Peter Selz

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Peter Selz Page 36

by Paul J. Karlstrom


  Mies van der Rohe, Ludwig, 35, 40

  Miller, Dorothy: exhibition series of, 79, 224n17; MoMA role of, 51, 56, 220–21n8; personal life of, 224–25n18; Selz’s departure and, 107; spirituality and, 174; Tinguely exhibition and, 78–79

  Minneapolis Institute of Arts, 198–99

  Miró, Joan, 61, 185

  MOCA (Museum of Contemporary Art, Los Angeles), 225n24

  MOCRA (Museum of Contemporary Religious Art, St. Louis), 176

  Modern, the. See Museum of Modern Art (MoMA), New York

  modernism: American rejection of European, 61–62; complexity of, recognized, 35; motion, speed, and change as defining, 81, 88, 126–27; multiplicity, diversity, and inclusionism in, xi; open-endedness of, 63–64

  “Modernism Comes to Chicago” (Selz), 33

  modernist art: Art Nouveau’s influence on, 82–85; art of the past in relation to, 93–94; Bauhaus-inspired curriculum in Chicago and, 30–31; creating museums for, 49–51, 220nn5–6; first two dissertations on, 29–30; Fulbright research in context of, 31–32; human/formal division in, 94–95; inclusive, expansive, and flexible view of, 63–64, 74–75, 86, 91; key job in, 48–49; mid-century attitudes toward, 28–29; MoMA’s canon of, xi, 49, 56, 72, 73, 99, 228n3; MoMA’s curatorial freedom and, 55–57; Oliveira’s tradition-derived, 193–94; Selz and de Kooning’s parallels in, 69–71; Selz’s individual view of, 46–47; Selz’s voice for, 200–205; semantics of, 34; ultrareactionary attitudes toward, 39–40; Warhol and Kentridge in context of, 207–8, 209. See also specific types (e.g., Abstract Expressionism)

  Moeller, Achim, 181

  Moholy-Nagy, László, 30, 32, 127, 218n17, 235n24. See also Institute of Design (ID, Chicago)

  MoMA. See Museum of Modern Art (MoMA), New York

  Monday Evening Concerts (West Hollywood), 43

  Mondrian, Piet, 177

  Monet, Claude, 52

  Moreau, Gustave, 57

  Morehouse, Bill, 154

  Moses, Ed, 42

  Moses, Grandma, 16

  Motherwell, Robert, 61, 168

  Motley, Archibald, Jr., 218n17

  Mullen, Frances, 43

  Muller, Martin, 181

  Munch, Edvard, 83, 194

  Munich (Germany): army band and music in, 3; art museum visits in, 4–5, 205; birth and early childhood in, Fig. 4, 1–6, 197; Catholic schools’ expulsion of Jews, 2, 7; education and youth activities in, 6–10; Nazi parades and pageants in, 7–8, 9–10; remembered, 197; Selz’s departure from, 11; Selz’s later visit to, 68. See also Werkleute (Working People)

  Musée National d’Art Moderne (Paris), 53

  Musée Rodin (Paris), 91–92, 170

  Museum of Contemporary Art (Chicago), 198, 199

  Museum of Contemporary Art (Los Angeles, MOCA), 225n24

  Museum of Contemporary Religious Art (MOCRA, St. Louis), 176

  Museum of Folk Art (N.Y.C.), ix–x, xi–xii

  Museum of Modern Art (MoMA), New York: anti-Semitism at, downplayed, 65–68, 106; canon of, xi, 49, 56, 72, 73, 99, 228n3; connections enabled by curating at, 64; Conner’s Box in, 236n32; creating identity of, 49–51, 220n6; decline of status, 98, 99–100, 105–6, 228n2, 250nn6–7; Fieldston School connections to, 19; film library of, 121, 234n11; fire at, 80; internal dynamics of, 52–54, 57–58, 107–8, 221n12; lack of friendliness among staff, 107–8, 231n28; market-driven influences on, 59–62; Pop Art symposium of, 101, 228n2; role in art world, 89, 97–98; Selz’s career at, summarized, 68–71; Selz’s departure from, 105, 106, 108–9, 117; Selz’s early involvement with, 22; Selz’s hiring and arrival at, 44, 46–47, 48–49, 51–52, 73, 221n11; Selz’s praise for colleagues at, 54–55; sexism at, 234n11; spirituality in art and, 173–74; trustees’ influences on, 53, 57, 58–59; Warhol painting purchased by, 209

