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Peter Selz

Page 35

by Paul J. Karlstrom


  —by Selz at Pomona College: contemporary artists, 34, 218n17; Leon Golub, 41; Greene and Greene (architects, exhibition), 41; Stieglitz Circle, 45–47

  —by Selz in later years: venues and overview of, 181–82; About Drawing, 190; Centenary Exhibition of Morris Graves, 190; Ferdinand Hodler, 186, 198; German and Austrian Expressionism: Art in a Turbulent Era, 198; Hans Burkhardt (with Rutberg), 196–97; Richard Lindner, 182, 198; Robert Colescott, 182; Sam Francis, 181; Twelve Artists from the German Democratic Republic (with Ashton), 183; The Visionary Art of Morris Graves, 182

  existentialism, 74–75, 157

  Expressionism (arts festival), Fig. 12

  False Image, The, 33

  Family of Man, The (exhibition), 59

  Farber, Manny, 75, 222n32, 223n6

  Farm Security Administration, photographs by, 59

  fascist aesthetics: use of term, 7, 9

  Feder, Edward, 234–35n14

  Federal Republic of Germany (West Germany): award for Selz from, 91, 201; Emil Nolde exhibition and, 66–67, 91; Selz’s visits to, 66–68

  Feininger, Lyonel, 22, 186, 198

  Feitelson, Lorser, 44

  Felix Landau Gallery, 42, 44

  feminism: critique of Selz’s exhibitions based in, 158–60; Denes on, 162; Selz’s claims of, 157, 241nn20–21; Selz’s writing on, 158

  Ferber, Herbert, 165, 167

  Fern, Alan, 83

  Ferus Gallery, 42, 45, 179

  Fieldston School of Ethical Culture (high school), 18–19

  Fifteen Polish Painters (exhibition), 61

  figurative work: in art on the Holocaust, 198; in assemblage, 89; attachment to expressionist type of, 85, 94–95, 103–4; Dubuffet’s work as, 89–91; focus on, 99; modernist definitions and, 63–64; New Images of Man exhibition and, 74–75, 76–78, 224n13; of Oliveira, 193–94; Rothko’s work in context of, 86; Selz’s reflections on, 208–9. See also German Expressionism; humanist position

  Fink, Ray, 34

  flop: use of term, 78

  Forbes, Hannah (born Engel), 14–16

  formalist art, 89, 162, 191

  Foss, Lukas, 43

  Foulkes, Llyn, 42, 45

  Four Abstract Classicists (exhibition), 43–44

  Franc, Helen M., 107–8

  France. See Paris (France)

  Francis, Sam: in BAM collection, 140, 142; connections of, 225n24; gallery representation of, 181, 195; illustration of, Fig. 20; importance of abstraction of, 85; political activism of, 248n48; promised exhibition at MoMA, 56; Selz’s relationship with, 192–93, 195; Selz’s view of, 164, 186, 191–92, 246n10; teacher of, 159; works: Berkeley, 140; Iris, 193

  Frankenstein, Alfred, 103

  Freedman, Tracy, 181

  Free Love Movement, 135–36

  Free Speech Movement: bad press for BAM due to, 123; defense team for, 247n32; excitement about, 119–20; personal account of, 233n3

  Freudenheim, Tom, 123, 129, 134, 147–48

  Fulbright research, 31–32

  Fuller, Buckminster, 35, 80, 127

  Funk (exhibition): BAM acquisitions of artists in, 142; collecting work for, 128–29; controversial aspects of, 132–33; definitions of Funk and, 131–32; reviews of, 129, 130; significance of, 123, 133–35, 187; space for, 123

  Funk art: artists and characteristics of, 128–31; circle of, 135–36; descriptive definitions of, 131–32, 134; localism of, 123, 131, 134–35; promotion of, 187; rejection of term, 132–33. See also assemblage

  Futurism (exhibition), 87–88

  Gagosian, Larry, 181

  Galería de la Raza, 247n27

  Gallery Paule Anglim, 131

  Gallery St. Etienne, 16–18, 181

  Garcia, Rupert: Chicano art of, 247n27; as maverick, 161; on Selz as friend, 187, 188, 190, 191; on Selz as teacher, 155, 189–90; teaching of, 247n35

