Free Peter Selz by Paul J. Karlstrom

1933–1950: Zur Deutung der Triptychen.” In
Max Beckmann: Die Triptychen im Städel
, 14–33. Frankfurt: Städelsches Kunstinstitut.
    *———. 1984. “Max Beckmann: Die Jahre in Amerika.” In
Max Beckmann: Retrospective
, 159–72. St. Louis: The [St. Louis Art] Museum, in association with Prestel-Verlag, Munich.
    â€”——. 1985. “Surrealism and the Chicago Imagists of the 1950s: A Comparison and Contrast.”
Art Journal
45 (Winter): 303–6.
    â€”——. 1986. “Bedri Baykam: American Xenophobia and Expressionist Drama.”
Arts
61 (November): 19–21.
    â€”——. 1987a. “The Eduardo Chillida Symposium.”
Arts
61 (January): 18–21.
    â€”——. 1987b. “Rupert Garcia: The Moral Fervor of Painting and Its Subjects.”
Arts
61 (April): 50–53.
    â€”——. 1988. “The Rosenbergs and Postwar Social Protest Art.” In
The Rosenbergs: Collected Visions of Artists and Writers
, ed. Rob A. Okun, 82–84. New York: Universe Books.
    â€”——. 1989a. “Mice, Temples, Audience: An Interview with Gu Wenda.”
Arts
64 (September): 36–40.
    *———. 1989b. “Revival and Survival of Expressionist Trends in the Art of the GDR.” In
Twelve Artists from the German Democratic Republic
, 24–40. Cambridge, Mass.: Busch-Reisinger Museum, Harvard University.
    â€”——. 1990. “Experienzadel Transcendente in Barnett Newman e Mark Rothko.” In
Quaderni di The Foundation for Improving the Understanding of the Arts
, 13–19. Milan: Jaca Book.
    â€”——. 1991. “Rupert Garcia: The Artist as Advocate.”
Artspace
15 (March/April): 60–62.
    *———. 1992a. “The Artist as Universalist.” In
Agnes Denes
, 147–54. Ithaca, N.Y.: Cornell University Press.
    â€”——. 1992b. “Grisha Bruskin: L’oeuvre unique.”
Cimaise
39 (September/October): 33–48.
    â€”——. 1992c. “William Congdon: Cinque decenni di pittura.” In Peter Selz, Fred Licht, and Rodolfo Balzarotti,
Congdon: una Vita
, 61–106. Milan: Jaca Book.
    â€”——. 1993. “Americans Abroad.” In
American Art in the 20th Century: Painting and Sculpture, 1913–1993
, ed. Christos M. Joachimides, Norman Rosenthal, and David Anfam, 177–85. Munich: Prestel.
    â€”——. 1996a. “The Impact from Abroad: Foreign Guests and Visitors.” In
On the Edge of America: California Modernist Art, 1900–1950
, ed. Paul Karlstrom, 96–119. Berkeley: University of California Press.
    *———. 1996b. “Richard Lindner’s Armored Women.” In
Richard Lindner
, 5–8. Washington, D.C.: Hirshhorn Museum and Sculpture Garden.
    *———. 1997a. “Helnwein: The Artist as Provocateur.” In
Gottfried Helnwein
, 11–98
. St. Petersburg, Russia: State Russian Museum; Ludwig Museum, Palace edition.
    *———. 1997b. “John Altoon Reconsidered.” In
John Altoon
, 12–13. San Diego: Museum of Contemporary Art.
    *———. 1998. “Lyonel Feiningers Rückkehr nach Amerika.” In
Lyonel Feininger: Von Gelmeroda nach Manhattan, Retrospektive der Gemälde
. ed. Roland März, 347–54. Berlin: Neue Nationalgalerie.
    *———. 1999. “Modern Odysseys: A First Generation of Greek American Artists.” In Katerina Koskina, Peter Pappas, Peter Selz, Thalia Cheronis Selz, and William Valerio,
Modern Odysseys: Greek American Artists of the 20th Century
. New York: Queens Museum of Art.
    â€”——. 2001a. “Giacomo Manzu and His Portals of St. Peter’s.”
Sculpture
20 (December): 32–37.
    â€”——. 2001b. “Morris Graves.”
Sculpture
20 (June): 63–65.
    â€”——. 2002. “Stephen de Staebler.”
Sculpture
21 (May):