Женщины Девятой улицы. Том 2
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.