  Museum of Modern Art (MoMA) exhibitions: collections department separated from, 51; criticism of, 99–100, 105; curatorial freedom in, 55–57, 58; first three proposed by Selz, 72–73; implications of getting, 89; loans for Stieglitz Circle exhibition, 46; national and international divisions of, 52–54; proposed de Kooning show later cancelled, 69, 70–71; Selz’s main responsibilities for, 51; Selz’s provocative approach in, 81–82, 105; spaces of, 55

  —exhibitions: Bauhaus 1919–1933, 219n22; Claude Monet, 52; The Family of Man, 59; Farm Security Administration photographs, 59; Fuller’s geodesic dome at, 80; High and Low, 230–31n25; Jackson Pollock, 55; Jean Dubuffet retrospective, 90; Mark-Tobey, 99; New American Painting, 59–60; New Horizons in American Art, 79; The Responsive Eye, 99; Sixteen Americans, 79, 224n17; Symbolists, 57, 58; Twelve Americans, 79

  —exhibitions by Selz: 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)

  museums: anti-Semitism of, 66–68, 106; architects of (1960s and 1970s), 119, 233n5; exhibition committees of, 56; exposure to diverse arts at, 137–38; faculty attitudes toward, 151; first interfaith, 176; responsibilities of, 59–60. See also artist-critic-curator-dealer nexus

  music: Los Angeles midcentury scene, 42–43; minimalist, 125, 126; preferences and openness to new, vii–viii

  Mync, Bogdon, 179

  Nathan Oliveira (Selz), 156, 194–95, 241n15

  Nation, The (magazine), 223n5

  Nauman, Bruce, 128

  Naumann, Francis, 244n71

  Nazism (National Socialist Party): anti-Semitic laws under, 2, 7, 9, 10; German American support for, 21, 216–17n28; Olympic Games and, 12; painters in Germany under, 32; postwar art exhibition on, 67–68; rise of, 2, 13; Selz’s later views on, 66–68; youthful encounters with, 7–8, 9–10; youth group of, 6

  Neo-Dadism, 228–29n5

  Neue Galerie, 182, 198

  Neue Sachlichkeit (New Objectivity), 182, 198–99

  Neumann, J. B., 20, 28

  New American Painting (exhibition), 59–60

  New Americans (exhibition), 22

  Newark Museum, 174

  New Criterion (journal), 188

  New Horizons in American Art (exhibition), 79

  New Images of Man (exhibition): critical controversy and reviews of, 63, 75–78, 172, 222n32, 223n5, 223–24n6, 224n12, 248n29; current discussions about, 202; Francis’s work compared with, 191–92; New Realism compared with, 103–4; praise for, 190; preface to catalogue, 73–75, 181; reflections on, 72, 228n3; revisited in 2009–10, 201; Rothko’s work in context of, 86; significance of, 70, 158, 163, 170, 228n3; theologian’s interest in, 177

  New Images of Man and Woman (exhibition), 181

  Newman, Barnett, 162

  New Objectivity (Neue Sachlichkeit), 182, 198–99

  New Paintings of Common Objects (exhibition), 229n5

  New Realism: definitions of, 230n21; exhibitions of, 101, 103–4; Neo-Dadism and Pop Art linked to, 228–29n5. See also Pop Art

  New Realism, The (exhibition), 103–4

  New Realists (exhibition), 101

  New York: arrival in, 12–13; Beckmann’s milieu in, 94–95; high school and university education in, 18–19, 21, 27; Nazis and Germany support in, 21, 216–17n28; Selz family and social life in, Fig. 13, 109–17; Werkleute network in, 14–15, 17; World’s Fair (1939)in, 22

