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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.
Jerry Saltz -
I wish I could write about shows outside New York. I often feel like the last person to know anything, because I almost never get to leave town, and when I do, I tend to go for three days max. Seeing between 30 and 40 shows a week in 100 or so galleries and museums takes up nearly all my time.
Jerry Saltz
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Put yourself in the position of an up-and-coming artist living in early-sixteenth-century Italy. Now imagine trying to distinguish yourself from the other artists living in your town: Michelangelo, Raphael, Leonardo, or Titian. Is it any wonder that the Italian High Renaissance lasted only 30 years?
Jerry Saltz -
Marlene Dumas is one of the two or three most successful female artists alive, if you judge by prices. I've never reviewed her work, because I find nothing in it to get excited about no matter how hard I look.
Jerry Saltz -
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 -
All art comes from other art, and all immigrants come from other places.
Jerry Saltz -
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 -
I see around 100 shows a month, going from Niketown-size palaces where you feel like yelling, to storefronts in Bushwick. Each has to pay the bills; keep artists happy; and cope with collectors (oy!), curators (ay-yi-yi), critics (woo-hoo!), and occasionally plumbers. That their fiscal life often hangs in the balance only adds to the energy.
Jerry Saltz
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Lucian Freud's career affirms that the only thing an artist can do is remain true to whatever vision, (lack of) talent, or ideas that happened to pick them in order to be made known to the world.
Jerry Saltz -
Giant group events are distorting organisms: You can like and hate them in rapid succession.
Jerry Saltz -
In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.
Jerry Saltz -
John Baldessari, the 79-year-old conceptualist, has spent more than four decades making laconic, ironic conceptual art-about-art, both good and bad.
Jerry Saltz -
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 -
The alchemy of good curating amounts to this: Sometimes, placing one work of art near another makes one plus one equal three. Two artworks arranged alchemically leave each intact, transform both, and create a third thing.
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 -
Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.
Jerry Saltz -
Galleries needn't be exactly like White Columns purely because times are bad again. But the idea of this special space could - should - help shape what comes next.
Jerry Saltz -
My culture-deprived, aspirational mother dragged me once a month from our northern suburb - where the word art never came up - to the Art Institute of Chicago. I hated it.
Jerry Saltz -
The Met is not only the finest encyclopedic museum of art in the United States; it is arguably the finest anywhere.
Jerry Saltz -
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
Jerry Saltz
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Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.
Jerry Saltz -
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 -
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.
Jerry Saltz -
I love art dealers. In some ways, they're my favorite people in the art world. Really. I love that they put their money where their taste is, create their own aesthetic universes, support artists, employ people, and do all of this while letting us see art for free. Many are visionaries.
Jerry Saltz