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Kinkade estimated that one of his paintings hung in every twenty homes in America. Yet the art world unanimously ignores or reviles him. Me included.

Jerry Saltz

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Jerry Saltz
Age: 73
Born: 1951
Born: February 19
Art Critic
Art Historian
Historian
Journalist
Oak Park
Illinois
America
Included
Home
Paintings
Every
Homes
World
Hung
Twenty
Twenties
Unanimously
Painting
Ignores
Art
Estimated

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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.
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I have a soft spot for art that, in terms of subject matter and material, is in bad taste.
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Once artists are expected to shock, it's that much harder for them to do so.
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Giorgio Morandi's paintings make me think that artists may not totally choose, or even control, their subjects or style.
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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.
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I think that a lot of artists have succeeded in making what I might call curator's art. Everybody's being accepted, and I always want to say, Really? That's what you've come for? To make art that looks a lot like somebody else's art? If I am thinking of somebody else's art in front of your art, that's a problem.
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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.
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Scandal is only human.
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Being critical of art is a way of showing art respect.
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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.
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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.
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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.
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Auctions are bizarre combinations of slave market, trading floor, theatre and burlesque... a lot of people are going to be making a lot of excuses or maintaining that they were never part of this.
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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.
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Kinkade's paintings are worthless schmaltz, and the lamestream media that love him are wrong. However, I'd love to see a museum mount a small show of Kinkade's work. I would like the art world and the wider world to argue about him in public, out in the open.
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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.
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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.
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The art gods cooked up something special for James Ensor.
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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.
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A great artist has a unique vision...obsession. They are someone willing to fail flamboyantly.
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