“I also take pleasure in the so-called negative power in Grotjahn's work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn't simply working from a prescribed checklist of academically acceptable, curator-approved 'isms' and twists.”
— Jerry Saltz
Art
“The art world is molting - some would say melting. Galleries are closing museums are scaling back.”
— Jerry Saltz
Art
“First let me report that the art in the Barnes Collection has never looked better. My trips to the old Barnes were always amazing, but except on the sunniest days, you could barely see the art. The building always felt pushed beyond its capacity.”
— Jerry Saltz
Amazing
“Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.”
— Jerry Saltz
Art
“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 the title says.”
— Jerry Saltz
Alone
“The last time money left the art world, intrepid types maxed out their credit cards and opened galleries, and a few of them have become the best in the world.”
— Jerry Saltz
Art
“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
Art
“The secret of food lies in memory - of thinking and then knowing what the taste of cinnamon or steak is.”
— Jerry Saltz
Food
“The art gods cooked up something special for James Ensor.”
— Jerry Saltz
Art
“Now people look at 'The Scream' or Van Gogh's 'Irises' or a Picasso and see its new content: money. Auction houses inherently equate capital with value.”
— Jerry Saltz
Money
“I like that the art world isn't regulated.”
— Jerry Saltz
Art
“Art is changing. Again. Here. Now. Opportunities to witness this are rare, so attend and observe.”
— Jerry Saltz
Art
“I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.”
— Jerry Saltz
Art
“I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.”
— Jerry Saltz
Art
“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.”
— Jerry Saltz
Art
“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.”
— Jerry Saltz
Art
“Probably only an art-worlder like me could assign deeper meaning to something as simple and silly as Tebowing. But, to us, anytime people repeat a stance or a little dance, alone or together, we see that it can mean something. Imagistic and unspoken language is our thing.”
— Jerry Saltz
Alone
“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
Learning
“Outside museums, in noisy public squares, people look at people. Inside museums, we leave that realm and enter what might be called the group-mind, getting quiet to look at art.”
— Jerry Saltz
Art
“Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.”
— Jerry Saltz
Art