(34)关于原创性的文学评价与这类得失之间的历史关系，参见Edward Said, ‘On Originality,’ 113-114, in The World, the Text, and the Critic (Cambridge: Harvard University Press, 1983).
(35)关于抽象表现主义主题的文献讨论超出了本章的范围，但是大量的学者还是探讨了这一论题，很有影响。这个有选择性的名单包括：Rosalind Krauss, Terminal Iron Works: The Sculpture of David Smith (Cambridge: MIT Press, 1971); Judith Wolfe, ‘Jungian Aspects of Jackson Pollock’s Imagery,’ Artforum 11 (November 1972): 65-73; Wayne Andersen, American Sculpture in Process: 1930/1970 (Boston: New York Graphic Society, 1975); Barbara Cavliere and Robert Hobbs, “Against a Newer Laocoon,’ Arts 51 (April 1977): 110-117; Mary Davis, ‘The Pictorgraphs of Adolph Gottlieb,’ Arts 52 (March 1977): 141-147; Cavaliere and Mona Hadler in essays on William Baziotes in Willianm Baziotes: A Retrospective Exhibition (Newport Beach, Calif.: Newport Harbor Art Museum, 1978); Robert Hobbs and Gail Levin, Abstract Expressionism: The Formative Years (New York: Whitmey Museum of American Art, 1978); E.A Carmean and Eliza E. Rathbone, with Thomas Hess, American Art at Mid-Century (Washington, D.C.: National Gallery of Art, 1978); Elizabeth Langhorne, ‘Jackson Pollock’s Moon Woman Cuts the Circle,’ Arts 53 (March 1979); 128-137; Donald Gordon, ‘Pollock’s “Bird,”’ Art in America 68 (October 1980): 43-53; Harry Rand, Arshile Gorky: The Implications of Symbols (Montclair, N.J.: Allenheld, Osmun, 1980); Evan Firestone, ‘James Joyce and the First Generation New York School,’ Arts 56 (June 1982): 116-121; Robert S. Mattison, ‘The Emperor of China; Symbol and Vulnerability in the Art of Robert Motherwell in the 1940s,’ Art International 25(November-December 1982): 8-14; Anna Chave, Mark Rothko’s Subjects (Atlanta: High Museum of Art, 1983); David Anfam, ‘Clyfford Still’ (Ph.D. diss., courtauld Institute, 1984); Bonnie Clearwater, Mark Rothko: Works on Paper (New York: Hudson Hills Press, 1984); Bradford Collins, ‘The Fundamental Tragedy of the Elegies to the Spanish Republic, or Robert Motherwell’s Dilemma,’ Arts 59 (September 1984): 94-97; Robert Lubar, ‘Metaphor and Meaning in David Smith’s Jurassic Bird,’ Arts 59 (September 1984): 76-86; Donald Kuspit, ‘Arshile Gorky: Images in Support of the Invented Self,’ in Abstract Expression: The Critical Developments (Buffalo: Albright-Knox Art Gallery, 1987), 49-63; Robert Saltonstall Mattison, Robert Motherwell: The Formative years (Ann Arbor: UMI Research Press, 1987); Mona Hadler, ‘David Hare: A Magician’s Game in Context,’ Stephen Polcari, ‘Adolph Gttlieb’s Allegorical Epic of World War II,’ and W. Jackson Rushing, ‘The Impact of Nietzsche and Northwest Coast on Barnett Newman’s Idea of Redemption in the Abstract Sublime,’ Art Journal 47 (Fall 1988): 196-201, 202-207, and 187-195, respectively; Anna Chave, Mark Rothko: Subjects in Abstraction (New Haven: yale University Press, 1989); Ellen Landau, Jackson Pollock (New York: Harry N. Abrams, 1989), Ann Gibson, ‘Norman Lewis in the Forties,’ Norman Lewis: From the Harlem Renaissance to Abstraction (New York: Kenkeleba Gallery, 1989); Cecile Whiting, ch.6, ‘Antinationalist Myths,’ in Antifascism in American Art (New Haven: Yale University Press, 1989): 257-282; Mcihael Leja, ‘Jackson Pollock: Representing the Unconscious,’ Art History 13 (December 1990): 542-565; and Leja, Reframing Abstract Expressionism; Stephen Polcari, Abstract Expressionism: A Critical Record (New York: Cambridge University Press, 1990); David Craven, ‘Myth-Making in the McCarthy Period,’ in Mty-Making: Abstract Expressionist Painting from the United States (Liverpool: Tate Gallery, 1992), 7-45.
