Peter Selz (49 page)

Cheronis, Thalia.
See
Selz, Thalia (Cheronis) (first wife)

Chicago: Art Institute (and School) of,
34
,
173
; Dubuffet's work known in,
89
; figurative movements in,
63
; happiness of Peter and Thalia in,
111
; Museum of Contemporary Art in,
198
,
199
; socialist circles in,
38
; teaching art history in,
30
–
31
.
See also
Institute of Design (ID, Chicago); University of Chicago

Chicago, Judy,
158

Chillida, Eduardo,
Fig. 21
,
184
–
86
,
191

Chipp, Herschel B.: art interests of,
143
–
44
; Guernica visit of,
Fig. 21
,
185
–
86
; Selz's introduction to,
217
–
18
n
8
; students of,
136
,
150
–
51
,
189
; teaching focus of,
152

Christo (artist): discussions about,
202
;
Running Fence
project of,
153
–
54
,
185
; spirituality of,
177

Christo and Peter Selz
(exhibition),
177

CIA (Central Intelligence Agency),
23
,
24
,
25
,
53
,
54

Ciampi, Mario,
119
,
233
n
5
.
See also
Berkeley Art Museum (BAM, formerly University Art Museum [UAM])

Cimabue (artist),
137

Cinémathèque Française (Paris),
121

Claremont Colleges in Southern California.
See
Pomona College; Scripps College

Clark, Stephen,
50
–
51

Cline, Nels,
viii

Claude Monet
(exhibition),
52

Close, Chuck,
102

Coalition of Women's Art Organizations,
160

Cohen, George,
34

Cohen, Robert,
233
n
3

Cohn, Terri,
136
,
237
n
52

cold war, Abstract Expressionism in,
59
–
60

Colescott, Robert,
182
,
190

College Art Association of America: Selz and,
ix
–
x
,
xi
–
xii
,
35
–
36
,
164
; Women's Caucus for Art (WCA) of,
158
,
159
–
60

color-field painting,
104
,
130
,
208
.
See also
Rothko, Mark

Colson, Greg,
225
n
24

Columbia University, Selz at,
19
,
21
,
27

conceptual art: academic interest in,
151
,
152
; Chillida's work in context of,
184
–
85
; Denes as Selz's introduction to,
161
–
63

Conner, Bruce: in BAM collection,
142
; circle of,
viii
,
213
n
2
; illustration of,
Fig. 23
;
on Selz,
130
–
31
,
236
n
33
; Selz's view and support of,
129
–
31
,
236
n
32
; works: in
Art of Assemblage
(exhibition),
236
n
32
;
The Box
,
236
n
32
;
Child
,
236
n
32
; in
Funk
(exhibition),
123
,
128
,
130
–
31

Consey, Kevin,
183

Constructivism,
127

Coppola, Francis Ford,
154

Cornell, Daniell,
182

Cortor, Eldzier,
218
n
17

Courbet, Gustave,
172
–
73

Cox, Kevin (step–foster son),
179

critical theory,
152
,
157

Crucifixion
series (Dickinson),
160

Cubism,
28
,
88
,
217
–
18
n
8

Dadaism,
79
,
81
,
128
,
134
. See also
Jean Tinguely
(exhibition)

Dalí, Salvador,
116
,
230
n
16

D'Amico, Victor,
19

dancers, at BAM opening,
Fig. 19
,
124
–
25

Daniel, Greta,
83

Dannenmüller, Sophie,
134
–
35
,
237
n
49

Danto, Arthur C.,
102

de Bretteville, Sheila,
158

Debussy, Claude,
83

DeFeo, Jay,
132
,
159

de Kooning, Willem: in BAM collection,
140
; changing attitudes toward,
105
; circle of,
90
,
196
; discussions about,
202
; figurative work of,
63
–
64
,
70
; Oliveira influenced by,
194
; Selz's life parallels to,
69
–
71
; works:
The Marshes
,
140
; in
New Images of Man
,
63
,
64
,
70
,
222
n
32

Dempsey, Terrence,
155
,
173
,
176
–
77

Demuth, Charles,
46

Denes, Agnes,
161
–
63
,
184

Dern, Carl,
125

De Staebler, Stephen,
182
,
202

Detroit Institute of Arts: German Expressionist collection of,
28
; Selz's appearance at,
97
–
98
,
227
–
28
n
1

de Young Museum,
131
,
207
,
209

d'Harnoncourt, René: curatorial freedom under,
57
; diplomacy of,
54
–
55
,
58
,
231
n
36
;
Jean Tinguely
exhibition and,
79
,
80
; loans for
Auguste Rodin
and,
92
; at MoMA planning retreat,
65
; MoMA role of,
51
; Seitz's hiring and,
49
,
52
; Selz's departure and,
106
–
7
,
108
; Selz's first three exhibitions proposed to,
72
–
73

