Word: selz
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...appears to arouse experts to belligerence, pro or con, and at the opening of the Los Angeles show, two prominent New York museum officials got into a public altercation. The antagonists: Peter Selz, curator of Manhattan's Museum of Modern Art, and Lawrence Alloway, curator of the Guggenheim. The paintings in the show are "limp and unconvincing," said Selz in a short talk. "It is the want of imagination, the passive acceptance of things as they are, that makes these pictures dull and unsatisfactory. It is as easy to produce as it is to consume...
...drawings in the Bremen show are portraits, but most are nameless nudes, many of them studies for future paintings. In the portraits, he proved that he could catch a subject's inner being, but his nudes go far beyond the limitations of the individual. U.S. Critic Peter Selz probably summed up Marées' contribution best when he noted that the artist always treated his nudes as "timeless creations of nature. Their significance is never that of the incidental but of some universal law." It was this quality that enabled Marées to span the ages...
...pick the painters, the Modern Museum's Peter Selz two years ago made a trip to Warsaw. Since there are no private art galleries in Poland and no private collectors, Selz made the rounds of artists' studios, as well as the museums, libraries and courthouses where the state hangs the art it buys directly from the artist. When the time came to select the paintings, Selz ran into a snag: the government overextended its helpfulness by wanting to exercise final authority on what...
Returning last year, Selz hoped the officialdom would surrender the veto, but was disappointed. Then he got a bright idea. Selz simply asked two galleries in France and five in the U.S. to import the works he wanted. "As simple as importing Polish hams," he said. The rest of the display he gathered from a variety of shrewd U.S. collectors, including Pittsburgh's G. David Thompson. Manhattan's Joseph Hirshhorn, and the world's Joe Alsop, who bought early in the rising Polish art market...
Polish painters, as Selz found, have been relatively free to travel since Gomulka came to power in 1956. "They are swiftly aware of art events, whether in New York or Barcelona." Selz points out. In a country where to be educated often means to speak French, the main tie is still with Paris, and even the Poles have not always escaped being more stylish than profound. But if the splashy oils, crumpled collages and floating, ambiguous forms often suggest bolder and earlier experiments by better-known painters in the West, the passion and verve behind the paintings is pure Polish...