Program, April 18, 2001, 5.
62
Jackson Pollock, One: Number 31, 1950, 1950, oil and enamel paint on canvas, 8’ 10” × 17’ 5 5/8» (269.5 × 530.8 cm), Museum of Modern Art, New York, www.moma.org/collection/works/78386.
63
Naifeh and Smith, Jackson Pollock: An American Saga, 765.
64
Ibid. По словам Бадда Хопкинса, этот подарок был сделан «в знак признательности за его [Хеллера] преданность творчеству Поллока». См. также: Friedman, Jackson Pollock: Energy Made Visible, 199.
65
Laurie Gwen Shapiro, “An Eye-Popping Mid-Century Apartment Filled with Pollocks, Klines, and De Koonings,” New York, October 27, 2017, www.thecut.com/2017/10/ben-hellers-mid-century-nyc-apartment.html.
66
В английском варианте название картины «Обмен» («Смешение») иногда указывают как Interchange, однако корректным является написание Interchanged (1955). См.: John Elderfield, De Kooning: A Retrospective (New York: Museum of Modern Art, 2012), 32.
67
Закон США, по которому лицам, служившим на фронте во время Второй мировой войны, выделялись стипендии для получения образования и предоставлялись другие льготы. – Примеч. переводчика.
68
Hall, Betty Parsons, 94–95, 180; Holland Cotter, “Ellsworth Kelly, Who Shaped Geometries on a Bold Scale, Dies at 92,” New York Times, December 27, 2015, www.nytimes.com/2015/12/28/arts/ellsworth-kelly-artist-who-mixed-european-abstraction-into-everyday-life-dies-at-92.html; John Russell, “Art: Jack Youngerman at the Guggenheim,” New York Times, March 7, 1986, www.nytimes.com/1986/03/07/arts/art-jack-youngerman-at-the-guggenheim.html?pagewanted=all; “Ellsworth Kelly: Biography,” Hollis Taggart, 2017, www.hollistaggart.com/artists/ellsworth-kelly.
69
Слово slip имеет, в частности, значения «стапель», «аппарель». – Примеч. переводчика.
70
Holland Cotter, “Where City History Was Made, a 50’s Group Made Art History,” New York Times, January 5, 1993, www.nytimes.com/1993/01/05/arts/where-city-history-was-made-a-50-s-group-made-art-history.html.
71
Ibid.
72
Hans Namuth, Artists on the Roof of 3–5 Coenties Slip (left to right: Delphine Seyrig, Duncan Youngerman, Robert Clark, Ellsworth Kelly, Jack Youngerman, and Agnes Martin), ca. 1967, photograph, Hans Namuth Archive, Center For Creative Photography.
73
Alanna Martinez, “How Rauschenberg Elevated Tiffany’s Window Displays into an Art Form,” Observer, December 30, 2016, http://observer.com/ 2016/12/robert-rauschenberg-tiffany-windows/.
74
Grace Glueck, “Alfred Hamilton Barr Jr. Is Dead; Developer of Modern Art Museum,” New York Times, August 16, 1981, www.nytimes.com/ 1981/08/16/obituaries/alfred-hamilton-barr-jr-is-dead-developer-of-modern-art-museum.html?pagewanted=all.
75
Ibid.
76
В 1958–1959 годах выставка «Новая американская живопись» объехала восемь европейских стран.
77
Interview with Sidney Janis, October 15 – November 18, 1981, Archives of American Art, Smithsonian Institution.
78
Leo Castelli, interview, May 14, 1969 – June 8, 1973, Archives of American Art, Smithsonian Institution.
79
Annie Cohen-Solal, Leo and His Circle: The Life of Leo Castelli (New York: Knopf, 2010), 171, 176.
80
Ibid., 177.
81
Ibid., 361.
82
Titia Hulst, “The Right Man at the Right Time: Leo Castelli and the American Market for Avant-Garde Art,” (PhD diss., New York University, 2014), 67.
83
Cohen-Solal, Leo and His Circle, 122.
84
Hulst, “The Right Man at the Right Time,” 67.
85
Cohen-Solal, Leo and His Circle, 151.
86
Ibid., 178.
87
Ibid., 151.
88
Ibid., 186.
89
Hiroko Ikegami, The Great Migrator: Robert Rauschenberg and the Global Rise of American Art (Cambridge, MA: MIT Press, 2010), 21.
90
“The
