Peter Selz (47 page)

Abbott, John E.,
234
n
11

About Drawing
(exhibition),
190

Abstract Classicism,
43
–
45

Abstract Expressionism: in BAM collection,
139
; expressive figuration juxtaposed to,
74
–
77
; figurative work in,
34
,
63
–
64
,
70
; gestural painting as analogue to,
240
–
41
n
14
; Guston's work as,
103
–
4
; narrative of,
59
–
62
; Pop Art compared with,
105
–
6
,
230
n
21
; public interest in,
46
; in San Francisco,
156
,
240
–
41
n
14
; Seitz's scholarship on,
52
; suspicions about, in 1960s,
229
n
12
; triumph at Venice Biennale (1964),
60
,
221
–
22
n
26
.
See also
German Expressionism; New York School of painting

abstraction: geometric,
42
; German Expressionism and move toward,
29
; Rothko and importance of,
85
; struggle to find verbal language for,
86
–
87
,
225
–
26
n
35
.
See also
Abstract Expressionism; German Expressionism; New York School of painting

ACA (gallery),
181

Acton, Arlo,
128

Adler, Felix,
18

aesthetics: authorship, originality, and the machine-made in,
101
–
2
; beauty in,
82
,
192
; form and content working together in,
100
; Hard Edge painting and,
43
–
44
; individual and subjective vs. communal and objective in,
34
; New York self-consciousness and,
41
; spiritual search for soul linked to,
130
–
31
,
163
,
173
–
77
; subjectivity emphasized in,
71
,
104
–
5
; surface vs. depth in,
101
–
2
.
See also
art and politics connections; figurative work; humanist position; “living the art life”; modernist art

Ahmanson, Howard,
39
,
40

Albers, Josef,
35
,
105

Alberto Giacometti
(exhibition),
72
,
92
,
95
–
96

Alexander, Robert,
245
n
4

Alloway, Lawrence,
44

Alpers, Svetlana,
139

Alphonse Berber Gallery,
181
,
203

Alte Pinakothek (Munich),
4
–
5
,
205

Altman, Ralph,
41

Altoon, John,
42

American Impressionists,
103

American Place (N.Y.C.),
19
–
20

American Veterans Committee (AVC),
38

Amyx, Dick,
144

Andersen, Wayne: career of,
161
,
170
; on Rothko estate trial,
168
–
69
,
243
n
59
; on Selz,
170
–
73
,
244
nn
66
–
68
; works:
Cézanne and the Eternal Feminine
,
170
,
244
n
64
;
German Artists and Hitler's Mind
,
170
;
Marcel Duchamp
,
172
–
73
,
244
n
71

Anderson, Jeremy,
128

André, Carl,
202

Angelico, Fra,
120

Anglim, Paule,
131

Anna Halprin dancers,
Fig. 19
,
124
–
25

Anonymous Was a Woman (organization),
162
,
242
n
39

Antin, Eleanor,
158

anti-Semitism: in Cheronis family,
113
; experiences downplayed,
65
–
68
,
106
; in New York vs. Germany,
21
.
See also
Nazism (National Socialist Party)

Appel, Karl,
78

ARC (Society for Art, Religion, and Culture),
173
–
74

Ariel.
See
Parkinson, Ariel

Arneson, Robert,
128
,
142

art and politics connections: Andersen's comments on,
171
,
244
n
66
,
244
n
68
; anti-war stance in,
24
,
217
n
36
; Ashton and Selz's friendship in,
164
–
65
; Berkeley as center of,
133
–
34
; Chicano connections in,
187
–
89
,
247
n
27
; feminism and,
157
,
241
nn
20
–
21
; Free Speech Movement and,
119
–
20
,
123
,
233
n
3
,
247
n
32
; immigration and changes in,
15
–
16
; independent outsiders in,
161
; influences on
exhibitions and,
59
–
60
; as key focus,
xi
–
xii
; Pomona students' awareness of,
38
; retirement activities focused on,
190
–
91
,
196
–
200
; Simon and Selz, compared,
145
–
46
; youthful direction in,
7
–
8
. See also
Art of Engagement
(Selz); “living the art life”;
Werkleute
(Working People)

art brut
.
See
Dubuffet, Jean

art critics: controversy and reviews of
New Images of Man
exhibition,
63
,
75
–
78
,
172
,
222
n
32
,
223
n
5
,
223
–
24
n
6
,
224
n
12
,
248
n
29
; post-WWII art as purview of,
151
–
52
; Selz's view of role of,
100
–
101
.
See also
artist-critic-curator-dealer nexus

art dealers and galleries: Germans as, in New York City,
20
,
22
,
28
; later activities in association with,
181
–
82
,
190
–
91
,
195
–
96
,
201
,
203
; Rothko estate trial and,
165
–
69
; Selz's view of,
166
,
168
,
243
nn
60
–
61
; Venice Biennale (1964) and,
60
.
See also
artist-critic-curator-dealer nexus; art market

Artforum
(journal),
129

art history: as academic discipline,
69
,
151
; artist-focused and object-oriented approach (biographical) to,
149
–
50
,
152
–
53
; connoisseurship vs. contextual approaches in,
29
; cultural and intellectual approach (antibiographical) to,
94
,
151
,
152
,
153
,
157
; empathy with artists in,
37
–
38
; oral history method in,
158
; post-WWII art excluded from,
151
–
52
; professional organization for,
40
–
41
; Selz as outsider in,
152
,
171
–
72
; Selz's view of role of,
100
–
101
; Selz's voice in,
200
–
205
; standard textbook of,
159
–
60
; ultrareactionary attitudes toward,
39
–
40
.
See also
students; teaching; UC-Berkeley art history department

Art in America
(journal): on Denes,
161
; Dickinson's
Crucifixion
series reviewed in,
160
; on Funk,
29
,
132
–
33
; gender discrimination in,
242
n
27
; 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
,
236
n
32
,
241
n
20
,
245
n
1

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
,
226
n
37
; authorship, originality, and the machine-made in,
101
–
2
; emerging relationships in 1960s,
98
–
101
,
228
n
4
; Funk artist on,
132
–
33
; MoMA as viewed in,
105
–
6
; Pop Art in context of,
228
–
29
n
5
; 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
,
228
n
4
; 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
,
222
n
32
;
New Realists
reviewed in,
101
,
229
n
12
; reading of,
35

Art Nouveau
(exhibition),
73
,
82
–
85
,
228
n
3

Art of Assemblage, The
(exhibition),
73
,
88
–
89
,
236
n
32

Art of Engagement
(Selz): award for,
xi
–
xii
,
200
; on Garcia,
190
; on gender discrimination,
242
n
27
; impetus for,
197
; Landauer and,
241
n
15
; political stance of,
15
,
191
; praise for,
158
,
200
; review of,
171
; Selz's openness evidenced in,
213
n
2
; 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
,
234
n
11
,
242
n
27
; 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
–
41
n
14
; 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
,
224
n
6
; at Pop Art symposium,
101
; on Rothko estate trial,
165
,
167
,
168
,
169
,
243
n
59
; 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
,
237
n
49
; exhibition of,
73
,
88
–
89
,
236
n
32
; use of term,
88
–
89
,
226
n
42
.
See also
Funk art;
Jean Tinguely
(exhibition)

Auguste Rodin
(exhibition),
91
–
92
,
170
,
226
–
27
n
47