by Gail Levin
19. 1965-Friedman, 5, continues incorrectly “She was born Lenore.” Though she was born “Lena,” LK evidently chose not to correct this error.
20. Tejas Englesmith to the author, 3-24-2010.
21. “Pollock,” Sunday Times (London), 9-19-1965, LKP, AAA, roll 3776, frame 1043.
22. “Pollock,” Sunday Times (London), 9-19-1965, LKP, AAA, roll 3776, frame 1043.
23. “Pollock,” Sunday Times (London), 9-19-1965, LKP, AAA, roll 3776, frame 1043.
24. “Pollock,” Sunday Times (London), 9-19-1965, LKP, AAA, roll 3776, frame 1043.
25. “Pollock,” Sunday Times (London), 9-19-1965, LKP, AAA, roll 3776, frame 1043.
26. “Pollock,” Sunday Times (London), 9-19-1965, LKP, AAA, roll 3776, frame 1043; a paraphrase, not a direct quotation, appears in the article.
27. “Pollock,” Sunday Times (London), 9-19-1965, LKP, AAA, roll 3776, frame 1043.
28. “Lee Krasner,” Evening Standard, September 22, 1965, 6.
29. “Lee Krasner,” Evening Standard, September 22, 1965, 6.
30. “The Abstract Art of Lee Krasner,” Times (London), 9-22-1965, LKP, AAA, reel 3776, frame 1045.
31. Nigel Gosling, “A Portent from Brooklyn,” Observer (London), September 26, 1969.
32. John Russell, “Germany’s Other Man of Iron,” Sunday Times (London), October 3, 1965, the comments on Krasner’s show followed a review of Max Beckmann.
33. Sheldon Williams, “London Retrospective for Abstract Pioneer,” Herald Tribune Paris Edition, October 4, 1965.
34. See Gosling, “A Portent from Brooklyn,” Observer, September 26, 1965, and an anonymous review in The Listener, October 14, 1965.
35. Norbert Lynton, “London Letter,” Art International, vol. 9, no. 8, November 20, 1965, 32.
36. 1965-Forge.
37. Wedding notice of David Gibbs to Geraldine Stutz, Time, Friday, September 24, 1965. Note that his age cited here does not reconcile with that given me by his widow, Angela Gibbs. See birth date of May 22, 1926, cited above. Stutz described in Shirley Clurman, “Gerry Stutz Is Hardly Just Window Dressing at Bendel’s—She Owns the Store,” People, vol. 14, no. 15, October 13, 1980, http://www.people.com/people/archive/article/0,,20077629,00.html.
38. “Geraldine Stutz and David Gibbs,” New York, August 31, 1970. Clurman lists price Stutz paid for Henri Bendel.
39. 1975-Nemser-1, 98.
40. Nancy Schwartz to the author, 1-19-2010.
41. Igor Pantuhoff to Lee Krasner, letter of May 1965, LKP, AAA, May 1965, roll 3771.
42. Grace Glueck, “Patron,” NYT, May 16, 1965, X21.
43. 1986-Weld, 401.
44. 1999-Friedman, 20.
45. The other five were the painter Morton Kaish, the printmakers Mark Freeman, Gerson Leiber, Louis Schanker, and Aubrey Schwartz. The show was open from August 23 to September 7, 1966.
46. Francis V. O’Connor to the author, 3-31-2010.
47. 1977-Diamonstein-1.
48. Joy Williams, “Krasner Show Opens University Art Gallery,” Birmingham News, February 16, 1967, and AAA, Krasner Papers, reel 3776, frame 1004, clipping from Crimson-White, the school paper. Donald McKinney to the author, 1-19-2010.
49. LK quoted in Doris P. Flora, “Artist Would Be ‘Back-Tracking,’” Tuscaloosa News, February 15, 1967, AAA, LK papers, roll 3776, frame 1050.
50. LK quoted in Doris P. Flora, “Artist Would Be ‘Back-Tracking,’” Tuscaloosa News, February 15, 1967, AAA, LK papers, roll 3776, frame 1050-A.