  Garver, Tom, 131

  Gauguin, Paul, 83–84

  Gay, Peter, 214n15, 215n23, 215–16n3

  Geldzahler, Henry, 100, 101

  Genauer, Emily, 86–87, 224n6

  geometric abstraction, 42

  George, Stefan, 8

  George Staempfli Gallery, 80

  German and Austrian Expressionism: Art in a Turbulent Era (exhibition [with catalogue]), 198, 200

  German Democratic Republic (East Germany): exhibition of artists from, 183

  German Expressionism: characteristics that attracted Selz, 33–34, 71, 175; Christian aspect of, 73–74; context of research on, 28–29, 32; continued importance to Selz, 198; Dempsey’s interest in, 177; earliest contact with artists of, 4–5; Lindner’s connection to, 182; New Images of Man and, 77; Oliveira influenced by, 193; similar exhibitions on, 198–99. See also Abstract Expressionism; New York School of painting

  German Expressionist Painting (Selz): award for, 91, 201; editing of, 204; praise for, 46, 164, 170, 189; reflections on, 29–30; review of, 217–18n8; significance of, xii, 151; writing of, 42

  German Jewish community: childhood in, 1–6; gradual awareness of Nazi goals, 9–10; opportunities to rejoin, 66–68; perceived as second-class, 215n27; youth groups of, 6, 7–8, 214n15. See also Munich (Germany); New York; Werkleute (Working People)

  German Realism of the Twenties (exhibition), 198–99

  Germany: families left behind in, 13, 17; Jews’ experience of getting out of, 13, 215–16n3; Jews’ identification with culture of, 8–9; law against “overcrowding” of schools in, 9; Selz’s later views on, 66–68. See also Federal Republic of Germany (West Germany); German Democratic Republic (East Germany); Munich (Germany); Nazism (National Socialist Party); Werkleute (Working People)

  gestural painting, 156, 240–41n14

  Getty, J. Paul, 124

  Getty Museum, 28, 224n64

  Giacometti, Alberto: MoMA exhibition of, 72, 92, 95–96; Oliveira influenced by, 194; Selz influenced by, 32; Selz’s view of, 185; work in New Images of Man exhibition, 64, 70, 223n5

  GI Bill, 26, 27

  Gilhooly, David, 128

  Glitter and Doom (exhibition), 198–200, 249n61

  Goethe, Johann Wolfgang von, 8

  Gogh, Vincent Van, 197

  Goldschneider, Cécile, 92

  Goldwater, Robert J., 84–85, 166

  Golub, Leon: Andersen-Selz friendship and, 170, 172; exhibition at Pomona, 41; in Exhibition Momentum (group), 34; as imagist, 33; reviews of drawings, 78, 224n13; work in New Images of Man exhibition, 75, 78, 172

  Goodall, Donald, 41

  Goodyear, A. Conger, 50

  Gopnik, Adam, 230–31n25

  Gorky, Arshile, 196

  Goya, Francisco, 175, 186, 193, 194, 208

  Graduate Theological Union (GTU): art circle of, 174; Burkhardt exhibition at, 197; later activities in association with gallery of, 176–77, 182; Selz’s teaching at, 175–76

  Grant, James, 43

  Graves, Morris, 182, 190, 222n28

  Green, Wilder, 95

  Greenberg, Clement: Artforum influenced by, 129; color-field painting touted by, 104, 130; formalist ideas of, 89, 162; Selz’s difference from, 177; Tobey’s work rejected by, 222n28; younger generation’s rejection of, 106

  Greene and Greene (architects, exhibition), 41

  Gropius, Walter, 30, 35, 180

  Grosz, George, 32, 104

  Grünewald, Matthias (artist), 5, 73, 77

  GTU. See Graduate Theological Union (GTU)

