AAA-SI.
109
McKinzie, The New Deal for Artists, 77.
110
McKinzie, The New Deal for Artists, 78–79; Ashton, The Life and Times of the New York School, 47.
111
McKinzie, The New Deal for Artists, 82; Gerald M. Monroe, “The Artists Union of New York”, 19.
112
McKinzie, The New Deal for Artists, 99.
113
McKinzie, The New Deal for Artists, 80; Alice Goldfarb Marquis, Alfred H. Barr, Jr., 139.
114
Monroe, “The Artists Union of New York”, 80, 149, 167.
115
Rose, “Life on the Project”, 74–75; Levin, Lee Krasner, 87; Rose, Lee Krasner, 35; Monroe, “The Artists Union of New York”, 73; Lee Krasner, interview by Barbara Novak, AAA-SI, 13; oral history interview with Max Spivak, AAA-SI; oral history interview with Harold Rosenberg, AAA-SI; Landau, Lee Krasner: A Catalogue Raisonné, 302–303.
116
Lee Krasner, interview by Barbara Novak, courtesy PKHSC; O’Brien, “The Art Criticism of Harold Rosenberg”, 203; oral history interview with Harold Rosenberg, AAA-SI; oral history interview with Max Spivak, AAA-SI; Ashton, The New York School, 53.
117
Robert Goldwater, “Reflections on the New York School”, 20; oral history interview with Burgoyne Diller, AAA-SI; Lee Krasner, interview by Barbara Novak, 1972, AAA-SI, 2; Lee Krasner, interview by Betty Smit Смит, courtesy PKHSC; Betty Smith, “Women on the Works Progress Administration / Federal Art Project”, courtesy PKHSC; Stahr, «The Social Relations of Abstract Expressionism”, 95; Clements, Prosperity, Depression and the New Deal, 209; Naifeh and Smith, Jackson Pollock, 269; David Sylvester, Interviews with Artists, 3; Giorgio Cavallon, interview by Jack Taylor. Каваллон рассказывал, что тогда можно было жить на три доллара в неделю. А значит, зарплаты для занятых в Проекте было более чем достаточно. Но, по словам Филиппа Густона, некоторым художникам было неудобно «работать на» правительство.
118
Oral history interview with Harold Rosenberg, AAA-SI; Lee Krasner, interview by Barbara Rose, 1972, AAA-SI, 2; Whitney Chadwick, Women, Art, and Society, 297.
119
Lee Krasner, interview by Barbara Rose, 1972, AAA-SI, 2; Munro, Originals, 108; Chadwick, Women, Art, and Society, 297; Lee Krasner, interview by Betty Smith, courtesy PKHSC; Stahr, “The Social Relations of Abstract Expressionism”, 95; Parrish , Anxious Decades, 348, 402, 405; William Henry Chafe, The American Woman, 39, 42; Clements, Prosperity, Depression and the New Deal, 209; Naifeh and Smith, Jackson Pollock, 269.
120
Jack Tworkov, interview by Anne Bowen Parsons, AAA-SI; Ann Eden Gibson, Abstract Expressionism: Other Politics, 10; Sylvester, Interviews with American Artists, 3; Lee Krasner, handwritten biographical notes, Series 2, Subseries 1, Box 7, Folder 14, Lee Krasner Papers, AAA-SI, 16; Harold Rosenberg, Art on the Edge, 196; Rose, Lee Krasner, 37–38.
121
Lee Krasner, interview by Barbara Novak, videotape courtesy of PKHSC; Lee Krasner, interview by Barbara Rose, 1975, GRI; Lee Krasner, interview by Barbara Rose, 1975, GRI; Lee Krasner, interview by Barbaralee Diamonstein, provided by Dr. Barbaralee Diamonstein-Spielvogel, interviewer and author, from Inside New York’s Art World, 206; “Lee Krasner, Paintings, Drawings and Collages”, 7; Landau, Lee Krasner: A Catalogue Raisonné, 304.
122
Rose, Lee Krasner, 37–38; Monroe, “The Artists Union of New York”, 54. Художники были настолько эффективны в качестве протестующих, что их прозвали «пожарной командой» и приглашали участвовать в пикетах, организованных другими профсоюзами или объединениями.
123
Oral history interview with Max Spivak, AAA-SI; oral history interview with Irwing Block, AAA-SI; Monroe, “Artists as Militant Trade Union Workers”, 8. Спивак говорил, что женщины не могли оставлять своих детей дома одних и поэтому брали их везде с собой на протяжении всех этих шумных и эмоционально насыщенных событий.
124
Ellen G. Landau, Sandra Kraskin, Phyllis Braff, and Michael Zakian, Mercedes Matter, 26, 67n48; McKinzie, The New Deal for Artists, 96; Monroe, “Artists as Militant Trade Union Workers”, 8.
125
Oral history interview with Eugenie Gershoy, AAA-SI.
126
Landau et al., Mercedes Matter, 26, 67n48; Levin, Lee Krasner, 118–119; McKinzie, The New Deal for Artists, 96; oral history interview with Irwing Block, AAA-SI.
127
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 174; Mercedes Matter, interview by Sigmund Koch, Tape 1A, Aesthetics Research Archive; Landau et al., Mercedes Matter, 13.
128
Landau et al., Mercedes Matter, 17–19, 62n16–17. Данный материал о Мерседес взят из недатированного материала “Autobiographical Sketch”.
129
Mercedes Matter, interview by Sigmund Koch, Tape 1A, Aesthetics