51. Lee Krasner to Karen Hughes, “It’s Harder for Women,” Crimson-White, February 20, 1967.
52. LK quoted in William Arnett, Alvia Wardlaw, et al., The Quilts of Gee’s Bend: Masterpieces from a Lost Place (New York: Tinwood Books, 2002), 54–55.
53. “Pollock Revisited,” Time, April 14, 1967.
54. See 1998-Karmel, for reprints of all of these 1967 publications.
55. Harold Rosenberg, The Art World (The Art Galleries), “The Mythic Act,” The New Yorker, May 6, 1967, 162, reprinted in Harold Rosenberg, Art Works and Packages (New York: Horizon Press, 1969), 63, 67.
56. 1967-Nation.
57. 1967-Nation.
58. Donald McKinney to the author, 1-19-2010.
59. Grace Glueck, “Man in the News; Collections Connoisseur: William Slattery Lieberman,” NYT, January 21, 1987.
60. Grace Glueck, “The Met Makes Room for the 20th Century,” NYT, September 18, 1983, LKP, roll 3777, frame 9.
61. Grace Hartigan to Lee Krasner, letter of 10-20-79, AAA, roll 3773, frame 379.
62. Ray “Buddha” Kaiser Eames to Lee Krasner, AAA, roll 3774, frames 713 and 714, and roll 3773, frame 215, undated letter of February 1979, sent with a heart drawing, “for Valentine’s Day.” Krasner introduced the author to Buddha Eames on one of her visits to New York.
63. Harold Rosenberg, “The Art World: Big,” The New Yorker, August 26, 1967, 96.
64. Harold Rosenberg, “The Art Establishment,” Esquire, 64, January 1965, 39.
65. 1978-Cavaliere.
66. 1968-Wasserman-2, 43.
67. Baker, Time, 1973. LK wrote out this recollection, which is found in her papers, LKP, AAA, roll 3774, frame 701.
68. 1968-Wasserman-2, 38.
69. 1968-Campbell, 43. This statement exists in LK’s hand in her papers, LKP, AAA, roll 3774, frame 703.
70. 1968-Campbell, 43.
71. David Biale, Eros and the Jews: From Biblical Israel to Contemporary America (Berkeley: University of California Press, 1997), 161.
72. 1968-Campbell, 64.
73. Grace Glueck, “And Mr. Kenneth Does Her Hair,” NYT, March 17, 1968, D34. Mr. Kenneth, LK’s upscale hairdresser, was also featured in Barbara Rose’s film, Lee Krasner: The Long View. See also 2007-Levin, 167–68 and Grace Glueck, “The Ladies Flex Their Brushes,” NYT, May 30, 1971, D20.
74. “Lee Krasner,” NYT, March 16, 1968.
75. Max Kozloff, “Art,” The Nation, March 25, 1968.
76. Cindy Nemser, “Lee Krasner,” Arts Magazine, April 1968, 57.
77. Bill King quoted in 1993-Whipple, 226–27.
78. Bill King quoted in 1993-Whipple, 227.
79. Bill King to the author, 3-21-2010 and earlier in conversation.
80. LKCR, number 434, is incorrectly dated 1966, which is impossible, as Patiky’s eyewitness photographs of 1969 document.
81. Mark Patiky to the author, 1-21-2010.
82. 1979-Novak.
83. [John Gruen, unsigned review labeled in LK’s hand], “Frank Auerbach and Lee Krasner,” October 13, 1969. LKP, AAA, reel 3776, frame 1073-A.
84. L.C., “Lee Krasner,” Art News, October 1969, 17.
85. Alfred Frankenstein, “Mrs. Pollock’s Fine Show,” San Francisco Chronicle, November 19, 1969.
Chapter 17: The Feminist Decade, 1970–79 (pp. 389–426)
1. 1972-Rose-2, 154.
2. 1972-Rose-2, 154.
3. 1977-Diamonstein-1; LK used the same reference to the Surrealists’ “French poodle idea” of women with 1981-Langer.
4. See 2007-Levin.
5. 1983-Kernan, L1.
6. 1972-Rose-1.
7. 1979-Munro, 107.
8. 1972-Rose-2, 118.
9. 1972-Holmes.
10. 1973-Wallach-1.
11. 1980-Taylor.