  New York art scene: adaptation to, 18, 20; anti-Semitism in, downplayed, 65–68, 106; artist-critic-curator-dealer nexus in, 101–3; awareness of, 34–35; California art scene compared, 123–24; changes in 1960s, 60–61, 105–6; Dubuffet’s work known in, 89; immersion in, 19–21, 111–16; later association with galleries in, 181, 182; “snobbism,” centrism, and parochialism of, 61–63, 75, 118, 222n28

  New Yorker (magazine), 78, 224n13

&nb
sp; New York Review of Books, 101, 229–30n14

  New York School of painting: contacts with, 35; Dubuffet and, 90; French attitude toward, 53; gestural painting as analogue to, 156, 240–41n14; narrative written for, 61–62; political ramifications of emerging, 60–61; “snobbism” and centrism surrounding, 61–62, 222n28; triumph at Venice Biennale, 60, 221–22n26. See also Abstract Expressionism; de Kooning, Willem; Kline, Franz; Museum of Modern Art (MoMA), New York; Rothko, Mark

  New York Times art reviews: Jean Tinguely exhibition, 80–81; Mark Rothko exhibition, 87; New Images of Man exhibition, 75–77, 223n5; Optical Art, 99; Martín Ramírez work, xi; The Work of Jean Dubuffet exhibition, 89–90

  Niebuhr, Reinhold, 73, 223n3

  Nierendorf, Karl, 20, 28

  Nochlin, Linda, 159

  Noguchi, Isamu, 56, 185

  Noland, Kenneth, 177

  Nolde, Emil, Fig. 14, 66–67, 91

  Non-Plussed, The, 33

  Norman, Dorothy, 20

  Novak, Barbara, 121

  Oakland Museum, 103–4, 121

  O’Doherty, Brian, 121

  O’Farrell, Ursula, 203

  Office of Strategic Services (OSS), 23, 24–25, 217n37

  O’Hagan, Margaret Peterson, 159

  O’Keeffe, Georgia, 19, 21, 46

  Oldenburg, Claes, 102

  “old fogies”: use of term, 101, 229n12

  Oliveira, Nathan: in BAM collection, 142; MoMA exhibition of, 63; Selz’s monograph on, 156, 194–95, 241n15; Selz’s view of, 191, 193–94; work in New Images of Man exhibition, 75, 78, 202, 248n49

  Ollman, Leah, 207

  Olsen, Donald, 180

  Olympic Games (1936), 12

  Operation Jedburgh, 217n37

  Optical Art, 99

  oral history, xii, 41, 106, 158, 200

  Orozco, José Clemente, 44, 45

  OSS (Office of Strategic Services), 23, 24–25, 217n37

  Ossorio, Alfonso, 74

  Otis Art Institute, 62

  Pacific Film Archive (PFA): administration’s attitude toward, 121–22, 234–35n14; founding and location of, 121–22, 125; significance of, 122–23; student’s view of, 151

  Palestine, 10. See also Zionism

  Palo Alto: later association with galleries in, 181

  Panicali, Carla, 120

  Paolozzi, Eduardo, 78, 181

  Paris (France): happiness of Peter and Thalia in, 111; loans for Auguste Rodin exhibition from, 91–92, 170; MoMA’s Rothko exhibition in, 53, 60, 221n13; MoMA’s U.S. Representation exhibition in, 53–54; Selz’s Fulbright research in, 31–32

  Paris, Deborah. See Hertz, Deborah Paris (Debby)

  Paris, Harold: circle of, 135–36, 187; on Funk, 129, 131, 132–33; illustration of, Fig. 18; work in Funk exhibition, 128, 130

  Park, Roderic, 147, 234–35n14

  Parkinson, Ariel, 162, 201–3, 208–9, 249n63

  Parkinson, Tom, 249n63

  Partisan Review, 101

  Partridge, Loren, 239n78

  Pasadena Art Museum, 91, 145, 229n5

  Paschke, Ed, 33

  Pascin, Jules, 123

  Pennsylvania Academy, 182–83

  performance art: feminist concerns in, 241–42n26; at unveiling of Crucifixion series, 160. See also Wisdom, Norton (“The Artist”)

