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
Poor Georgia O'Keeffe. Death didn't soften the opinions of the art world toward her paintings.
Robert Rauschenberg was not a giant of American art; he was the giant. No American created so many aesthetic openings for so many artists.
The art gods cooked up something special for James Ensor.
The art world is an all-volunteer force. No one has to be here if he or she doesn't want to be, and we should be associating with anyone we want to.
When art wins, everyone wins.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
One argument goes that recessions are good for female artists because when money flies out the window, women are allowed in the house. The other claims that when money ebbs, so do prospects for women.
When money and hype recede from the art world, one thing I won't miss will be what curator Francesco Bonami calls the 'Eventocracy.' All this flashy 'art-fair art' and those highly produced space-eating spectacles and installations wow you for a minute until you move on to the next adrenaline event.
When the purse strings tighten up at museums, the institutions usually cut back and cancel shows. That's exactly the wrong reaction. In fact, now is a good time for them to loosen up - a chance to breathe and experiment a little - and go for the juicy solution lurking in their own basements.
Where Cezanne captured and intensified shards of the eternal (every pear far more sharply defined than it could be in life), Monet portrayed the changeability and flux of every moment. 'The Water Lilies' give you a jittery, amorphous sense of a world seen at the speed of light.
Willem de Kooning is generally credited for coming out of the painterly gates strong in the forties, revolutionizing art and abstraction and reaching incredible heights by the early fifties, and then tailing off.
Being critical of art is a way of showing art respect.
There are many, many art worlds. Art contains multitudes.
Art is a self-replicating force.