(36)William C. Seitz, Abstract Expressionist Painting in America (Cambridge: Harvard University Press, 1983), 135-138, 130-135, 115-120各页。Seitz于1955年在他的普林斯顿大学博士论文中谈论这些观点，这些观点一开始只为一小部分的艺术家和学者了解和赞同。后来到了1970年，随着Irving Sandler的‘The Triumph of American Painting’的出版，这些观点才普遍被大众了解。
(37)Serge Guilbaud, How New York Stole the Idea of Modern Art (Chicago: University of Chicago Press, 1983). 早于Guilbaude的一些研究者有Max Kozloff, ‘American Painting During the Cold War,’ Artform 11 (May 1973): 43-54; William Hauptman, ‘The Suppression of Art in the McCarthy Decade,’ Artforum 12 (October1973): 48-52;以及Eva Cockroft, ‘Abstract Expressionism, Weapon of the Cold War,’ Artforum 12 (June 1974): 39-41. 相关的还有Jane de Hart Mathews, ‘Art and Politics in Cold War America,’ American Historical Review 81 (October 1976): 762-787; John Tagg, ‘American Power and American Painting: The Development of Vanguard Painting in the United States since 1945,’ Praxis 1:2(Winter 1976): 59-79;以及David与Cecile Schapiro, ‘Abstract Expressionism: The Politics of Apolitical Painting,’ Prospects 3 (1977): 175-214. 同时参见Annette Cox, Art-as-Politics: The Abstract Expressionist Avant-Garde and Society (Ann Arbor, Mich.: UMI Research Press, 1983).[参见Chapter 6-11]
(38)但是，近来的一些出版物显示了某种让步;Michael Auping的展览和图录Abstract Expressionism: The Critical Developments (1987)就把Lee Krasner包括在其他白人男性名单中。David Anfam在他的最近一书《抽象表现主义》中也讨论了Krasner，认为到了1946年的时候，她的全幅构图就比波洛克的要大胆创新;他还不同寻常地突出摄影家Aaron Siskind和雕刻家David Smith(Abstract Expressionism [London: Thames and Hudson], 122-125). Stephen Polcar对抽象表现主义绘画主题的历史与文化根源的全面研究过于重视Lee Krasner，特别是舞蹈家Martha Graham(Abstract Expressionism and the Modern Experience [Cambridge: Cambridge University Press, 1991]). David Craven的Myth-Making: Abstract Expressionism from the United States是第一个对抽象表现主义的回顾展，包括了Norman Lewis的作品和观点(20)。Michael Leja在Reframing Abstract Expressionism一书中不仅讨论了Elaine de Kooning与她的丈夫的作品有关的作品和艺术个性，而且还把许多概念，如抽象表现主义个人主义、英雄主义及自我表现都放到语境中，且给予批判。我在此也谈论了这些。尽管我们的重点和我们的一些目标是不一样的(我看审美价值比Leja更具有相对性，我更关注艺术家超出经典规则以外的生产)，但是他所作的许多批评修正，与我的相同。
(39)关于意义的阐释是批评活动的一种有限危害的参数的讨论，参见Barbara Herrnstein Smith, ‘Contingencies of Value,’ 5-39, in Canons, ed. Robert von Hallberg (Chicago: University of Chiacago Press, 1984).
(40)有些人将会承认这种方法是德里达提出的，他认为这很有效，人们的目标必须是“颠倒经典的对立”，而且要影响“体系的一般位移。”‘Signature Event Context,’ Glyph 1 (Baltimore: Johns Hopkins University Press, 1977), 195.
(41)W.E.B.Du Bois, The Souls of Black Folk (Greenwich, Conn.: Fawcett Publications [1903], 1961), 16-17.
(42)Robert K. Martin, ‘Reclaiming Our Lives,’ in The Christopher Street Reader, ed. Michael Denney (New York: Putnam, 1983), 249;同时参见Theresa de Lauretis, Technologies of Gender (Bloomington: Indiana University Press, 1987), 10.
(43)Anne Wagner, ‘Lee Krasner as L.K.,’ Representations 25 (Winter 1989): 42-57; Mona Hadler, ‘The Art of William Baziotes’ (Ph.D.diss., Columbia Univerisity, 1977), 143-154.
(44)Judith Wilson, ‘Hale Woodruff: “Go Back and Retrieve it,”’ in Selected Essays: Art and Artists from the Harlem Renaissance to the 1980s (Atlanta: National Black Arts Festival, 1988), 41-52. Sanford Hirsch, ‘Adolph Gottlieb’s Pictographs,’ in Adolph Gotttleb: The Pictographs, 1942-1951 (Los Angeles: Manny Silverman Gallery, 1992), 13, n.2.
(45)戈尔基、霍夫曼、德库宁和古斯顿都出生在美国之外;巴齐奥特和莱恩哈特是移民的儿子;格特利普、古斯顿(原名叫Goldstein)、纽曼和罗斯科是犹太人;马瑟维尔、波洛克和斯蒂尔都来自美国西部。
(46)这种例外包括Ellen Landau, ‘Sie waren der gleichen Auffassung,’ in Lee Krasner-Jackson Pollock: Dialogues d’artistes resonances (Berne: Kunstmuseum Berne/Musee des Beaux Arts de Berne, 1989-90), 71-92, and Romare Bearden and Harry Henderson, A History of African-American Artists (New York: Pantheon Books, 1993).
(47)民众听传言说一个白人警察打死一名黑人士兵，后者正保护他母亲，于是怒不可遏，打碎第7大街和Lenox大道的窗户，抢劫、火烧商店。参见Dominic J. Capeci, Jr., The Harlem Riot of 1943(Philadelphia: Temple University Press, 1977), 100-102.
(48)康涅狄格州Roxbury镇的Gertruder Barrer(15 December 1988)和纽约市的诗人画家Elise Asher (18 June 1988)在与作者的访谈中做出了如此的观察。
(49)例如，参见Patricia Hill Collins, ‘The Social Construcition of Black Feminist Thought,’ Signs 14:4 (1989), 745-771, esp. 757-758,以及Bell Hooks，Talking Back (Boston: South End Press, 1989), chs. 7 and 8. Donald Webster Cory将观察延伸到“同性恋问题”，见The Homosexual in America (New York: Greenberg, 1951), 39. 关于这类观察的讨论，参见Toby Marottta, The Politics of Homoseuality (Boston: Houghton Mifflin, 1981), 6.
(50)我想匆匆忙忙补充的是，这本书不是抽象表现主义的体制史[institutional history]，尽管一般而言，体制史长久以来在艺术史领域里是姗姗来迟。这一领域关于抽象表现主义最好的书是A. Deirdre Robson, Prestige, Profit, and Pleasure: The Market for Modern Art in New York in the 1940s and 1950s (New York: Garland, 1995). [参见Chapter 14.]
