Free Peter Selz by Paul J. Karlstrom Page B

Art,
31st Biennale, Venice
.
1963
Selection of American Sculpture for
Battersea Park Exhibition
, London.
1966
Seven Decades, 1895–1965: Crosscurrents of Modern Art
. Sponsored by the Public Education Association, New York; held in ten New York galleries.
1978
German and Austrian Expressionism: Art in a Turbulent Era
. Museum of Contemporary Art, Chicago. Also Minneapolis Institute of Arts.
1979–80
Amerika: 2 Jahrzehnte Malerei, 1920–1940
. Städtische Kunsthalle, Düsseldorf.
1979–80
2 Jahrzehnte amerikanische Malerei, 1920–1940
. Kunsthaus, Zurich.
1979–80
Peinture américaine, 1920–1940
. Palais des Beaux-Arts, Brussels.
1980
German Realism of the Twenties: The Artist as Social Critic
. Minneapolis Institute of Arts. Also Museum of Contemporary Art, Chicago.
1989
Twelve Artists from the German Democratic Republic
. Busch-Reisinger Museum, Harvard University. Also Frederick S. Wight Gallery, UCLA; University of Michigan Museum of Art, Ann Arbor; Albuquerque Museum of Art.
1991
Sam Francis: Blue Balls
. Gagosian Gallery, New York.
1992
Max Beckmann: The Self-Portraits
. Gagosian Gallery, New York.
1997
Diversity
. Hugo de Pagano Gallery, New York; Bomani Gallery, San Francisco.
1997–99
Tobi Kahn: Metamorphoses
. Museum of Fine Arts, Houston, and seven additional venues.
2001–2
Nathan Oliveira
. San Jose Museum of Fine Arts and four additional venues.
2005
Atheism and Faith: The Art of Leonard Baskin
. Graduate Theological Library, Berkeley, California.
2007
Robert Colescott
. Meridian Gallery, San Francisco, followed by national tour.
2010
Centenary Exhibition of Morris Graves
. Michael Rosenfeld Gallery, New York.
2010
The Visionary Art of Morris Graves
. Meridian Gallery, San Francisco.
2011
Heads
. Dolby Chadwick Gallery, San Francisco.

Acknowledgments
    The debts incurred by the author of a book such as this are legion. This biography relies heavily upon oral history interviews to construct a nuanced picture of its subject. The complexity of any life may not be discerned from a single source, including and perhaps especially the subject himself, and so the interview subjects are deserving of the author’s deepest gratitude. My own experience throughout this process of asking, listening, and recording has been one of grateful discovery. The net result is the illusion that I have come to know my subject intimately. That, of course, is not the case, but without the interviewees and others who have shared their own firsthand experiences and observations of Peter Selz, I would not have had the confidence to begin writing and certainly not to continue as the story became increasingly complicated and elusive.
    For this gift of personal insight and knowledge I wish to introduce and applaud my main sources who were interviewed between 2007 and 2010: Wayne Andersen, Dore Ashton, Hildegard Bachert, Fletcher Benton, GaryCarson, Christo and Jeanne-Claude, Fr. Terrence Dempsey, Agnes Denes, Eleanor Dickinson, Jane Daggett Dillenberger, Hannah Forbes, Rupert Garcia, Marianne Hinckle, Tobi Kahn, Karl Kasten, Jerelle Kraus, Susan Landauer, Charles and Zelda Leslie, Ronald Mallory, David McKee, Karen Moss, Nathan Oliveira, Ariel Parkinson, Jack Rutberg, Elizabeth Sandvig, Carole Selz, Edgar Selz, Gabrielle Selz, Peter Selz, Tanya Selz, Norma Schlesinger, Michael Spafford, Sidra Stich, Kristine Stiles, Mary Valledor, Carlos Villa, and Norton Wisdom.
    Another category of informants falls somewhere between a proper recorded interview and a phone conversation with notes taken. Often the voice contact was followed by e-mailed accounts and further phone clarification of important details. Among this important group of individual sources to be thanked are Svetlana Alpers, Jacquelynn Baas, Birgitta Wohl Baer, Kyra Baldwin, Anne Brodzky, Richard Buxbaum, James Cahill, Richard Cándida Smith, Derrick Cartwright, Enrique Chagoya, Dion Cheronis, Terri Cohn, Bruce Conner, Sophie Dannenmüller,