“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.”
— Jerry Saltz
Art
“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
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
“Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.”
— Jerry Saltz
Age
“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
“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
Money
“Wolfgang Tillman's stunning large-scale pictures, being shown for the first time, were so offhand I failed to see them as art.”
— Jerry Saltz
Art
“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
“Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.”
— Jerry Saltz
Art
“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
“Art usually only makes the news in America when the subject is money.”
— Jerry Saltz
Art
“Early-twentieth-century abstraction is art's version of Einstein's Theory of Relativity. It's the idea that changed everything everywhere: quickly, decisively, for good.”
— 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
“Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.”
— Jerry Saltz
Power
“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
“In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.”
— 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
“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
Amazing
“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
“The style of ancient Egyptian art is transcendently clear, something 8-year-olds can recognize in an instant. Its consistency and codification is one of the most epic visual journeys in all art, one that lasts 30 dynasties spread over 3,000 years.”
— Jerry Saltz
Art