  Guggenheim, Peggy, 140–42

  Guggenheim Museum, 198

  Guilbaut, Serge, 222n26

  Guston, Philip, 103–4, 169, 202

  H2NY (documentary on Tinguely’s Homage to New York), 224n16

  Hadzi, Dimitri, Fig. 17

  Hairy Who, The, 33

  Haley, John, 138

  Halpert, Edith, 46

  Halprin, Anna: dancers of, Fig. 19, 124–25

  Hamburg Kunsthalle, 66–67

  Hammersley, Frederick, 43, 44

  Hand and the Spirit, The (exhibition), 174–75

  H
ard Edge painting exhibition, 43–44

  Harrington, Mark, 233n3

  Hartley, Marsden, 46

  Harvard University, Busch-Reisinger Gallery, 183, 198

  Hatley Martin Gallery, 160

  Hayakawa, S. I., 34

  Haydn, Lili, viii

  Hearst, Phoebe, 137

  Heartfield, John, 104

  Heckel, Erich, 32

  Hedrick, Wally, 131–32

  Heilbrut, Anthony, 215n27

  Hentzen, Alfred, 66–67

  Hershman Leeson, Lynn, 153, 154, 158–59

  Hertz, Deborah Paris (Debby), 135–36

  Hess, Thomas B., 66, 101, 106, 229n12

  Hesse, Hermann, 8

  Heyns, Roger W., 138

  High and Low (exhibition), 230–31n25

  Hinckle, Marianne, 67–68, 214n9, 223n40

  Hinckle, Warren, 67, 223n40

  Hirshhorn Museum and Sculpture Garden, 182, 233n5

  History of Art (Janson), 159–60

  Hitchcock, Henry Russell, 83

  Hitler, Adolf: decadent art show of (Entartete Kunst), 5; early Jewish attitudes toward, 8–9; Olympic Games and, 12; postwar documentary on, 68; rise of, 2, 13; water-color paintings of, 2

  Hodler, Ferdinand, 186, 198

  Hofmann, Hans, 118, 138, 141, 183

  Holland, Frank, 34

  Holocaust, 66–68, 198. See also Nazism (National Socialist Party)

  Homage to New York (exhibition). See Jean Tinguely (exhibition)

  Hopps, Walter, 45, 245n4

  Horn, Walter, 119, 141, 146, 151, 186

  Howard, John Galen, 119

  Howard, Leslie, 214n1

  Hudson, Robert, 125, 128

  Huelsenbeck, Richard, 79, 81

  Hughes, Robert, 199

  Hultén, K. G. (Pontus), 81–82, 225n24

  humanist position: of Beckmann, 92–95, 208; building blocks for art in, 183–84, 187; ecological awareness linked to, 185; of Giacometti, 95–96; New Images of Man and, 74–78, 224n13; Oliveira influenced by, 193–94; Pop Artists as rejecting, 101–2; retirement activities focused on, 183–84, 191–92, 193–94; Rothko’s work in context of, 86; Selz’s unassailable, continued support for, 207, 208–9; spiritual in art linked to, 130–31, 163, 173–77. See also figurative work

  Hunter, Sam, 48

  ID. See Institute of Design (ID, Chicago)

  Illinois Institute of Technology, 35

  Imagists (Chicago), 33

  immigrants: adaptability key to success, 14; art history introduced as academic discipline by, 151; artists and musicians as, 43; divisions among, 17; networking and assimilation process for, 14–16, 17; Tillich as, 73, 223n3

  immigration: Jewish difficulties in, 13, 215–16n3; obstacles to, 8–9; realizing necessity of, 10–11; reminiscences about, 15–16; youth group’s role in, 6, 7

  Impressionists, American, 103

  Inness, George, 175

  Institute of Design (ID, Chicago): aesthetic stance of, 31–32, 33, 34; decline of, 35; departure from, 36; kinetic art discussed at, 127; Selz’s teaching at, 30–31, 32–33

  International Congress of Art Critics, 196–97

  International Council, 52, 54

  Iraq War: art series about, 133–34, 246nn15–16; protest of, Fig. 24

  Irwin, Robert, 42

  Italy: I Tatti collection, 140, 141; Selz’s bicycle expedition through, Fig. 7, 5; Selz’s trip with Rothko to, Fig. 17, 120. See also Venice (Italy)