12. 1973-Nemser, 64.
13. 1972-Glueck.
14. 1972-Glueck.
15. 1972-Glueck.
16. See Hilton Kramer, NYT, September 5, 1977, AAA, reel 3776, frames 1191 and 1196.
17. 1977-Ratcliff, 82.
18. 1972-Rose-1.
19. 1978-Cavaliere.
20. 1978-Cavaliere.
21. 1972-Holmes.
22. 1978-Cavaliere.
23. The others were Corita Kent, Lois Johnson, Leila Autio, Elinor Minkus, Fay Lansner, Rachel Toner, Jean Schiff, Shirley Cleary, and Joyce Blunk.
24. 2007-Levin, 229–30.
25. Jackie MacElroy, “Art Show Tra
nscends Sexual Propaganda,” The Dakota Student, March 1973, 4, LK, AAA, reel 3776, frame 1078.
26. Hilton Kramer, “Lee Krasner,” NYT, April 28, 1973, 20.
27. Barbara Rose, “The Best Game Is the End Game,” New York, April 30, 1973, 92.
28. 1973-Wallach-1, Part II, 4.
29. 1973-Wallach-1, Part II, 4. Also, “‘21 Over 60’ Show Talent Is Ageless,” NYT, July 29, 1973.
30. 1995-Friedman, 232.
31. 1973-Freed.
32. Barbara Rose, “The Jackson Pollock Story,” New York, vol. 5, no. 38, September 18, 1972, 64. At a dinner after the Krasner symposium that I organized in April 1977, I head Rose apologize to Friedman for this harsh review. What followed in terms of Pollock biographies and Hollywood film indicates that such stereotypes and distortions could go much further than anything Friedman wrote.
33. Donald McKinney to the author, interview of 1-19-2010.
34. At the time, the Dallas Museum already owned Pollock’s Cathedral, a 1947 canvas acquired in 1950.
35. A. T. Baker, “Out of the Shade,” Time, November 19, 1973, 76.
36. 1973-Wallach-2, 4A.
37. Hilton Kramer, “Lee Krasner’s Art—Harvest of Rhythms,” NYT, November 22, 1973.
38. Barbara Rose, “The Best Midwestern Museum in New York?” New York, December 10, 1973, 102.
39. Pamela Adler, Chronology in 1973-Tucker, 38.
40. 1973-Wallach-2, 5A.
41. 1973-Tucker, 7.
42. 2008-Tucker, 104.
43. 2008-Tucker, 104–05. Tucker to the author, interview of 2005, also stressed Krasner’s stinting on food.
44. Author’s interview with Eugene Victor Thaw, 9-9-2010 and earlier.
45. LK quoted in letter from Donald McKinney in Anonymous Was a Woman: A Documentation of the Women’s Art Festival: A Collection of Letters to Young Women Artists (Valencia, Calif.: Feminist Art Program, California Institute of the Arts, 1974), 95–96. Statement adapted from interview for 1975-Nemser, 95.
46. Griffin Smith, Miami Herald, March 17, 1974, 10-G.
47. 1974-Hutchinson, 4C.
48. Margaret Harris, “Krasner Shows Her True Colors,” Philadelphia Daily News, April 5, 1974, LKP, AAA, roll 3776, frame 1135.
49. Laurel Daunis-Allen to the author, 1-18-2010.
50. LK as reported by Victoria Donohoe, “Krasner Emerges from the Imposing Pollock Shadow,” Philadelphia Inquirer, April 1974, 13-K.
51. 1975-Baro, 10.
52. Paul Richard, “Corcoran Openings: Krasner, Plus Four,” Washington Post, January 11, 1975, B1.
53. Benjamin Forgey, “Three Decades with Lee Krasner,” Washington Star-News, LKP, AAA, reel 3776, frame 1151.
54. See Gene Baro, “Art,” New Boston Review, Fall 1975, AAA, reel 3776, fram 1160-A.
55. 1975-Taylor, A9.
56. 1975-Taylor, A9.
