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
When I criticize Joseph Beuys or Francis Bacon, nobody calls those opinions anti-male. Putting female artists or their subject matter off-limits is itself sexist and limiting.
The German ueber-photographer Andreas Gursky was the perfect pre-9/11 artist.
Every artist will one day face the moment when he or she is doing what he or she does after the style has passed and the art-world heat-seeking machine has moved on.
Mark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.
Ofili is still a champion. It would be a huge mistake to think otherwise.
I like something about George W. Bush. A lot. After spending more than a decade having almost physiological-chemical reactions anytime I saw him, getting the heebie-jeebies whenever he spoke - after being sure from the start that he was a Gremlin on the wing of America - I really like the paintings of George W. Bush.
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.
Abstraction brings the world into more complex, variable relations; it can extract beauty, alternative topographies, ugliness, and intense actualities from seeming nothingness.