  Jack Rutberg Fine Arts. See Rutberg, Jack

  Jackson, Jerrell C., 215n27

  Jackson Pollock (exhibition), 55

  Jane’s Addiction (band), viii

  Janis, Sidney, 101

  Janson, H. W., 159–60

  Jean Dubuffet (exhibition), 90

  Jeanne-Claude (artist), 153–54, 177, 185

  Jean Tinguely (exhibition): decision to hold, 78–79; documentary on, 81, 224n16; implications for Selz, 81–82; kinetic art anticipated in, 88, 126; preparation for, 79–80; reflections on, 72, 80; reviews of, 56, 80–81; scheduling of, 85; spectators at, 80

  Jenson, Kevan, 182, 190, 203

  Joachim, Harold, 57, 92

  Johns, Jasper, 98, 224n17

  Johnson, Phillip, 234n11

  Jonathan Clark & Co., 181

  Jorasch, Richard, 119

  Judd, Donald, 230–31n25, 248n49

  Kahn, Herbert, Fig. 7, 5

  Kahn, Tobi, Fig. 23, 176, 203

  Kala Institute, 182

  Kallir, Jane, 20

  Kallir, Otto, 16, 20

  Kammen, Michael, 235n15

  Kandinsky, Wassily, 5, 29, 177

  Kantor, Paul, 42

  Kantor, Sybil Gordon, 220n6, 220–21n8

  Kaplan, Fred, 98

  Karpel, Bernard, 65

  Kasten, Karl, 138, 239n78

  Kauffman, Craig, 42, 245n4

  Kémeny, A., 235n24

  Kentridge, William, 207–8, 209

  Kerr, Clark: BAM fundraising of, 119, 121, 123; Guggenheim proposal of, 141; Hofmann collection development and, 138; Reagan’s firing of, 141, 143; Selz’s relationship with, 138–39

  Kiefer, Anselm, 207, 209

  Kienholz, Ed, 42, 45, 88, 245n4

  kinetic art: exhibition of, 123, 126–28; manifesto of, 235n24; Selz’s teaching and involvement with, 157; Tinguely as anticipating, 88

  Kirchner, Ernst Ludwig, 5, 28, 29

  Kirkeby, Paula, 131, 181, 195–96

  Kitaj, R. B., 104

  Klee, Paul, 5

  Klimt, Gustav, 16, 83

  Kline, Franz, 70, 90, 169

  Kohn, Karl, 43

  Kokoschka, Oskar, 16

  Kollwitz, Käthe, 8

  Kootz, Sam, 138

  Kostka, Robert, 190

  Kramer, Hilton, 100–101, 188, 228n2

  Krautheimer, Richard, 36

  Kress Foundation, 144

  Krevsky, George, 181, 182

  Krevsky Gallery, 181, 182

  Kuh, Kathleen, 76, 77, 224n6, 224n12

  Kunitz, Stanley, 101

  Kunstgewerbemuseum (Zurich), 82

  Lacey, Suzanne, 158

  LACMA. See Los Angeles County Museum of Art (LACMA)

