Jerry Saltz Quotes - Page 4

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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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• 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

  16 Copy quote

• 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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• Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.

  Jerry Saltz

  Art, New York, Block

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• 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

  New York, Writing, Museums

  4 Copy quote

• Living and working for four decades in a Bologna apartment and studio he shared with his unwed sisters, Morandi painted little but bottles, boxes, jars, and vases. Yet like that of Chardin and the underappreciated William Nicholson, Morandi's work seems to slow down time and show you things you've never seen before.

  Jerry Saltz

  Bottles, Four, Littles

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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

  Artist, Order, Careers

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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.

  Jerry Saltz

  Art, Museums, Drawing

  "The Long Slide. Museums as playgrounds." by Jerry Saltz, nymag.com. December 04, 2011.

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• Mark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.

  Jerry Saltz

  Braids, Painting, Wave

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• 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

  Successful, Artist, Two

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• Mission accomplished. The Museum of Modern Art's wide-open, tall-ceilinged, super-reinforced second floor was for all intents and purposes built to accommodate monumental installations and gigantic sculptures, should the need arise. It has arisen.

  Jerry Saltz

  Art, Museums, Needs

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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.

  Jerry Saltz

  Art, Thinking, Creating

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• My nominee for Best Picture of the year - maybe the best picture ever, because it's essentially made up of and is an ecstatic love letter to all other movies - is Christian Marclay's endlessly enticing must-see masterpiece 'The Clock.'

  Jerry Saltz

  Movie, Christian, Years

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• New York being what it is, our museums are vertical, not horizontal. That means the stumbling blocks to architectural clarity are unavoidable - but certainly surmountable.

  Jerry Saltz

  New York, Block, Mean

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• New Yorkers only cross water for visual culture if the water is an ocean. The East River throws us for a huge loop. If we started going to Queens and the Bronx for visual culture, many of our rent, space, and crowding problems would be over indefinitely.

  Jerry Saltz

  Queens, Ocean, Rivers

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• 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

  People, House, Irises

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• Of all the biennials, triennials, quadrennials, internationals, and massive group shows, Documenta, established in 1955 and held once every five years in Kassel, Germany, is seen as the most serious. A statement show.

  Jerry Saltz

  Years, Groups, Germany

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• There's something pleasing about large, well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all, I love that more galleries showing more art gives more artists a shot.

  Jerry Saltz

  Art, Order, Space

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• Don’t go to a museum with a destination. Museums are wormholes to other worlds. There are ecstasy machines. Follow your eyes to wherever they lead you, stop, get very quiet, and the world should begin to change for you. And if you see me, say something! We can talk about it together.

  Jerry Saltz

  Eye, Museums, Other Worlds

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• Nearly a half-century on from feminism, simply being a woman artist is still a revolutionary act. And getting one's work shown continues to be met by enormous inbuilt resistance.

  Jerry Saltz

  Artist, Feminism, Half

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• More and more in the art world are becoming moralistic, telling artists and critics what they should and shouldn't write, do, or make art about. Never mind the intellectual hypocrisy of this: Those who violate the clublike code are made out to be wrong, immoral, corrupt.

  Jerry Saltz

  Art, Writing, Hypocrisy

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