Art in America (journal): on Denes, 161; Dickinson’s Crucifixion series reviewed in, 160; on Funk, 29, 132–33; gender discrimination in, 242n27; on Petlin, 182–83; on Witkin, 198
Art in a Turbulent Era (exhibition). See German and Austrian Expressionism: Art in a Turbulent Era
Art in Our Times (Selz), 144, 157, 236n32, 241n20, 245n1
Art Institute (and School) of Chicago, 34, 173
artist-critic-curator-dealer nexus: artist vs. art historian in, 151–52; art works in relation to, 87, 226n37; authorship, originality, and the machine-made in, 101–2; emerging relationships in 1960s, 98–101, 228n4; Funk artist on, 132–33; MoMA as viewed in, 105–6; Pop Art in context of, 228–29n5; Selz’s view of, 102–3. See also art critics; art history; art market; museums
artistic license idea, 38. See also “living the art life”
art market: MoMA influenced by, 59–62; for Pop Art, 98–99, 101–3, 228n4; Rothko estate trial in context of, 166–67; U.S. vs. Japan and other countries, 192. See also art dealers and galleries; artist-critic-curator-dealer nexus; museums
Art News (journal): anti-Semitism in, 66; on Jewish “glass ceiling,” 106; New Images of Man reviewed in, 63, 75, 222n32; New Realists reviewed in, 101, 229n12; reading of, 35
Art Nouveau (exhibition), 73, 82–85, 228n3
Art of Assemblage, The (exhibition), 73, 88–89, 236n32
Art of Engagement (Selz): award for, xi–xii, 200; on Garcia, 190; on gender discrimination, 242n27; impetus for, 197; Landauer and, 241n15; political stance of, 15, 191; praise for, 158, 200; review of, 171; Selz’s openness evidenced in, 213n2; youthful direction reflected in, 7–8
arts: cerebral, structural turn in, 98; conceptual turn in academic, 151, 152; faith in transformative power of, 163; gender inequality in, 158–60, 234n11, 242n27; human beings as central to, 95–96; influence and appropriation in, 84–85; public exposure to diverse, 137–38; relationship of past to present, 93–94; spirituality in, 130–31, 163, 173–77; subjectivity and metaphor in, 104–5; unity of, 83–84; what makes “good” art, 208–9. See also aesthetics; and specific movements or types
art scene. See Bay Area art scene; New York art scene; Southern California art scene
Ashton, Dore: on Abstract Expressionism, 240–41n14; on anti-Semitism at MoMA, 67; exhibition collaboration with Selz, 183; Jean Tinguely exhibition and, 78, 79, 81; as maverick, 161; on New Images of Man, 224n6; at Pop Art symposium, 101; on Rothko estate trial, 165, 167, 168, 169, 243n59; on Sam Francis (Selz), 191; Selz’s relationship with, xi, 109, 163–65, 190, 195; Symbolists exhibition and, 57
Asian art, 143
assemblage: as art movement, 133–34, 237n49; exhibition of, 73, 88–89, 236n32; use of term, 88–89, 226n42. See also Funk art; Jean Tinguely (exhibition)
Auguste Rodin (exhibition), 91–92, 170, 226–27n47
AVC (American Veterans Committee), 38
awards and honors: best art book (Charles Rufus Morey Book Award, 2006), xi–xii, 200; German, for “Interest in Twentieth-Century German Art,” 91, 201; Peter Selz Day proclamation, 201; tribute exhibitions, 177, 181, 235n21, 247n28
Baas, Jacquelynn, 147, 148, 234n11, 239n79
Bachert, Hildegard (Gina): career of, 17, 20; on immigration and networking, 14–15; name of, 216n12; Selz’s romance with, Fig. 9, 16, 17–18, 216n16