  Laguna Art Museum, 241n14

  Landau, Felix, 42, 44

  Landauer, Susan, 155–56, 197, 240n13, 240–41n14, 241nn15–16

  Landy, Michael, 224n16

  Langlois, Henri, 121, 234n12

  Langsner, Jules, 44, 229n5

  Leaf, June, 34

  Lebrun, Rico, 44–45, 63

  Le Corbusier, 57

  Léger, Fernand, 22

  Legg, Alicia, 51, 108

  Lemert, Deirdre (fourth wife), 245n1

  Leslie, Charles, x, 38–39, 110, 213n3

  Leslie, Zelda, 38–39, 213n3

  Leutze, Emanuel Gottlieb, 137

  Levine, Morton, 165–66

  Lewallen, Connie, 133–34, 237n43

  Lichtenstein, Roy, 100

  Lieberman, William S., Fig. 14, 57

  Liebmann family (in New York City), 10, 18–19, 21

  Lindner, Richard, 182, 198, 246n13

  Lippard, Lucy, 159, 247n27

  “living the art life”: adapting to American life, 14; as “artist-agent,” 154–55; artist friends in, 64, 85, 120, 129, 135–36, 153, 154–55, 161, 162–63, 170, 192–93, 201–5, 234n8; creativity and liberation, ix; enthusiasm and engagement, x, 152–53, 186–87; generosity and inclusiveness, 187–88; as independent outsider, 152, 160–61, 171–72; loyalty to chosen art and artists in, 105, 155, 184, 195, 198; open to new experiences, vii–viii, x, 18, 36, 41, 123–24, 150, 155, 173, 187, 195–96, 213n2, 240n11; Paris sojourn in clarifying, 31–32; in Pomona’s milieu, 38–39; spiritually focused friends in, 174–77. See also art and politics connections; bohemian lifestyle

  Lloyd, Frank: crooked dealings of, 168–69, 243nn60–61; lawsuit against, 165–66

  Loran, Erle, Fig. 18, 138

  Los Angeles: L’Angolo Cafe in, vii; cultural exceptionalism of, 235n15; l
ater association with galleries in, 181, 196; music scene at midcentury, 42–43; Whisky a Go Go in, vii–viii, 150, 213n2. See also Southern California art scene

  Los Angeles County Museum of Art (LACMA): professional support for, 40–41; exhibitions: Four Abstract Classicists, 43–44; Hermitage treasures, 197; Made in California, 197

  love and sexuality: characterization of, 178; first love (Gina), Fig. 9, 16, 17–18, 216n16; first marriage, 30, 36, 39; first divorce, 116; Peter’s infidelities in, 110, 113, 114, 232n42; Peter’s reputation and, 155–56, 157, 164; second marriage, 113–14, 116; Thalia’s infidelities in, 114, 232n45; third and fourth marriages, 245n1; fifth marriage, 178–80. See also bohemian lifestyle; Selz, Carole Schemmerling (fifth wife); Selz, Norma (second wife); Selz, Thalia (Cheronis) (first wife)

  Lowry, Bates, 41

  Lübke, Heinrich, 91, 201

  Luddy, Tom, 122, 234–35n14

  Lydiate, Henry, 166

  Lynes, Russell, 107

  Lyon, E. Wilson, 36

  Made in California (exhibition), 197

  Madoff, Steven Henry, 228n4

  Magritte, René, 123

  Malevich, Kazimir, 177

  Malraux, André, 53, 60, 221n13

  Man Ray, Fig. 15, 220n5

  Marc, Franz, 146

  Marck, Jan van der, 153

  Marin, John, 19, 21, 46, 47

  Mark Rothko (exhibition): insurance evaluations for paintings in, 168; in Paris, 53, 60, 221n13; reflections on, 72, 85–86; reviews of, 86–87; space for, 55

  Mark Rothko Foundation, 165, 168, 243n49, 243n57

  Marlborough Gallery: accountant of, 168; Botero’s Abu Ghraib series at, 183; lawsuit against, 165–66; McKee’s working at, 169, 243nn61–62

  Marquis, Alice Goldfarb, 220n6, 220–21n8, 221n11

  Marx, Karl, 8

  Matisse, Henri, 174

  Max, Peter, 82

  Max Beckmann (exhibition), 72, 92–95, 218n14

  McChesney, Mary Fuller, 154

  McChesney, Robert, 154

  McCray, Jim, 138

  McCray, Porter, 52–53, 107, 108, 221n13

  McKee, David, 169, 243nn61–62

  McLaughlin, John, 43–44, 105

  McLuhan, Marshall, 208

  McWilliams, Carey, 235n15

  Melchert, Jim, 125

  Mellon, Gertrude A., Fig. 14

  Mendelsohn, Erich, 245–46n9

  Meridian Gallery, 182, 190–91, 203

  Metropolitan Museum of Art, 198–200, 249n61

  M. H. de Young Memorial Museum, 131, 207, 209

  Middeldorf, Ulrich, 28–29, 173

  Midonick, Millard L., 166

 

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