krasner, unpublished notes, Series 2, Subseries 5, Box 10, Folder 11, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 33.
2410
Friedman, Energy Made Visible, 224.
2411
Letter Jackson Pollock to Helen Frankenthaler, ca. 1954–1955, Springs to New York, Box 085, Helen Frankenthaler Archives, HFF.
2412
Friedman, Energy Made Visible, 224–225; Paul Jenkins, interview by Deborah Solomon, transcript courtesy Suzanne D. Jenkins, © Estate of Paul Jenkins. Пол говорил, что Джексон «серьезно планировал организовать выставку рисунков в лондонской галерее».
2413
Potter, To a Violent Grave, 223.
2414
Barbara Guest, Diary 1955, July 30 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale.
2415
Barbara Guest, Diary 1955, August 5 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale; Barbara Guest, Diary 1955, August 7 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale.
2416
Barbara Guest, Diary 1955, August 6 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale.
2417
Jeannie Motherwell, telephone interview by author, August 12, 2014; Lise Motherwell, telephone interview by author.
2418
Barbara Guest, Diary 1955, August 6 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale.
2419
“Hurricanes: Science and Society, 1955 — Hurricane Diane”, www.hurricanescience.org.
2420
Rubenfeld, Clement Greenberg, 197.
2421
Barbara Guest, Diary 1955, August 25 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale.
2422
Ernestine Lassaw, interview by author.
2423
Potter, To a Violent Grave, 202.
2424
Hobbs, Lee Krasner (1993), 57; Lee Krasner: An Interview with Kate Horsfield, video courtesy PKHSC.
2425
Rose, Lee Krasner, 89.
2426
Rubenfeld, Clement Greenberg, 197.
2427
Potter, To a Violent Grave, 208–229.
2428
Potter, To a Violent Grave, 209.
2429
Rose, Lee Krasner: The Long View, videotape courtesy PKHSC; Landau, Lee Krasner: A Catalogue Raisonné, 311.
2430
Friedman, Energy Made Visible, 220.
2431
Oral history interview with Lee Krasner, November 2, 1964 — April 11, 1968, AAA-SI; Potter, To a Violent Grave, 208.
2432
“Month in Review”, Arts 30, no. 1 (October 1955): 52.
2433
Landau, Lee Krasner: A Catalogue Raisonné, 312.
2434
“Lee Krasner Painting, Drawings and Collages”, Whitechapel Gallery, 4; Levin, Lee Krasner, 371; “Lee Krasner: Paintings from the Late Fifties”, Robert Miller Gallery, October 25 — November 20, 1982, 7; Helen Harrison, telephone interview by author.
2435
Rubenfeld, Clement Greenberg, 197.
2436
Rubenfeld, Clement Greenberg, 196–197; oral history interview with B. H. Friedman, 1972, AAA-SI.
2437
Rubenfeld, Clement Greenberg, 196.
2438
Rubenfeld, Clement Greenberg, 197.
2439
Rivers, What Did I Do?, 183; Barbara Guest, Diary 1955, October 4 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale.
2440
Rubenfeld, Clement Greenberg, 197; Clement Greenberg and Janice Van Horne, interview by Dodie Kazanjian, AAA-SI, 10–11.
2441
Janice Van Horne, interview by author; Van Horne, A Complicated Marriage, 3, 5–6; Rivers, What Did I Do?, 183–184.
2442
Rivers, What Did I Do?, 183–184.
2443
Van Horne, A Complicated Marriage, 23.
2444
Janice Van Horne, interview by author; Rivers, What Did I Do?, 183.
2445
Janice Van Horne, interview by author.
2446
Van Horne, A Complicated Marriage, 23.
2447
Rubenfeld, Clement Greenberg, 198.
2448
Rivers, What Did I Do?, 183–184.
2449
Rubenfeld, Clement Greenberg, 198; Rivers, What Did I Do?, 184.
2450
Van Horne, A Complicated Marriage, 6–7.
2451
Janice Van Horne, interview by author.
2452
Halberstam, The Fifties, 59–60.
2453
Rubenfeld, Clement Greenberg, 198.
2454
Van Horne, A Complicated Marriage, 7.