57. LK to Lucille Bandes, “Women and Art,” L’Official, Holiday Issue, 1976, AAA, reel 3776, frame 1163-A.
58. Alex Rosenberg to the author, 3-14-2010. Krasner’s design was printed at Chiron Press in New York.
59. Alex Rosenberg to the author, 3-14-2010.
60. Lee Krasner, An American Portrait, 1776–1976: 33 Contemporary Masters Join in a Trilogy Celebrating the Bicentennial. The line is from T. S. Eliot’s “Little Gidding,” No. 4 of Four Quartets.
61. Ruth Appelhof to the author, interview of 9-4-2007.
62. Dyne Benner to the author, interview of 5-1-2008. Benner now works as a food stylist.
63. They include Ann Bridgeman and Alice Culbreth of Wilton, Connecticut; Elfreda Finch from Basking Ridge, New Jersey; Marjorie Michael, Mary Lou Harrison, and Gloria Conklin of Chappaqua, New York; Martha Martin of Carrollton, Georgia; and Helen Barnes of New Canaan, Connecticut. See “Lee Krasner Top Abstractionist at Schilling Conference,” Seaside Topics, Watch Hill, Rhode Island, July 18, 1975.
64. Marjorie M. Michael and Virginia Olsen Baron, A Woman’s Journey (New York: Alfred A. Knopf, 1974).
65. Marjorie M. Michael, journal for July 26, 1974, noted “Watch Hill, RI Dune House, Artist conference and Lee Krasner! Remarkable woman—excellent painter.” Collection of Melissa Michael Sheldon.
66. Marjorie M. Michael to Gerald Dickler, letter of July 23, 1986, collection Melissa Michael Sheldon.
67. Marjorie M. Michael, journal for September 1977, Block Island, New York.
68. Dyne Benner to the author, interview of 5-1-2008.
69. Joan Semmel to the author, interview of 3-2-2010.
70. http://www.caroleeschneemann.com/interiorscroll.html
71. 1976-Glueck. For the Rothko estate story, see Lee Seldes, The Legacy of Mark Rothko: An Expose of the Greatest Art Scandal of Our Century (New York: Holt, Rinehart, and Winston, 1974).
72. See Grace Glueck, “Art People,” NYT, January 21, 1977, and the ad “In Protest,” which appeared there on page D23 on Sunday, January 23, 1977. The American art world was not unanimous; among those who thought the museum should be considered separately from government policy were artists Robert Rauschenberg and Larry Rivers, as well as the dealer Leo Castelli.
73. Lee Krasner quoted in “The Tops and Flops,” Newsday, December 26, 1976, AAA, reel 3776, frame 1170.
74. 1977-Rodgers, 3.
75. 1977-Rodgers, 8.
76. 1981-Langer.
77. 1972-Holmes.
78. Bill King to the author, 3-21-2010.
79. “Rediscovered—Women Painters,” Time, January 10, 1977, AAA, reel 3776, frame 1171.
80. Judy Klemesrud, “Joan Mondale Speaks Out for the Arts,” NYT, September 30, 1977, AAA, reel 3776, frame 1193.
81. 1977-Rodgers.
82. 1977-Rodgers.
83. 1977-Rose-2, 96.
84. 1977-Rose-2, 100.
85. 1977-Tallmer.
86. Betty Friedan, The Feminine Mystique (New York: W. W. Norton & Co., 1963).
87. 1977-Bourdon, 57.
88. 1977-Bourdon, 57.
89. 1977-Bourdon, 57.
90. See Robert Hobbs, “Lee Krasner’s Skepticism and Her Emergent Postmodernism,” Woman’s Art Journal, vol. 28, no. 2, Fall/Winter 2007, 3–10.
91. 1977-Tallmer.
92. 1977-Glueck-1.
93. 1977-Tallmer.
94. 1977-Tallmer.
95. Sol LeWitt, “Paragraphs on Conceptual Art,” Artforum, June 1967.
96. Deborah Kass to the author, 1-28-2010, and follow-up e-mail of 1-29-2010.
97. Hilton Kramer, “Two New Shows—Lee Krasner and Mary Frank,” NYT, March 6, 1977.
98. Hilton Kramer, “Two New Shows—Lee Krasner and Mary Frank,” NYT, March 6, 1977.
99. William Zimmer, “Rearranged Anatomy: Petals Made with a Compass,” SoHo Weekly News, March 3, 1977, 20.
100. See 2007-Levin, 153, 197–98, etc., and Judy Chicago, Through the Flower: My Struggle as a Woman Artist (New York: Doubleday, 1975).
