Word: selz
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Dates: during 1970-1979
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...monopoly on newness. The exhibition of 164 paintings and graphics that opened last week at Chicago's Museum of Contemporary Art is a sharp reminder of that fact. Organized under the title "German and Austrian Expressionism: Art in a Turbulent Era" by Art Historian Peter Selz, it does real justice to a neglected area...
Rudely stated, German expressionism was the house style of radical figurative art in Northern Europe between about 1905 and 1930. But as Selz rightly insists in his catalogue essay, it was less a style than a cluster of attitudes. The major expressionist painters-Ernst Ludwig Kirchner, August Macke, Max Pechstein, Franz Marc, Emil Nolde, Max Beckmann, Oskar Kokoschka, Lyonel Feininger-did have formal traits in common. Harsh, dissonant color that blared fitfully from an unrefined surface; jagged shapes, broken-bottle cubism, an appetite for the primitive in drawing; masklike faces, Gothic poses, extreme jumps of tone between limelight and gloom...
...Masks, 1911; three years later, bubbling with fantasies about noble savages, he went to Melanesia with a German expedition, and his ideas of the racial purity of primitive societies led him to an early membership in the Nazi Party. (The relationship between Nazism and expressionist painting was, as Selz discreetly suggests, a good deal less antagonistic than is usually supposed.) But if the cult of the primitive was one aspect of expressionism, the scrutiny of the far less familiar recesses of the psyche was another. Kokoschka's painting of the avant-garde architect Adolf Loos...
...supermarkets' expansion in the U.S., and record crops this year are expected to fatten food supplies. As a result, almost all existing stores should increase their sales and profits. "Anybody with a piece of sense should be able to make money," says Analyst Camilla Dietz of Furman Selz Mager Dietz & Birney Inc. That seems to be the view of A. & P. management too. Since last spring, top executives and directors of the firm have been quietly increasing their holdings of the company's stock...
...seeing. The theme of sanity is an old favorite, all too often overdone as a loosing struggle between an upright mind and its gloomy, evil oppressors. In this piece the heaviness is ingeniously avoided: Bridgeman, the man/mind, stands well over six feet tall, while the harbingers of insanity, Laurie Selz and Lisa Myerson in green Geotards and painted faces, are not much more than five feet tall. Innocently he plays with them, lifts them on his shoulders, all tiny, innocent seeming, yet sinister, they trap...