2455
Janice Van Horne, interview by author.
2456
Van Horne, A Complicated Marriage, 7.
2457
Rubenfeld, Clement Greenberg, 198.
2458
Van Horne, A Complicated Marriage, 16; Rubenfeld, Clement Greenberg, 199; Clement Greenberg Journal, October 12, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085); Clement Greenberg Journal, October 13, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085); Clement Greenberg Journal, October 17, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085); Clement Greenberg Journal, October 18, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085); Clement Greenberg Journal, November 7, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085).
2459
Helen Frankenthaler to Sonya Gutman, January 9, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 2; Barbara Guest, Diary 1955, October 7 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale; Barbara Guest, Diary 1955, October 20 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale.
2460
Clement Greenberg Journal, March 11, 1956, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085).
2461
Clement Greenberg Journal, November 28, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085).
2462
Rubenfeld, Clement Greenberg, 199.
2463
Solomon, Jackson Pollock, 239.
2464
Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 95; Varnadoe with Karmel, Jackson Pollock, 17; Solomon, Jackson Pollock, 244.
2465
Rubenfeld, Clement Greenberg, 199.
2466
Hall, Elaine and Bill, 174.
2467
Clement Greenberg Journal, June 3, 1956, Box 16, Folder 3, Journal 18, Series II, Clement Greenberg Papers, GRI (950085).
2468
Van Horne, A Complicated Marriage, 18.
2469
Clement Greenberg Journal, December 29, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085).
2470
Van Horne, A Complicated Marriage, 18.
2471
Clement Greenberg Journal, December 29, 1955, Box 16, Folder 3, Journal 18, Clement Greenberg Papers, GRI (950085).
2472
Clement Greenberg Journal, loose pages, n.d. [fall 1955], Box 16, Folder 1, Journal 16, Clement Greenberg Papers, GRI (950085); Van Horne, A Complicated Marriage, 24.
2473
Mercedes Matter, interview by Jack Taylor; Miller, Greenwich Village and How It Got That Way, 258. Филипп Густон в интервью Джеку Тейлору сказал: «Все знали, что это не продлится долго. Исторически действительно сложилось так, что любая группа художников, будь то кубисты или импрессионисты, объединившись, никогда не существовала в таком состоянии более пяти лет». Что касается самого района, то в 1961 году агенты по недвижимости начали предлагать его покупателям как «Ист-Виллидж».
2474
Alfred Leslie, interview by Jack Taylor; Gruen, The Party’s Over Now, 217.
2475
Club-related material, Box 1, Folder 4, Irving Sandler Papers, ca. 1944–2007 (bulk 1944–1980), AAA-SI.
2476
Edgar, Club Without Walls, 131. Впоследствии он заводил дебаты не через панель, а через журнал, который сам основал и назвал It Is.
2477
Diggins, The Proud Decades, 196–198; Halberstam, The Fifties, 480.
2478
Davidson, Guys Like Us, 12; Kimmel, Manhood in America, 242; Malina, The Diaries of Judith Malina, 377; Miller and Nowak, The Fifties, 66.
2479
Halberstam, The Fifties, 465–466, 472, 478; Kaplan, 1959, 84; Miller and Nowak, The Fifties, 301, 309.
2480
Halberstam, The Fifties, 436–37, 626; Diggins, The Proud Decades, 279, 283, 290, 293; Zinn, A People’s History of the United States, 450; Borden, Voices of the American Past, 341; Stone, The Haunted Fifties, 61. Халберштам рассказывал, что решение о десегрегации вызвало у белых реакцию, не похожую ни на одну другую за все предыдущее столетие, но, что особенно важно, оно вызвало также и бурную реакцию чернокожих.
2481
“Allen Ginsberg Reads ‘Howl’ For the First Time — October 7, 1955”, http://www.history.com/this-day-in-history/ginsberg-reads-howl-for-the-first-time.
2482
Гинзберг Аллен, «Вопль», https://www.poetryfoundation.org/poems-and-poets/poems/detail/49303; Ashton, The New York School, 227. Дори Эштон сказала, что после публикации поэмы «Вопль» в 1956 г., «Битс» вернулись на восток и начали общаться с художниками.