Bacon, Francis, 64
Bahr, Hermann, 29
Baldwin, Justin, 179
Baldwin, Kyra (granddaughter), 179, 204
Baldwin, Mia Schemmerling (stepdaughter), 179
Baldwin, Rian (granddaughter), 179
Ballaine, Jerry, 145
BAM. See Berkeley Art Museum (BAM, formerly University Art Museum [UAM])
Banyan (“pickup” supergroup), vii
Barbara Chase-Riboud (book and exhibition), 158, 159
Bareiss, Walter, 107, 231n29
Barnes, Lucinda, 137, 235n22
Barr, Alfred H., Jr.: Abstract Expressionism exhibition and book of, 59–60; attraction of, 225n18; on Beckmann’s Departure, 93, 227n49; on controversial exhibitions, 78; film archive and, 121; Jean Tinguely exhibition and, 80, 81; on Miller’s exhibition series, 79; MoMA acquisitions handled by, 51; as MoMA director, 49–51, 220–21n8; MoMA’s canon established by, 49, 56, 72, 73, 99, 228n3; Selz’s departure and, 106–7, 108; Selz’s view of, 33, 52, 54; spirituality and, 173–74; on Stieglitz Circle exhibition, 46
Barry, Iris, 121, 234n11
Baskin, Leonard, 202
Bates, Tom, 201
Bauhaus: curriculum inspired by, 30–31; decline of idea of, 35; kinetic art discussed at, 127; recent exhibition on, 219n22. See also Institute of Design (ID, Chicago)
Bauhaus 1919–1933 (exhibition), 219n22
Bay Area art scene: art and politics nexus in, 133–34, 246nn15–16; immersion in, 123–24; later association with galleries in, 181, 182; Selz’s impact on, 186–90. See also Berkeley Art Museum (BAM, formerly University Art Museum [UAM]); University of California at Berkeley; and specific cities
Bayer, Herbert, 35
Bearden, Romare, 201
Beatles, Sgt. Pepper’s Lonely Hearts Club Band (album cover), 246n13
beauty, 82, 192
Bechtle, Robert, 142
Beckmann, Max: in BAM collection, 140; central place of, 32; Christian aspect of, 74; humanism of, 92–95, 208; MoMA exhibition of, 72, 92–95, 218n14; Oliveira influenced by, 193, 194; Selz’s view of, 5, 28, 186, 191; St. Louis exhibition (1948) of, 94; works: Departure, Fig. 1, 93; Large Self-Portrait, Fig. 27, 28; “Letters to a Woman Painter,” 94, 227n55; Woman Half-Nude at the Window, 140
Beckmann, Quappi (Mathilde Q.), 32, 94, 227n55
Bellagio Study Center, 182
Benjamin, Karl, 43–44
Benton, Fletcher, 127–28
Berber, Alphonse, 181, 203
Berenson, Bernard, 140, 141
Berkeley: antiwar, antiestablishment counterculture of, 119, 124–26, 133, 233n3; art and politics nexus in, 133–34, 246nn15–16; attractions of, 119–20; later association with galleries in, 181, 182; National Guard crackdown on protesters in, 145–46; Peter Selz Day proclamation in, 201; Selz’s arrival in, 117, 118; Selz’s impact on art scene of, 186–90. See also Bay Area art scene; Berkeley Art Museum (BAM, formerly University Art Museum [UAM]); Graduate Theological Union (GTU); University of California at Berkeley