  Perkins, Steve, viii

  Perl, Jed, 98, 105, 223n5, 228n3

  Perls, Frank, 42

  Pernas, Frances, 108, 231n33

  Persian Gulf War (1990–91), 196–97

  Peters, Richard, 147

  Peter Selz Day, 201

  Petlin, Irving, 33, 182–83

  Phillips Collection, 220n5

  Photo-Realism, 104, 139

  Picasso, Pablo: Braque’s dispute with, 162; figurative work of, 208; works: Guernica, 73, 93, 183, 186

  Piero della Francesca, 93, 120

  Poland: abstract painting in, 61

  political consciousness, 38. See also art and politics connections

  Pollock, Jackson: MoMA’s exhibition of, 55; Ossorio influenced by, 74; Selz’s introduction to, 33; Tobey as influence on, 222n28; work in New Images of Man exhibition, 63, 222n32

  Pomodoro, Arnoldo, Fig. 18

  Pomona College: Expressionism (arts festival) and, Fig. 12; happiness of Peter and Thalia at, 111; importance to Selz’s thinking, 36–39; murals at, 44–45; reflections on, 39, 42, 119; Scripps College classes and, 40; Selz’s departure from, 46–47, 48

  —exhibitions by Selz: contemporary artists (1947), 34, 218n17; Leon Golub, 41; Greene and Greene (architects), 41; Stieglitz Circle, 45–47

  Pop Art: Abstract Expressionism compared with, 105–6, 230n21; Art Nouveau’s influence on, 82–85; in BAM collection, 139; careers in, 230–31n25; definitions of, 101–2, 228–29n5; emergence of, 99–100, 228n2; market for, 98, 101, 102–3; MoMA’s symposium on, 101, 228n2; Selz’s objection to, 101, 102–3, 105, 157; Selz’s revised opinion of, 206–7, 209; Warhol and Kentridge in context of, 208

  Porter, Fairfield, 223n5, 230–31n25

  Powerhouse Gallery: discontinued use of, 238n68; exhibitions by Selz at, 123, 126–28; space of, 119; student’s view of exhibitions at, 150. See also Funk (exhibition)

  Price, Lorna (now Dittmer), 203–4

  primitivism, 84, 90–91

  punk movement, 213n2

  Ramírez, Martín, xi

  Ramos, Mel, 191

  Ramparts (magazine), 67, 223n40

  Rannells, Susan, 129, 134

  Rapoport, Sonia, 131

  Rathbone, Perry T., 92, 94–95

  Rathenau, Walter, 215n27

  Rauschenberg, Robert: assemblage work of, 89, 130; collaboration of, 88; collectors of, 98; Venice Biennale prize for, 60, 250n6; work in Miller’s exhibition series, 224n17; work in MoMA exhibition in Paris, 54

  Raven, Arlene, 158

  Rawson, David, 179

  Read, Herbert, 140

  Reagan, Ronald, 140, 141, 143

  Realism: German (exhibition), 198–99; Selz’s view of, 103–4. See also New Realism

  Redon, Odilon, 57, 193

  Reich, Steve, 125

  Reinhardt, Ad, 35, 162

  Reis, Bernard, 165–68

  Rembrandt van Rijn, 4, 5, 137, 194

  Renaissance Society (University of Chicago), 34, 218n17

  Renan, Sheldon, 121–22, 234n12, 239n78

  Representations (journal), 152

  Responsive Eye, The (exhibition), 99

  Rewald, John, 57

  Rewald, Sabine, 249n61

  Rheingold brewery (Bushwick), 19, 20, 21–22

  Richardson, Brenda: at BAM opening, 125; BAM position of, 145; Funk exhibition and, 129, 134; Selz’s departure and, 146–48, 239n74, 239n77

