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I know it's dangerous to take on bloggers. They can go after you every day, all day long, and anonymous people can chime in, too.

Jerry Saltz

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Jerry Saltz
Age: 73
Born: 1951
Born: February 19
Art Critic
Art Historian
Historian
Journalist
Oak Park
Illinois
Anonymous
Dangerous
Take
Every
Long
People
Chime
Chimes

More quotes by Jerry Saltz

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Anybody who writes knows the horrible, wonderful, beautiful foulness that comes every week. A lot of moaning, screaming agony - Oh my god, the deadline's coming.
Jerry Saltz
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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
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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
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When the purse strings tighten up at museums, the institutions usually cut back and cancel shows. That's exactly the wrong reaction. In fact, now is a good time for them to loosen up - a chance to breathe and experiment a little - and go for the juicy solution lurking in their own basements.
Jerry Saltz
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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
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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
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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
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In the late nineties, Katy Grannan began making haunting photographs of people who had extraordinary inner yens to be seen by strangers.
Jerry Saltz
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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
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All art comes from other art, and all immigrants come from other places.
Jerry Saltz
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'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
Jerry Saltz
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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
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Once artists are expected to shock, it's that much harder for them to do so.
Jerry Saltz
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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
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All great contemporary artists, schooled or not, are essentially self-taught and are de-skilling like crazy.
Jerry Saltz
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The art gods cooked up something special for James Ensor.
Jerry Saltz
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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
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Being critical of art is a way of showing art respect.
Jerry Saltz
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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
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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