Berkeley Art Museum (BAM, formerly University Art Museum [UAM]): collection development at, 136–40, 142; design and construction of, Fig. 16, 119–20, 233n5; difficulties and disappointments at, 140–48; faculty collaborations with, 144, 238n69; founding of, 118; funding of, 119–20, 121, 123, 124, 143, 145, 146, 239n79; Hofmann gift and wing of, 118, 138, 141; hoped-for new building of, 238n60; innovative, subversive course of, 123–24; later activities in association with, 183; MATRIX series of, 237n43; New York contacts and, 120–21; opening events at, Fig. 19, 124–26; politically engaged art at, 133–34; renaming from University Art Museum, 183; reputation before Selz, 123–24; Selz’s arrival at, 117, 118; Selz’s departure from, 144–45, 146–48, 149; Selz’s goals at, 118, 137; sexism at, 158–59, 234n11, 242n27; Stich’s contributions to, 151, 240n2; students’ view of Selz’s work at, 150. See also Pacific Film Archive (PFA); Powerhouse Gallery
—exhibitions: Abu Ghraib series, 183, 246nn15–16; Asian art, 143; The Hand and the Spirit, 174–75
—exhibitions by Selz: Barbara Chase-Riboud, 158, 159; criticism of, 158–59; Directions in Kinetic Sculpture, 123, 126–28; Excellence, 124; René Magritte, 123; Jules Pascin, 123. See also Funk (exhibition)
Berkeley Parks Commission, 246n11
Berlin Olympic Games (1936), 12
Berman, Wallace, 42, 45, 61, 245n4
Berry, Chuck, 106
Beyond the Mainstream (Selz), 184, 188, 196–97
Bierstadt, Albert, 137
Bingham, George Caleb, 99
Birkmeyer, Karl, 41
Black Mountain College (N.C.), 35
Blake,
Peter, 246n13
Blanckenhagen, Peter-Heinrich von, 28
Blaue Reiter (Blue Rider, group), 29
Bliss, Lillie P., 49–50
Boggs, Jean, 41
bohemian lifestyle: Andersen’s comments on, 172; Berkeley-area triumvirate of, 135–36; creativity and liberation associated with, ix; of Pomona social life, 38–39; sexuality in, 114. See also Funk art
Bohrod, Aaron, 218n17
Bonnard, Pierre, 83, 84
Boswell, Peter, 130
Botero, Fernando, 133–34, 246nn15–16
Bouguereau, William-Adolphe, 104
Boulez, Pierre, 43
Brancusi, Constantin, 185
Braque, Georges, 162
Brautigan, Richard, 125
Bresdin, Rodolphe, 57
Breuer, Marcel, 233n5
Brewster, John, Jr., 137
Brodzky, Anne, 182, 190–91
Brown, Joan, 142
Brown, Richard (Rick), 40
Bruner, Louise, 97–98, 227–28n1
b. sakata garo (gallery): Tribute to Peter Selz exhibition at, 235n21, 247n28
Buber, Martin, 8
Bunshaft, Gordon, 233n5
Burden, William, 65
Burkhardt, Hans, Fig. 22, 196–97
Busch-Reisinger Gallery (Harvard University), 183, 198
Buxbaum, Richard, 148, 188, 239–40n82, 247n32
Cage, John, 43
Cahill, Holger, 224–25n18
Cahill, James, 143–44, 146, 147, 238n68
California: cultural exceptionalism of, 123, 235n15; New York attitudes toward, 63, 75, 118; Rothko’s visit to, 121; Thalia’s resistance to return to, 115, 116. See also Bay Area art scene; Southern California art scene; University of California at Berkeley; and specific cities
California lifestyle: Funk in context of, 132–33; openness to, 18, 36, 41, 123–24; post-WWI political context of, 171. See also bohemian lifestyle
California Palace of the Legion of Honor, 184–85
Callahan, Harry, 31
Campoli, Cosmo, 34, 172
Canaday, John: Jean Tinguely reviewed by, 80–81; Mark Rothko reviewed by, 87, 90; New Images of Man reviewed by, 75–76, 224n6; on Optical Art, 99; on Pop Art, 228–29n5; The Work of Jean Dubuffet reviewed by, 89–90
Cándida Smith, Richard, 79, 134, 152, 224n17
Carson, Gary, 154–55, 171
Cartwright, Derrick, 152–53, 155
Castelli, Leo, 60, 250n6
Centenary Exhibition of Morris Graves (exhibition), 190
Central Intelligence Agency (CIA), 23, 24, 25, 53, 54
Cervenka, Exene, 213n2
Chagoya, Enrique, 187–88, 247n27
Chase-Riboud, Barbara, 158, 159
