Welcome to our compilation of insightful and thought-provoking quotes by Jerry Saltz. A prominent art critic known for his bold opinions and sharp observations, Saltz has left an indelible mark on the world of contemporary art. With his distinctive voice and keen eye, he challenges conventional notions, encourages dialogue, and invites us to explore the multifaceted realm of creativity.
Throughout his career, Saltz has championed the democratization of art, advocating for accessibility and inclusivity within the cultural landscape. His words resonate not only with seasoned artists and enthusiasts but also with those venturing into the realm of art appreciation for the first time. From musings on the nature of artistic expression to reflections on the societal impact of creative endeavors, Saltz’s quotes offer valuable insights that inspire, provoke, and ignite the imagination. Discover the essence of his wisdom and embrace the transformative power of art through the words of Jerry Saltz.
To engage with art, we have to be willing to be wrong, venture outside our psychic comfort zones, suspend disbelief, and remember that art explores and alters consciousness simultaneously. Jerry Saltz
I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, ‘the ability to conceive failure as progress.’ Jerry Saltz
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
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
As I went through ‘This Progress,’ one of two performance pieces by Tino Sehgal that transform Frank Lloyd Wright’s emptied-out spiral into a dreamy Socratic-purgatorial journey, the museum literally fell away. I was suspended in some weird nonspace. Jerry Saltz
When money and hype recede from the art world, one thing I won’t miss will be what curator Francesco Bonami calls the ‘Eventocracy.’ All this flashy ‘art-fair art’ and those highly produced space-eating spectacles and installations wow you for a minute until you move on to the next adrenaline event. Jerry Saltz
Batty as it sounds, subject and style may choose artists, through some unfathomable cosmic means. How else to explain that even artists who enjoy what they do can be perplexed or even horrified that they’re doing it? Jerry Saltz
‘The Panorama’ is also the last place anywhere in New York where the World Trade Center still stands, whole, as it stood in the early morning of September 11. I can also see the corner where I saw the first tower fall and howled out loud. Seeing the buildings again here is uplifting, healing. Jerry Saltz
The art gods cooked up something special for James Ensor. Jerry Saltz
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
Decades ago, Gerhard Richter found a painterly philosopher’s stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted. Jerry Saltz
It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn’t own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself – a portrait of the writer as a sumo Buddha – to the Met, principally because she disliked the Museum of Modern Art. Jerry Saltz
Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown’s gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power. Jerry Saltz
The forties, seventies, and the nineties, when money was scarce, were great periods, when the art world retracted but it was also reborn. Jerry Saltz
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
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
Poor Georgia O’Keeffe. Death didn’t soften the opinions of the art world toward her paintings. Jerry Saltz
I see artists bored by light-without-heat, irked at gigantic galleries’ pushing out art-as-product, leaving behind the over determined for the undetermined, guided by interior voices and bringing us out of a long tunnel to new blueness. Jerry Saltz
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
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
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
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
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
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
Many things happened in the sixties, but the period is no more significant, better, or more ‘political’ than today. It’s time to turn the page. Jerry Saltz
I see around 100 shows a month, going from Niketown-size palaces where you feel like yelling, to storefronts in Bushwick. Each has to pay the bills; keep artists happy; and cope with collectors (oy!), curators (ay-yi-yi), critics (woo-hoo!), and occasionally plumbers. That their fiscal life often hangs in the balance only adds to the energy. Jerry Saltz
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
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
Few contemporary artists mined the space between the ordinary and the strange better than Orozco did. Jerry Saltz
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books. Jerry Saltz
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
Recessions are hard on people, but they are not hard on art. Jerry Saltz
Money is something that can be measured; art is not. It’s all subjective. Jerry Saltz
John Baldessari, the 79-year-old conceptualist, has spent more than four decades making laconic, ironic conceptual art-about-art, both good and bad. Jerry Saltz
Almost all institutions own a lot more art than they can ever show, much of it revealing for its timeliness, genius, or sheer weirdness. Jerry Saltz
Our culture now wonderfully, alchemically transforms images and history into artistic material. The possibilities seem endless and wide open. Jerry Saltz
Not to say people shouldn’t get rich from art. I adore the alchemy wherein artists who cast a complex spell make rich people give them their money. (Just writing it makes me cackle.) But too many artists have been making money without magic. Jerry Saltz
Giant group events are distorting organisms: You can like and hate them in rapid succession. Jerry Saltz
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
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
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
In the late nineties, Katy Grannan began making haunting photographs of people who had extraordinary inner yens to be seen by strangers. Jerry Saltz
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
Of course art world ethics are important. But museums are no purer than any other institution or business. Academics aren’t necessarily more high-minded than gallerists. Jerry Saltz