  Rickey, George, 127

  Riegl, Alois, 29

  Rilke, Rainer Maria, 8, 20

  Rinder, Lawrence, 139–40, 183, 237n43, 238n60

  Ritchie, Andrew, 48, 55

  Robert Colescott (exhibition), 182

  Rockefeller, Abby Aldrich, 49–51

  Rockefeller, Mrs. John D., 3rd, Fig. 14

  Rockefeller, Nelson, 53, 58–59

  Rodia, Simon (Sam), 155

  Rodin, Auguste, 91–92, 170, 226–27n47

  “Roll over Beethoven” (song), 106

  Roosevelt, Franklin D., 59

  Rosa (nanny), Fig. 5, 3–4

  Rosenberg, Harold, 90–91

  Rosenberg, Jakob, 214n10

  Rosenblum, Robert, 155, 171, 240n11

  Rosenfeld, Michael, 181

  Rosenquist, James, 100

  Rosenthal, Rachel, 158

  Roth, Moira, 155, 157–58, 159

  Rothko, Christopher, 120, 165, 167, 177

  Rothko, Kate, 120, 165, 167

  Rothko, Mark: California visit of, 121; changing attitudes toward, 105; circle of, 90; exhibition preparations of, 85–86; intentions regarding estate, 142, 165, 168, 169, 243n49; Italy trip with, Fig. 17, 120; nonobjective and figurative reconciled by, 105; philosophical paintings of, 1
62; proposed de Kooning show and, 70; red painting given to Selz, 120, 234n8; Selz’s view of, 130, 186; Symbolist context of work, 225–26n35; trial over estate of, 165–69. See also Mark Rothko (exhibition)

  Rothko, Mary Alice Beistle (“Mell”), Fig. 17, 120, 165

  Rothko Chapel (Houston), 112

  Rousseau, Théodore, 137

  Rubens, Peter Paul, 138–39, 140

  Rubin, William, 172, 243n59

  Running Fence project (Christo and Jeanne-Claude), 153–54, 185

  Ruscha, Ed, 42, 229n5

  Rutberg, Jack, Fig. 22, 181, 196–97

  Ruvolo, Felix, 218n17

  Saarinen, Aline B., 76–77

  Sachs, Paul, 50

  Sacramento: later association with galleries in, 181; Tribute to Peter Selz exhibition at gallery in, 235n21, 247n28

  Sakata, Barry, 181. See also b. sakata garo (gallery)

  Sam Francis (book, Selz), 164, 191–92

  Sam Francis (exhibition), 181

  Sandler, Irving, 221–22n26, 222n28

  Sandvig, Elizabeth, 37–39, 152

  San Francisco: Chicano art venue in, 247n27; later association with galleries in, 131, 181, 182; sculpture commission of, 184–85; Selz’s impact on art scene of, 186–87. See also Bay Area art scene

  San Francisco Art Institute, 247n27

  San Francisco Museum of Art (now San Francisco Museum of Modern Art [SFMOMA]): Abstract Expressionism exhibition, 240–41n14; Emil Nolde exhibition (from MoMA), 91; competition concerns of, 119; film archive rejected by, 121; symposium at, 189; visits with step-granddaughter to, 204, 205; William Kent-ridge exhibition, 207–8, 209

  San Francisco School of Abstract Expressionism, The (Landauer), 156, 240–41n14

  San Jose Museum of Art, 156, 241n15

  Saturday Review (magazine), 76, 77

  Savio, Mario, 119, 233n3. See also Free Speech Movement

  Savoldo, Giovanni Girolamo, 139, 140

  Scanlan’s Magazine, 67

  Schad, Christian, 182, 199

  Schapiro, Meyer, 52, 84–85, 169

  Schapiro, Miriam, 158

  Scheier, Ernest, 217n3

  Schemmerling, Carole. See Selz, Carole Schemmerling (fifth wife)

  Schemmerling, Kryssa (stepdaughter), 179

  Schemmler, Oskar, 182

  Scheyer, Galka, 145

  Schiele, Egon, 16

  Schjeldahl, Peter, 77–78, 224n13

  Schlesinger, Norma. See Selz, Norma (second wife)

  Schmidt-Rottluff, Karl, 32

  Schneemann, Carolee, 157

 

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