Peter Selz (53 page)

Mync, Bogdon,
179

Nathan Oliveira
(Selz),
156
,
194
–
95
,
241
n
15

Nation, The
(magazine),
223
n
5

Nauman, Bruce,
128

Naumann, Francis,
244
n
71

Nazism (National Socialist Party): anti-Semitic laws under,
2
,
7
,
9
,
10
; German American support for,
21
,
216
–
17
n
28
; 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
–
29
n
5

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
,
222
n
32
,
223
n
5
,
223
–
24
n
6
,
224
n
12
,
248
n
29
; 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
,
228
n
3
; revisited in 2009–
10
,
201
; Rothko's work in context of,
86
; significance of,
70
,
158
,
163
,
170
,
228
n
3
; 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),
229
n
5

New Realism: definitions of,
230
n
21
; exhibitions of,
101
,
103
–
4
; Neo-Dadism and Pop Art linked to,
228
–
29
n
5
.
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
–
17
n
28
; 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
,
222
n
28

New Yorker
(magazine),
78
,
224
n
13

New York Review of Books
,
101
,
229
–
30
n
14

New York School of painting: contacts with,
35
; Dubuffet and,
90
; French attitude toward,
53
; gestural painting as analogue to,
156
,
240
–
41
n
14
; narrative written for,
61
–
62
; political ramifications of emerging,
60
–
61
; “snobbism” and centrism surrounding,
61
–
62
,
222
n
28
; triumph at Venice Biennale,
60
,
221
–
22
n
26
.
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
,
223
n
5
; Optical Art,
99
; Martín Ramírez work,
xi
;
The Work of Jean Dubuffet
exhibition,
89
–
90

Niebuhr, Reinhold,
73
,
223
n
3

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
,
217
n
37

O'Hagan, Margaret Peterson,
159

O'Keeffe, Georgia,
19
,
21
,
46

Oldenburg, Claes,
102

“old fogies”: use of term,
101
,
229
n
12

Oliveira, Nathan: in BAM collection,
142
; MoMA exhibition of,
63
; Selz's monograph on,
156
,
194
–
95
,
241
n
15
; Selz's view of,
191
,
193
–
94
; work in
New Images of Man
exhibition,
75
,
78
,
202
,
248
n
49

Ollman, Leah,
207

Olsen, Donald,
180

Olympic
Games (1936),
12

Operation Jedburgh,
217
n
37

Optical Art,
99

oral history,
xi
i,
41
,
106
,
158
,
200

Orozco, José Clemente,
44
,
45

OSS (Office of Strategic Services),
23
,
24
–
25
,
217
n
37

Ossorio, Alfonso,
74

Otis Art Institute,
62

Pacific Film Archive (PFA): administration's attitude toward,
121
–
22
,
234
–
35
n
14
; 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
,
221
n
13
; 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
–
35
n
14

Parkinson, Ariel,
162
,
201
–
3
,
208
–
9
,
249
n
63

Parkinson, Tom,
249
n
63

Partisan Review
,
101

Partridge, Loren,
239
n
78

Pasadena Art Museum,
91
,
145
,
229
n
5

Paschke, Ed,
33

Pascin, Jules,
123

Pennsylvania Academy,
182
–
83

performance art: feminist concerns in,
241
–
42
n
26
; at unveiling of
Crucifixion
series,
160
.
See also
Wisdom, Norton (“The Artist”)

Perkins, Steve,
viii

Perl, Jed,
98
,
105
,
223
n
5
,
228
n
3

Perls, Frank,
42

Pernas, Frances,
108
,
231
n
33

Persian Gulf War (1990–
91
),
196
–
97

Peters, Richard,
147

Peter Selz Day,
201

Petlin, Irving,
33
,
182
–
83

Phillips Collection,
220
n
5

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,
222
n
28
; work in
New Images of Man
exhibition,
63
,
222
n
32

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
,
218
n
17
; Leon Golub,
41
; Greene and Greene (architects),
41
;
Stieglitz Circle
,
45
–
47

Pop Art: Abstract Expressionism compared with,
105
–
6
,
230
n
21
; Art Nouveau's influence on,
82
–
85
; in BAM collection,
139
; careers in,
230
–
31
n
25
; definitions of,
101
–
2
,
228
–
29
n
5
; emergence of,
99
–
100
,
228
n
2
; market for,
98
,
101
,
102
–
3
; MoMA's symposium on,
101
,
228
n
2
; 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,
223
n
5
,
230
–
31
n
25

Powerhouse Gallery: discontinued use of,
238
n
68
; exhibitions by Selz at,
123
,
126
–
28
; space of,
119
; student's view of exhibitions at,
150
. See also
Funk
(exhibition)