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
When I criticize Joseph Beuys or Francis Bacon, nobody calls those opinions anti-male. Putting female artists or their subject matter off-limits is itself sexist and limiting. Jerry Saltz
Koons’s work has always stood apart for its one-at-a-time perfection, epic theatricality, a corrupted, almost sick drive for purification, and an obsession with traditional artistic values. Jerry Saltz
I’m not for or against video – or any medium or style, for that matter. Jerry Saltz
I rage against Vincent van Gogh for needing to die at 37, after painting for only ten years. Jerry Saltz
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
Willem de Kooning is generally credited for coming out of the painterly gates strong in the forties, revolutionizing art and abstraction and reaching incredible heights by the early fifties, and then tailing off. Jerry Saltz
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
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
The art world is molting – some would say melting. Galleries are closing; museums are scaling back. Jerry Saltz
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
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
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
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
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
The Met is not only the finest encyclopedic museum of art in the United States; it is arguably the finest anywhere. Jerry Saltz
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
Abstraction brings the world into more complex, variable relations; it can extract beauty, alternative topographies, ugliness, and intense actualities from seeming nothingness. Jerry Saltz
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
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
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
I have a soft spot for art that, in terms of subject matter and material, is in bad taste. Jerry Saltz
When art wins, everyone wins. Jerry Saltz
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines. Jerry Saltz
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
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
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
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
Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age. Jerry Saltz
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
I’ve always said that an art critic can put aside politics around art. Jerry Saltz
Calling a young artist ‘great’ these days can give one the heebie-jeebies: The word has been denatured in the past decade. Jerry Saltz
When people in stadiums do the Wave, it’s the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going. Jerry Saltz
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
All art comes from other art, and all immigrants come from other places. Jerry Saltz
Every movement that slays its gods creates new ones, of course. I loathe talk of the sixties and seventies being a ‘Greatest Generation’ of artists, but if we’re going to use such idiotic appellations, let this one also be applied to the artists, curators, and gallerists who emerged in the first half of the nineties. Jerry Saltz
I like that the art world isn’t regulated. Jerry Saltz
Auction houses run a rigged game. They know exactly how many people will be bidding on a work and exactly who they are. In a gallery, works of art need only one person who wants to pay for them. Jerry Saltz
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
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer’s journey, shifts the emphasis from process to product, and lacks individuality and openness. It’s not that art should be seen only in rutty bombed-out environments, but it should seem alive. Jerry Saltz
Damien Hirst is the Elvis of the English art world, its ayatollah, deliverer, and big-thinking entrepreneurial potty-mouthed prophet and front man. Hirst synthesizes punk, Pop Art, Jeff Koons, Marcel Duchamp, Francis Bacon, and Catholicism. Jerry Saltz
The greatest work of art about New York? The question seems nebulous. The city’s magic and majesty are distilled in the photographs of Alfred Stieglitz and Paul Strand. Jerry Saltz
Art is for anyone. It just isn’t for everyone. Still, over the past decade, its audience has hugely grown, and that’s irked those outside the art world, who get irritated at things like incomprehensibility or money. Jerry Saltz
A lot of people still think caring about clothes is a dubious, unserious, frivolous, girlie thing. Jerry Saltz
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
My culture-deprived, aspirational mother dragged me once a month from our northern suburb – where the word art never came up – to the Art Institute of Chicago. I hated it. Jerry Saltz
Once artists are expected to shock, it’s that much harder for them to do so. Jerry Saltz
Billions of photos are shot every year, and about the toughest thing a photographer can do is invent an original, deeply personal, instantly recognizable visual style. In the early nineties, Wolfgang Tillmans did just that, transforming himself into a new kind of artist-photographer of modern life. Jerry Saltz
Turns out Picasso’s passion for uncertainty, mystery, and the thrill of life never ended. Jerry Saltz
Galleries needn’t be exactly like White Columns purely because times are bad again. But the idea of this special space could – should – help shape what comes next. Jerry Saltz
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
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
Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled. Jerry Saltz
As I made my way through ‘On Line,’ the austere, stridently dogmatic, sometimes revelatory exhibition ‘about line’ at MoMA, I found myself thinking, ‘Someone please wake me when the seventies are over!’ In the empire of curators, the sun never sets on the seventies. It is the undead decade. Jerry Saltz
Put yourself in the position of an up-and-coming artist living in early-sixteenth-century Italy. Now imagine trying to distinguish yourself from the other artists living in your town: Michelangelo, Raphael, Leonardo, or Titian. Is it any wonder that the Italian High Renaissance lasted only 30 years? Jerry Saltz
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