Chermayeff, Serge, 30
Cheronis, Dion, 113
Cheronis, Nicholas D., 113
Cheronis, Thalia. See Selz, Thalia (Cheronis) (first wife)
Chicago: Art Institute (and School) of, 34, 173; Dubuffet’s work known in, 89; figurative movements in, 63; happiness of Peter and Thalia in, 111; Museum of Contemporary Art in, 198, 199; socialist circles in, 38; teaching art history in, 30–31. See also Institute of Design (ID, Chicago); University of Chicago
Chicago, Judy, 158
Chillida, Eduardo, Fig. 21, 184–86, 191
Chipp, Herschel B.: art interests of, 143–44; Guernica visit of, Fig. 21, 185–86; Selz’s introduction to, 217–18n8; students of, 136, 150–51, 189; teaching focus of, 152
Christo (artist): discussions about, 202; Running Fence project of, 153–54, 185; spirituality of, 177
Christo and Peter Selz (exhibition), 177
CIA (Central Intelligence Agency), 23, 24, 25, 53, 54
Ciampi, Mario, 119, 233n5. See also Berkeley Art Museum (BAM, formerly University Art Museum [UAM])
Cimabue (artist), 137
Cinémathèque Française (Paris), 121
Claremont Colleges in Southern California. See Pomona College; Scripps College
Clark, Stephen, 50–51
Cline, Nels, viii
Claude Monet (exhibition), 52
Close, Chuck, 102
Coalition of Women’s Art Organizations, 160
Cohen, George, 34
Cohen, Robert, 233n3
Cohn, Terri, 136, 237n52
cold war, Abstract Expressionism in, 59–60
Colescott, Robert, 182, 190
College Art Association of America: Selz and, ix–x, xi–xii, 35–36, 164; Women’s Caucus for Art (WCA) of, 158, 159–60
color-field painting, 104, 130, 208. See also Rothko, Mark
Colson, Greg, 225n24
Columbia University, Selz at, 19, 21, 27
conceptual art: academic interest in, 151, 152; Chillida’s work in context of, 184–85; Denes as Selz’s introduction to, 161–63
Conner, Bruce: in BAM collection, 142; circle of, viii, 213n2; illustration of, Fig. 23; on Selz, 130–31, 236n33; Selz’s view and support of, 129–31, 236n32; works: in Art of Assemblage (exhibition), 236n32; The Box, 236n32; Child, 236n32; in Funk (exhibition), 123, 128, 130–31
Consey, Kevin, 183
Constructivism, 127
Coppola, Francis Ford, 154
Cornell, Daniell, 182
Cortor, Eldzier, 218n17
Courbet, Gustave, 172–73
Cox, Kevin (step–foster son), 179
critical theory, 152, 157
Crucifixion series (Dickinson), 160
Cubism, 28, 88, 217–18n8
Dadaism, 79, 81, 128, 134. See also Jean Tinguely (exhibition)
Dalí, Salvador, 116, 230n16
D’Amico, Victor, 19
dancers, at BAM opening, Fig. 19, 124–25
Daniel, Greta, 83
Dannenmüller, Sophie, 134–35, 237n49
Danto, Arthur C., 102
de Bretteville, Sheila, 158
Debussy, Claude, 83
DeFeo, Jay, 132, 159
de Kooning, Willem: in BAM collection, 140; changing attitudes toward, 105; circle of, 90, 196; discussions about, 202; figurative work of, 63–64, 70; Oliveira influenced by, 194; Selz’s life parallels to, 69–71; works: The Marshes, 140; in New Images of Man, 63, 64, 70, 222n32
Dempsey, Terrence, 155, 173, 176–77
Demuth, Charles, 46
Denes, Agnes, 161–63, 184
Dern, Carl, 125
De Staebler, Stephen, 182, 202
Detroit Institute of Arts: German Expressionist collection of, 28; Selz’s appearance at, 97–98, 227–28n1
de Young Museum, 131, 207, 209
