Jerry Saltz Quotes - Page 6

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If only we could persuade galleries to observe a fallow period in which, for two months every other year, new and old works of art could be sold in back rooms and all main galleries would be devoted to revisiting shows gone by.

Jerry Saltz

Art, Years, Two

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Think of an abstract painting as very, very low relief - a thing, not a picture.

Jerry Saltz

Thinking, Abstract Painting, Relief

"Ask an Art Critic: Jerry Saltz Answers Your Questions About George Condo, Online Art Fairs, and What Abstraction Really Is" by Jerry Saltz, www.huffingtonpost.com. February 24, 2011.

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While a large segment of the art world has obsessed over a tiny number of stars and their prices, an aesthetic shift has been occurring. It's not a movement - movements are more sure of themselves. It's a change of mood or expectation, a desire for art to be more than showy effects, big numbers, and gamesmanship.

Jerry Saltz

Art, Stars, Numbers

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A canon is antithetical to everything the New York art world has been about for the past 40 years, during which we went from being the center of the art world to being one of many centers.

Jerry Saltz

Art, New York, Past

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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.

Jerry Saltz

Movie, Art, Algorithms

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A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.

Jerry Saltz

Art, Wall, Home

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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

Art, Museums, Groups

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Abstract Expressionism - the first American movement to have a worldwide influence - was remarkably short-lived: It heated up after World War II and was all but done for by 1960 (although visit any art school today and you'll find a would-be Willem de Kooning).

Jerry Saltz

Art, War, School

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Robert Rauschenberg was not a giant of American art; he was the giant. No American created so many aesthetic openings for so many artists.

Jerry Saltz

Art, Giants, Aesthetic

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After 1909, Monet drastically enlarged his brushstrokes, disintegrated his images, and broke through the taming constraints and delicacy of Impressionism for good. Nineteen gnarly paintings, starting in 1909 and carrying through his final seventeen years, finish off the notion that Monet went happily ever after into lily-land.

Jerry Saltz

Years, Land, Gnarly

New York Volume 43, Issues 14-21, New York Magazine Company, p. 1, 2010.

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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.

Jerry Saltz

Art, Important, New Life

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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

Dog, Art, War

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Although I adore the Italian High Renaissance, I'd rather look at Mannerism. The former is ordered, integrated, otherworldly, and grandiose; it leaves you feeling hungry for something flawed and of-the-flesh.

Jerry Saltz

Italian, Feelings, Looks

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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

Art, Wall, Order

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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.

Jerry Saltz

Art, Volunteer, World

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The art world is molting - some would say melting. Galleries are closing; museums are scaling back.

Jerry Saltz

Art, Museums, Melting

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It's art that pushes against psychological and social expectations, that tries to transform decay into something generative, that is replicative in a baroque way, that isn't about progress, and wants to - as Walt Whitman put it - 'contain multitudes.'

Jerry Saltz

Art, Expectations, Progress

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To me, nothing in the art world is neutral. The idea of 'disinterest' strikes me as boring, dishonest, dubious, and uninteresting.

Jerry Saltz

Art, Ideas, Dubious

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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

Memories, Lying, Thinking

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Turns out Picasso's passion for uncertainty, mystery, and the thrill of life never ended.

Jerry Saltz

Passion, Thrill, Mystery

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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.

Jerry Saltz

Art, Cities, Venice

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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

Writing, Criticism, Online

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The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.

Jerry Saltz

New York, Conflict, Scene

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These days, newish art can be priced between $10,000 and $25,000. When I tell artists that a new painting by a newish artist should go for around $1,200, they look at me like I'm a flesh-eating virus.

Jerry Saltz

Art, Flesh Eating, Viruses

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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.

Jerry Saltz

Art, Museums, United States

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Latest quotes from interviews

"Being critical of art is a way of showing art respect. No sports writer would say, "Well the Yankees had a great season this year." No food critic would get a bad meal and say, "Oh, it was so lovely." It always strikes me as odd when people say, "Why do you write negatively about any art?" I think that everybody has mixed feelings about everything - even Goya. I mean, I look at Rembrandt sometimes and I hear a voice in my head go, "It's pretty brown.""

- Jerry Saltz,

www.interviewmagazine.com, added Aug 22, 2017

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Jerry Saltz

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Born: March 19, 1951
Occupation: Art critic
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