Jerry Saltz
Jerry Saltz
Jerry Saltzis an American art critic. Since 2006, he has been senior art critic and columnist for New York magazine. Formerly the senior art critic for The Village Voice, he has been nominated for the Pulitzer Prize in Criticism three times. He has also served as a visiting critic at The School of Visual Arts, Columbia University, Yale University, and The School of the Art Institute of Chicago and the New York Studio Residency Program, and was the sole advisor...
NationalityAmerican
ProfessionJournalist
Date of Birth19 March 1951
CountryUnited States of America
I don't know much about auctions. I sometimes go to previews and see art sardined into ugly rooms. I've gawked at the gaudy prices, and gaped at well-clad crowds of happy white people conspicuously spending hundreds of millions of dollars.
Artschwager's art always involves looking closely at surfaces, questions what an object is, wants to make you forget the name of the thing you're looking at so that it might mushroom in your mind into something that triggers unexpected infinities.
John Baldessari, the 79-year-old conceptualist, has spent more than four decades making laconic, ironic conceptual art-about-art, both good and bad.
Giorgio Morandi's paintings make me think that artists may not totally choose, or even control, their subjects or style.
I have a soft spot for art that, in terms of subject matter and material, is in bad taste.
I have never really cooked, don't know how to use my dishwasher, and subsist mainly on prepared deli takeout. I don't even eat in restaurants much.
I know it's dangerous to take on bloggers. They can go after you every day, all day long, and anonymous people can chime in, too.
I like that the art world isn't regulated.
I rage against Vincent van Gogh for needing to die at 37, after painting for only ten years.
I'm not for or against video - or any medium or style, for that matter.
I've always said that an art critic can put aside politics around art.
In 1998, Artnet was the site that convinced me that if my writing didn't exist online, it didn't exist at all. It showed me criticism's future.
Giant group events are distorting organisms: You can like and hate them in rapid succession.
Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.