d’Harnoncourt, René: curatorial freedom under, 57; diplomacy of, 54–55, 58, 231n36; Jean Tinguely exhibition and, 79, 80; loans for Auguste Rodin and, 92; at MoMA planning retreat, 65; MoMA role of, 51; Seitz’s hiring and, 49, 52; Selz’s departure and, 106–7, 108; Selz’s first three exhibitions proposed to, 72–73
Dickinson, Eleanor, 158–60
Diebenkorn, Richard, 63, 78, 142, 202
Dilexi Gallery (San Francisco), 179
Dillenberger, Jane Daggett: background of, 173–74; The Hand and the Spirit exhibition of, 174–75; Selz’s relationship with, 175–76, 177
Dillenberger, John, 174, 176
Dine, Jim, 104
Directions in Kinetic Sculpture (exhibition), 123, 126–28. See also kinetic art
di Suvero, Mark, 185
Dittmer, Lorna Price, 203–4
Donahue, Daisy, 23, 217n32
Donahue, Kenneth (Kenny), 22–23, 27–28, 217n32
Dorment, Richard, 101, 229–30n14
Dove, Arthur, 19, 46, 47
Downtown Gallery (N.Y.C.), 46
Dreier, Katherine, 220n5
Drew Theological Seminary, 173
Drexler, Arthur: Art Nouveau exhibition and, 83; at MoMA planning retreat, 65, 66; MoMA role of, 52–53, 54, 57
Drey, Edith. See Selz, Edith (Drey) (mother)
Drey, Julius (maternal grandfather): death of, 6, 216n14; illustration of, Fig. 3; knowledge of art
, 1, 4–5, 214n10; living situation of, 2, 3; mansion and gallery of, Fig. 2, 1; Peter influenced by, 1, 4–6, 14, 139, 205
Drey, Marie (maternal grandmother, Frau Julius Drey), 17
Dubuffet, Jean: “assemblage” coined by, 88–89; MoMA exhibitions of, 55, 72, 89–91; Ossorio influenced by, 74; Selz influenced by, 32; Selz’s view of, 185; work in New Images of Man exhibition, 64, 70
Duchamp, Marcel: on art as idea, 101; opening at Cordier Ekstrom, 116; poem by, on handout for Jean Tinguely, 81; at Pop Art symposium, 101; reconsideration of work, 172–73, 209, 244n71; scholarship on, 158; Seitz and Selz on, 70–71; Selz’s view of, 244n71; sexual behavior of, 156; Société Anonyme and, 220n5; works: Étant donnés, 172–73
Duncan, Robert, 125
Dürer, Albrecht, 4
Eakins, Thomas, 103
Einstein, Albert, 127
El Greco, 5
Elliott, James, 146, 148, 237n43
Elsen, Albert, 92, 226–27n47
Emil Nolde (exhibition), Fig. 14, 66–67, 91
Ettlinger, L. D., 151
Europa (steamship), Fig. 8, 11, 12
European Legacy, The (journal), 171
“Evenings on the Roof” music series, 43
Excellence (exhibition), 124
Exhibition Momentum (group), 33–34
exhibitions: curatorial freedom in, 55–57, 58; idea vs. execution of, 58; listed, 257–59; political and market-driven influences on, 59–60; Selz’s voice in, 200–205; as tributes to Selz, 177, 181, 235n21, 247n28; trustees’ influence on, 58–59
—by Selz at BAM: Barbara Chase-Riboud, 158, 159; criticism of, 158–59; Directions in Kinetic Sculpture, 123, 126–28; Excellence, 124; René Magritte, 123; Jules Pascin, 123. See also Funk (exhibition)
—by Selz at LACMA: Four Abstract Classicists, 43–44
—by Selz at MoMA: Alberto Giacometti, 72, 92, 95–96; Art Nouveau, 73, 82–85, 228n3; The Art of Assemblage (with Seitz), 73, 88–89, 236n32; Auguste Rodin, 91–92, 170, 226–27n47; Emil Nolde, Fig. 14, 66–67, 91; Fifteen Polish Painters, 61; Futurism, 87–88; Max Beckmann, 72, 92–95, 218n14; U.S. Representation, 53–54; Venice Biennales, 56, 60–61; Peter Voulkos, 62; The Work of Jean Dubuffet, 55, 72, 89–91. See also Jean Tinguely (exhibition); Mark Rothko (exhibition); New Images of Man (exhibition)
Peter Selz Page 34
