Jerry Saltz Quotes - Page 5

Quotes about:

• Recessions are hard on people, but they are not hard on Art.

  Jerry Saltz

  Art, People, Recessions

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• Yes, 85 percent of the art you see isn't any good. But everyone has a different opinion about which 85 percent is bad. That in turn creates fantastically unstable interplay and argument.

  Jerry Saltz

  Art, Different, Opinion

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• The New York art world readily proves people wrong. Just when folks say that things stink and flibbertigibbet critics wish the worst on us all because we're not pure enough, good omens appear.

  Jerry Saltz

  Art, New York, People

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• 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, Mean, Years

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• After too much art that made too much sense, artists are operating blind again. They're more interested in the possible than the probable, the private that speaks publicly rather than the public with no private side at all.

  Jerry Saltz

  Art, Too Much, Sides

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• While the space for artists and curators has increased enormously, maybe, just maybe, that's left room for too many people calling themselves artists and curators who are simply not up to the term.

  Jerry Saltz

  Artist, Space, People

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• Giorgio Morandi's paintings make me think that artists may not totally choose, or even control, their subjects or style.

  Jerry Saltz

  Thinking, Artist, Style

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• I have a soft spot for art that, in terms of subject matter and material, is in bad taste.

  Jerry Saltz

  Art, Matter, Taste

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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.

  Jerry Saltz

  Use, Dishwashers, Restaurants

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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.

  Jerry Saltz

  Knowing, Ironic, Balance

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• Ofili is still a champion. It would be a huge mistake to think otherwise.

  Jerry Saltz

  Mistake, Thinking, Champion

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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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• Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.

  Jerry Saltz

  Art, Mean, Past

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• Chris Ofili's suave, stippled, visually tricked-out paintings of the nineties, with their allover fields of shimmering dots and clumps of dung, are like cave paintings of modern life. They crackle with optical cockiness, love, and massive amounts of painterly mojo.

  Jerry Saltz

  Caves, Suave, Cave Paintings

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• I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.

  Jerry Saltz

  Cheating, Mistake, Eye

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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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• If the Frieze Art Fair catches on, I imagine at least two great things happening. First, we will once again have a huge art fair in town that isn't too annoying to go to. More importantly, Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.

  Jerry Saltz

  Art, Two, Water

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• 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

  Country, Art, Mentor

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• In some ways Lawler is a conceptual Diane Arbus. She's a stalker who takes advantage of situations. She pulls back curtains, causing normal things to look freakish and the freakish to turn mundane.

  Jerry Saltz

  Looks, Way, Normal

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• In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.

  Jerry Saltz

  Mean, Artist, America

  "Great Artists Steal". nymag.com. May 10, 2009.

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• It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He's the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.

  Jerry Saltz

  Art, World, Cezanne

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• It took me twenty years to get Steven Parrino's work. From the time I first saw his art, in the mid-eighties, I almost always dismissed it as mannered, Romantic, formulaic, conceptualist-formalist heavy-metal boy-art abstraction.

  Jerry Saltz

  Art, Boys, Years

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• It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.

  Jerry Saltz

  Art, New York, Past

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• Jeffrey Deitch is the Jeff Koons of art dealers. Not because he's the biggest, best, or the richest of his kind. But because in some ways he's the weirdest (which is saying a lot when you're talking about the wonderful, wicked, lovable, and annoying creatures known as art dealers).

  Jerry Saltz

  Art, Talking, Wicked

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• 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

  Eye, Psychics, Creating

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