Jerry Saltz
Quotations
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“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.” -Jerry Saltz
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“All of Koons’s best art – the encased vacuum cleaners, the stainless-steel Rabbit (the late-twentieth century’s signature work of Simulationist sculpture), the amazing gleaming Balloon Dog, and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory – has simultaneously flaunted extreme realism, idealism, and fantasy.” -Jerry Saltz
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“A sad fact of life lately at the Museum of Modern Art is that when it comes to group shows of contemporary painting from the collection, the bar has been set pretty low.” -Jerry Saltz
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“It took me twenty years to get Steven Parrino’s work. From the time I first saw his art, in the mid-eighties, I almost always dismissed it as mannered, Romantic, formulaic, conceptualist-formalist heavy-metal boy-art abstraction.” -Jerry Saltz
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“Too many younger artists, critics, and curators are fetishizing the sixties, transforming the period into a deformed cult, a fantasy religion, a hip brand, and a crippling disease.” -Jerry Saltz
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“Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown’s gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.” -Jerry Saltz
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“I’ve always said that an art critic can put aside politics around art.” -Jerry Saltz
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“When people in stadiums do the Wave, it’s the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.” -Jerry Saltz
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“My nominee for Best Picture of the year – maybe the best picture ever, because it’s essentially made up of and is an ecstatic love letter to all other movies – is Christian Marclay’s endlessly enticing must-see masterpiece ‘The Clock.’” -Jerry Saltz
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“‘The Panorama’ is also the last place anywhere in New York where the World Trade Center still stands, whole, as it stood in the early morning of September 11. I can also see the corner where I saw the first tower fall and howled out loud. Seeing the buildings again here is uplifting, healing.” -Jerry…
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“When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days – museums have to bring in money – but they gobble up space and push the art itself far away from the entrance.” -Jerry Saltz
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“Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.” -Jerry Saltz
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“I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, ‘the ability to conceive failure as progress.’” -Jerry Saltz
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“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.” -Jerry Saltz
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“The secret of food lies in memory – of thinking and then knowing what the taste of cinnamon or steak is.” -Jerry Saltz
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“Those who love him love that he sells the most art they take it as a point of faith that this proves Kinkade is the best. But his fans don’t only rely on this supply-and-demand justification. They go back to values.” -Jerry Saltz
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“I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, ‘the ability to conceive failure as progress.’” -Jerry Saltz
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“Poor Georgia O’Keeffe. Death didn’t soften the opinions of the art world toward her paintings.” -Jerry Saltz
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“Summer is a great time to visit art museums, which offer the refreshing rinse of swimming pools – only instead of cool water, you immerse yourself in art.” -Jerry Saltz
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“We’re all entitled to opinions about how art institutions should behave, and entitled to voicing those opinions through whatever means available to us. We’re also allowed to change or modify our opinions.” -Jerry Saltz
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“Of course art world ethics are important. But museums are no purer than any other institution or business. Academics aren’t necessarily more high-minded than gallerists.” -Jerry Saltz
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“Jeffrey Deitch is the Jeff Koons of art dealers. Not because he’s the biggest, best, or the richest of his kind. But because in some ways he’s the weirdest (which is saying a lot when you’re talking about the wonderful, wicked, lovable, and annoying creatures known as art dealers).” -Jerry Saltz
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“Abstraction brings the world into more complex, variable relations it can extract beauty, alternative topographies, ugliness, and intense actualities from seeming nothingness.” -Jerry Saltz
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“We’re all entitled to opinions about how art institutions should behave, and entitled to voicing those opinions through whatever means available to us. We’re also allowed to change or modify our opinions.” -Jerry Saltz
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“Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown’s gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.” -Jerry Saltz
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There’s one Baldessari work I genuinely love and would like to own, maybe because of my Midwestern roots and love of driving alone. ‘The backs of all the trucks passed while driving from Los Angeles to Santa Barbara, California, Sunday, 20 January 1963’ consists of a grid of 32 small color photographs depicting just what…
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Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age. – Jerry Saltz
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