101. Simone de Beauvoir, The Second Sex (New York: Alfred A. Knopf, 1953), 348.
102. Jenny Tango, “Lee Krasner at Pace Gallery,” WIA newsletter, vol. IV, no. 8, May 1977, n.p.
103. 1977-Wallach.
104. 1977-Glueck-1.
105. Robert Hobbs to LK, letter of 9-1-1977, LKP, AAA, thanks LK for her hospitality during our visit and notes: “As mentioned before Gail will contact you in Manhattan and look at some of your earlier work.” Contrary to 1999-Hobbs, 194, n. 42, which places our visit in June, it took place from August 27–29, 1977. This is confirmed by this letter and Rose’s film outtakes. See also 1993-Hobbs, 96, n. 3, where he lists the visit as taking place in August 1977.
106. “Lee Krasner: The Long View,” New York Post, October 30, 1978.
107. 1978-Glueck.
108. Dianna Morris, “Balanced Gestures,” Women Artists News, vol. 7, no. 4, January/February 1982, 10.
109. 1977-Diamonstein-1.
110. 1979-Cavaliere, 41.
111. Hilton Kramer, “Art: Elegiac Works of Lee Krasner,” NYT, February 9, 19
79.
112. LK quoted in The Art Newsletter, vol. IV, no. 3, October 3, 1978, 1.
113. Even films such as Who the #$&% is Jackson Pollock? and many headlines have been made about questions of purported authenticity and Pollock.
114. Harry Rand to Lee Krasner, letter of 12-12-1978, LKP, AAA.
115. Ellen G. Landau to the author, 8-10-2006, LKP, AAA.
116. Ellen G. Landau to LK, letter of 12-12-1978, LKP, AAA.
117. Harry Rand to the author, 2-22-2010.
118. Ellen G. Landau to LK, letter of 2-16-1979, LKP, AAA, roll 3773, frame 396.
119. Harry Rand to the author, 2-22-2010.
120. Ms. labeled “FINAL COPY SENT to Foundation for Printing in catalogue, 1/19/79,” LKP, AAA, roll 3773, frame 171. This catalogue was never printed; the Foundation, which does not specialize in contemporary art, subsequently sold this painting.
121. Ms. labeled “FINAL COPY SENT to Foundation for Printing in catalogue, 1/19/79,” LKP, AAA, roll 3773, frame 171.
122. 1979-Cavaliere, 41.
123. 1979-Cavaliere, 41.
124. Hilton Kramer, “Art: Elegiac Works of Lee Krasner,” NYT, February 9, 1979.
125. Eleanor Munro, “Krasner in the Sixties Free for the Big Gesture,” Art World, February 16, 1979, AAA, reel 3771, frame 143.
126. Barbara Cavaliere, “Lee Krasner,” Arts Magazine, vol. 53, no. 8, April 1979, 24.
127. Daniel Wildenstein to Lee Krasner, letter of 11-29-1979, LKP, AAA, roll 3773, frame 394.
128. Lee Ann Miller to Lee Krasner, letter of 11-28-1979, AAA, reel 3773, frame 373.
129. Archives of the author. I read: “I first met Lee Krasner in 1970 when interviewing her about Jackson Pollock. As I came to know and appreciate her work, I was able to include her in the exhibition, Abstract Expressionism: The Formative Years held at the Whitney Museum in 1978. It is a pleasure for me to read to you her acceptance of this award.” In fact I was in error, since a letter from Marlborough Gallery to Lee Krasner that survives in her archives dates my first interview to January 1971, LKP, AAA.
130. Wendy Slatkin, The Voices of Women Artists (Englewood Cliffs, N.J.: Prentice Hall, 1993), 240.
131. 1978-Cavaliere.
132. 1979-Cavaliere, 41.
133. 1979-Novak.
134. 1979-Munro, 107.
135. 1980-Portfolio, 68–69.
136. 1980-Portfolio, 68–69.