—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
Peter Selz Page 35
