Peter Selz
Biographic Data
| ID | 982322 |
|---|---|
| NAME | Peter Selz |
| GIVEN NAMES | Peter |
| FAMILY NAME | Selz |
| SIGNATURE | SELZ P |
| AFFILIATIONS | (art historian, curator), Department of Art History, University of California, Berkeley, CA, U.S.A. |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1973 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 0 |
Morphometrics Show Sam Francis’s Painted Forms Are Statistically Similar to Cells in Biological Tissues
The paintings of the abstract expressionist artist Sam Francis contain vivid biomorphic forms. One influence for Francis may have been microscopic images of biological tissues he observed in premedical courses prior to becoming an artist. Using two morphometric measurements common in cell biology, the authors show that forms in Francis’s paintings are statistically similar to cells in biological tissues that resemble his paintings. This study hig…
The Harrisons
Peter Selz engages Helen and Newton Harrison in discussion about their expansive career in ecological art. The artists reflect upon the influences of Renaissance artists and the Bauhaus on the development of their approach, and they chronicle their concern with survival at progressively larger scales. In their recent Force Majeure series, working at the ecosystemic level, they present poetic meditations on prospects for the security of all living…
Barbara Chase Riboud's Sculpture
Barbara Chase Riboud's Sculpture Peter Selz (bio) This essay was originally published in Barbara Chase-Riboud: Sculptor, edited by Peter Selz and Anthony F. Janson (New York: Harry N. Abrams, 1999). Preparation In 1954, when Barbara Chase was fifteen years old, The Museum of Modern Art acquired her woodcut Reba for its permanent collection. Since then, the artist has produced an amazing body of work in many different mediums and genres. The uniqu…
Retrospective
Retrospective:Reflections on Barbara Chase-Riboud (2008) Peter Selz (bio) In March 1972, I picked up the new copy of Art News and saw the review of Barbara Chase-Riboud's show at the celebrated Betty Parsons Gallery in New York. The reproduction of Why Did We Leave Zanzibar (1971) immediately caught my eye. I had become tired of what was considered the mainstream in sculpture, all these depersonalized fabricated cubes taking space in gallery floo…
Barbara Chase-Riboud
Agnes Denes
Art Nouveau
George Grosz
George Grosz's famous drawings of the plutocrats, militarists, industrialists, and war profiteers of the Weimar Republic speak as powerfully now as when they were first created, and Beth Lewis's penetrating account of the artist's career addresses the source of the passion behind the pictures: Grosz was a profoundly political man who raged against oppression and stupidity. He satirized the Germany of his time so bitterly and so perceptively that …
No prominent works on this page.
George Grosz
George Grosz's famous drawings of the plutocrats, militarists, industrialists, and war profiteers of the Weimar Republic speak as powerfully now as when they were first created, and Beth Lewis's penetrating account of the artist's career addresses the source of the passion behind the pictures: Grosz was a profoundly political man who raged against oppression and stupidity. He satirized the Germany of his time so bitterly and so perceptively that …
Art Nouveau
Agnes Denes
Barbara Chase-Riboud
Barbara Chase Riboud's Sculpture
Barbara Chase Riboud's Sculpture Peter Selz (bio) This essay was originally published in Barbara Chase-Riboud: Sculptor, edited by Peter Selz and Anthony F. Janson (New York: Harry N. Abrams, 1999). Preparation In 1954, when Barbara Chase was fifteen years old, The Museum of Modern Art acquired her woodcut Reba for its permanent collection. Since then, the artist has produced an amazing body of work in many different mediums and genres. The uniqu…
Retrospective
Retrospective:Reflections on Barbara Chase-Riboud (2008) Peter Selz (bio) In March 1972, I picked up the new copy of Art News and saw the review of Barbara Chase-Riboud's show at the celebrated Betty Parsons Gallery in New York. The reproduction of Why Did We Leave Zanzibar (1971) immediately caught my eye. I had become tired of what was considered the mainstream in sculpture, all these depersonalized fabricated cubes taking space in gallery floo…
The Harrisons
Peter Selz engages Helen and Newton Harrison in discussion about their expansive career in ecological art. The artists reflect upon the influences of Renaissance artists and the Bauhaus on the development of their approach, and they chronicle their concern with survival at progressively larger scales. In their recent Force Majeure series, working at the ecosystemic level, they present poetic meditations on prospects for the security of all living…
Morphometrics Show Sam Francis’s Painted Forms Are Statistically Similar to Cells in Biological Tissues
The paintings of the abstract expressionist artist Sam Francis contain vivid biomorphic forms. One influence for Francis may have been microscopic images of biological tissues he observed in premedical courses prior to becoming an artist. Using two morphometric measurements common in cell biology, the authors show that forms in Francis’s paintings are statistically similar to cells in biological tissues that resemble his paintings. This study hig…
Art (7 works) · Art history (6 works) · Visual arts (4 works) · Aesthetics (3 works) · Painting (3 works) · Art, Politics, and Modernism (2 works) · Beauty (2 works) · Exhibition (2 works) · Law (2 works) · Literature (2 works)