Peter Selz (52 page)

Lowry, Bates,
41

Lübke, Heinrich,
91
,
201

Luddy, Tom,
122
,
234
–
35
n
14

Lydiate, Henry,
166

Lynes, Russell,
107

Lyon, E. Wilson,
36

Made in California
(exhibition),
197

Madoff, Steven Henry,
228
n
4

Magritte, René,
123

Malevich, Kazimir,
177

Malraux, André,
53
,
60
,
221
n
13

Man Ray,
Fig. 15
,
220
n
5

Marc, Franz,
146

Marck, Jan van der,
153

Marin, John,
19
,
21
,
46
,
47

Mark Rothko
(exhibition): insurance evaluations for paintings in,
168
; in Paris,
53
,
60
,
221
n
13
; reflections on,
72
,
85
–
86
; reviews of,
86
–
87
; space for,
55

Mark Rothko Foundation,
165
,
168
,
243
n
49
,
243
n
57

Marlborough Gallery: accountant of,
168
; Botero's
Abu Ghraib
series at,
183
; lawsuit against,
165
–
66
; McKee's working at,
169
,
243
nn
61
–
62

Marquis, Alice Goldfarb,
220
n
6
,
220
–
21
n
8
,
221
n
11

Marx, Karl,
8

Matisse, Henri,
174

Max, Peter,
82

Max Beckmann
(exhibition),
72
,
92
–
95
,
218
n
14

McChesney, Mary Fuller,
154

McChesney, Robert,
154

McCray, Jim,
138

McCray, Porter,
52
–
53
,
107
,
108
,
221
n
13

McKee, David,
169
,
243
nn
61
–
62

McLaughlin, John,
43
–
44
,
105

McLuhan, Marshall,
208

McWilliams, Carey,
235
n
15

Melchert, Jim,
125

Mellon, Gertrude A.,
Fig. 14

Mendelsohn, Erich,
245
–
46
n
9

Meridian Gallery,
182
,
190
–
91
,
203

Metropolitan Museum of Art,
198
–
200
,
249
n
61

M. H. de Young Memorial Museum,
131
,
207
,
209

Middeldorf, Ulrich,
28
–
29
,
173

Midonick, Millard L.,
166

Mies van der Rohe, Ludwig,
35
,
40

Miller, Dorothy: exhibition series of,
79
,
224
n
17
; MoMA role of,
51
,
56
,
220
–
21
n
8
; personal life of,
224
–
25
n
18
; 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),
225
n
24

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
,
220nn
5
–
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
,
228
n
3
; 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
,
218
n
17
,
235
n
24
.
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.,
218
n
17

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),
225
n
24

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
,
228
n
3
; connections enabled by curating at,
64
; Conner's
Box
in,
236
n
32
; creating identity of,
49
–
51
,
220
n
6
; decline of status,
98
,
99
–
100
,
105
–
6
,
228
n
2
,
250
nn
6
–
7
; Fieldston School connections to,
19
; film library of,
121
,
234
n
11
; fire at,
80
; internal dynamics of,
52
–
54
,
57
–
58
,
107
–
8
,
221
n
12
; lack of friendliness among staff,
107
–
8
,
231
n
28
; market-driven influences on,
59
–
62
; Pop Art symposium of,
101
,
228
n
2
; 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
,
221
n
11
; Selz's praise for colleagues at,
54
–
55
; sexism at,
234
n
11
; 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
,
219
n
22
;
Claude Monet
,
52
;
The Family of Man
,
59
; Farm Security Administration photographs,
59
; Fuller's geodesic dome at,
80
;
High and Low
,
230
–
31
n
25
;
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
,
224
n
17
; Symbolists,
57
,
58
;
Twelve Americans
,
79

—exhibitions by Selz:
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)

museums: anti-Semitism of,
66
–
68
,
106
; architects of (1960s and 1970s),
119
,
233
n
5
; 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