Peter Selz (50 page)

existentialism,
74
–
75
,
157

Expressionism
(arts festival),
Fig. 12

False Image, The,
33

Family of Man, The
(exhibition),
59

Farber, Manny,
75
,
222
n
32
,
223
n
6

Farm Security Administration, photographs by,
59

fascist aesthetics: use of term,
7
,
9

Feder, Edward,
234
–
35
n
14

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
,
241
nn
20
–
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
,
224
n
13
; 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,
225
n
24
; gallery representation of,
181
,
195
; illustration of,
Fig. 20
;
importance of abstraction of,
85
; political activism of,
248
n
48
; promised exhibition at MoMA,
56
; Selz's relationship with,
192
–
93
,
195
; Selz's view of,
164
,
186
,
191
–
92
,
246
n
10
; 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,
247
n
32
; excitement about,
119
–
20
; personal account of,
233
n
3

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,
247
n
27

Gallery Paule Anglim,
131

Gallery St. Etienne,
16
–
18
,
181

Garcia, Rupert: Chicano art of,
247
n
27
; as maverick,
161
; on Selz as friend,
187
,
188
,
190
,
191
; on Selz as teacher,
155
,
189
–
90
; teaching of,
247
n
35

Garver, Tom,
131

Gauguin, Paul,
83
–
84

Gay, Peter,
214
n
15
,
215
n
23
,
215
–
16
n
3

Geldzahler, Henry,
100
,
101

Genauer, Emily,
86
–
87
,
224
n
6

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
–
18
n
8
; significance of,
xi
i,
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,
215
n
27
; youth groups of,
6
,
7
–
8
,
214
n
15
.
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
–
16
n
3
; 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
–
41
n
14

Getty, J. Paul,
124

Getty Museum,
28
,
224
n
64

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
,
223
n
5

GI Bill,
26
,
27

Gilhooly, David,
128

Glitter and Doom
(exhibition),
198
–
200
,
249
n
61

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
,
224
n
13
; work in
New Images of Man
exhibition,
75
,
78
,
172

Goodall, Donald,
41

Goodyear, A. Conger,
50

Gopnik, Adam,
230
–
31
n
25

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
,
222
n
28

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,
222
n
28
; 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,
222
n
26

Guston, Philip,
103
–
4
,
169
,
202

H2NY
(documentary on Tinguely's
Homage to New York
),
224
n
16

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

Hard Edge painting exhibition,
43
–
44

Harrington, Mark,
233
n
3

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,
215
n
27

Hentzen, Alfred,
66
–
67

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

Hertz, Deborah Paris (Debby),
135
–
36

Hess, Thomas B.,
66
,
101
,
106
,
229
n
12

Hesse, Hermann,
8

Heyns, Roger W.,
138

High and Low
(exhibition),
230
–
31
n
25

Hinckle, Marianne,
67
–
68
,
214
n
9
,
223
n
40

Hinckle, Warren,
67
,
223
n
40