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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

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Jerry Saltz
Age: 73
Born: 1951
Born: February 19
Art Critic
Art Historian
Historian
Journalist
Oak Park
Illinois
Rather
Italian
Otherworldly
Feelings
Leaves
Mannerisms
Look
Former
Grandiose
Looks
Hungry
Ordered
Something
Flesh
Renaissance
Although
Integrated
Feeling
Flawed
High
Adore
Mannerism

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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.
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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.
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Don't talk. I can't hear myself see.
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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.
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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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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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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.
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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.
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All great contemporary artists, schooled or not, are essentially self-taught and are de-skilling like crazy.
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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.
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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.
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Contrary to popular opinion, things don't go stale particularly fast in the art world.
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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.
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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.
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Giant group events are distorting organisms: You can like and hate them in rapid succession.
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I hate when dealers talk to me. I love dealers - they're some of our favorite people in the art world. But I hate if they do a sales pitch on me. I can't stand it.
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Abstraction is one of the greatest visionary tools ever invented by human beings to imagine, decipher, and depict the world.
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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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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
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Energy and art go where they will.
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