Dickinson, Eleanor,
158
–
60

Diebenkorn, Richard,
63
,
78
,
142
,
202

Dilexi Gallery (San Francisco),
179

Dillenberger, Jane Daggett: background of,
173
–
74
;
The Hand and the Spirit
exhibition of,
174
–
75
; Selz's relationship with,
175
–
76
,
177

Dillenberger, John,
174
,
176

Dine, Jim,
104

Directions in Kinetic Sculpture
(exhibition),
123
,
126
–
28
.
See also
kinetic art

di Suvero, Mark,
185

Dittmer, Lorna Price,
203
–
4

Donahue, Daisy,
23
,
217
n
32

Donahue, Kenneth (Kenny),
22
–
23
,
27
–
28
,
217
n
32

Dorment, Richard,
101
,
229
–
30
n
14

Dove, Arthur,
19
,
46
,
47

Downtown Gallery (N.Y.C.),
46

Dreier, Katherine,
220
n
5

Drew Theological Seminary,
173

Drexler, Arthur:
Art Nouveau
exhibition and,
83
; at MoMA planning retreat,
65
,
66
; MoMA role of,
52
–
53
,
54
,
57

Drey, Edith.
See
Selz, Edith (Drey) (mother)

Drey, Julius (maternal grandfather): death of,
6
,
216
n
14
; illustration of,
Fig. 3
;
knowledge of art,
1
,
4
–
5
,
214
n
10
; living situation of,
2
,
3
; mansion and gallery of,
Fig. 2
,
1
; Peter influenced by,
1
,
4
–
6
,
14
,
139
,
205

Drey, Marie (maternal grandmother, Frau Julius Drey),
17

Dubuffet, Jean: “assemblage” coined by,
88
–
89
; MoMA exhibitions of,
55
,
72
,
89
–
91
; Ossorio influenced by,
74
; Selz influenced by,
32
; Selz's view of,
185
; work in
New Images of Man
exhibition,
64
,
70

Duchamp, Marcel: on art as idea,
101
; opening at Cordier Ekstrom,
116
; poem by, on handout for
Jean Tinguely
,
81
; at Pop Art symposium,
101
; reconsideration of work,
172
–
73
,
209
,
244
n
71
; scholarship on,
158
; Seitz and Selz on,
70
–
71
; Selz's view of,
244
n
71
; sexual behavior of,
156
; Société Anonyme and,
220
n
5
; works:
Étant donnés
,
172
–
73

Duncan, Robert,
125

Dürer, Albrecht,
4

Eakins, Thomas,
103

Einstein, Albert,
127

El Greco,
5

Elliott, James,
146
,
148
,
237
n
43

Elsen, Albert,
92
,
226
–
27
n
47

Emil Nolde
(exhibition),
Fig. 14
,
66
–
67
,
91

Ettlinger, L. D.,
151

Europa
(steamship),
Fig. 8
,
11
,
12

European Legacy, The
(journal),
171

“Evenings on the Roof” music series,
43

Excellence
(exhibition),
124

Exhibition Momentum (group),
33
–
34

exhibitions: curatorial freedom in,
55
–
57
,
58
; idea vs. execution of,
58
; listed,
257
–
59
; political and market-driven influences on,
59
–
60
; Selz's voice in,
200
–
205
; as tributes to Selz,
177
,
181
,
235
n
21
,
247
n
28
; trustees' influence on,
58
–
59

—by Selz at BAM: Barbara Chase-Riboud,
158
,
159
; criticism of,
158
–
59
;
Directions in Kinetic Sculpture
,
123
,
126
–
28
;
Excellence
,
124
; René Magritte,
123
; Jules Pascin,
123
. See also
Funk
(exhibition)

—by Selz at LACMA:
Four Abstract Classicists
,
43
–
44

—by Selz at MoMA:
Alberto Giacometti
,
72
,
92
,
95
–
96
;
Art Nouveau
,
73
,
82
–
85
,
228
n
3
;
The Art of Assemblage
(with Seitz),
73
,
88
–
89
,
236
n
32
;
Auguste Rodin
,
91
–
92
,
170
,
226
–
27
n
47
;
Emil Nolde
,
Fig. 14
,
66
–
67
,
91
;
Fifteen Polish Painters
,
61
;
Futurism
,
87
–
88
;
Max Beckmann
,
72
,
92
–
95
,
218
n
14
;
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)

—by Selz at Pomona College: contemporary artists,
34
,
218
n
17
; 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