Jerry Saltz Quotes
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I see artists bored by light-without-heat, irked at gigantic galleries' pushing out art-as-product, leaving behind the over determined for the undetermined, guided by interior voices and bringing us out of a long tunnel to new blueness.
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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.
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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.
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Venice is the perfect place for a phase of art to die. No other city on earth embraces entropy quite like this magical floating mall.
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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.
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The Met is not only the finest encyclopedic museum of art in the United States; it is arguably the finest anywhere.
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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.
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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.
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After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.
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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.
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Koons's work has always stood apart for its one-at-a-time perfection, epic theatricality, a corrupted, almost sick drive for purification, and an obsession with traditional artistic values.
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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.
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Everyone goes to the same exhibitions and the same parties, stays in the same handful of hotels, eats at the same no-star restaurants, and has almost the same opinions. I adore the art world, but this is copycat behavior in a sphere that prides itself on independent thinking.
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The forties, seventies, and the nineties, when money was scarce, were great periods, when the art world retracted but it was also reborn.
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'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.
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Much good art got made while money ruled; I like a lot of it, and hardship and poverty aren't virtues. The good news is that, since almost no one will be selling art, artists - especially emerging ones - won't have to think about turning out a consistent style or creating a brand. They'll be able to experiment as much as they want.
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John Currin's exaggerated realism and his twisted women kept me off balance, never knowing if they were sincere or ironic or some new emotion.
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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.
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Abstraction is one of the greatest visionary tools ever invented by human beings to imagine, decipher, and depict the world.
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A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms, 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.
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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.
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Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
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Many museums are drawing audiences with art that is ostensibly more entertaining than stuff that just sits and invites contemplation. Interactivity, gizmos, eating, hanging out, things that make noise - all are now the norm, often edging out much else.
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Many say an art dealer running a museum is a 'conflict of interest.' But maybe the art world has lived an artificial or unintentional lie all of these years when it comes to conflicts of interest.