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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
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Jerry Saltz
Age: 73
Born: 1951
Born: February 19
Art Critic
Art Historian
Historian
Journalist
Oak Park
Illinois
Always
Apart
Time
Traditional
Theatricality
Drive
Purification
Perfection
Corrupted
Sick
Epic
Almost
Obsession
Values
Stood
Work
Artistic
More quotes by 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
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
Ofili is still a champion. It would be a huge mistake to think otherwise.
Jerry Saltz
New Yorkers only cross water for visual culture if the water is an ocean. The East River throws us for a huge loop. If we started going to Queens and the Bronx for visual culture, many of our rent, space, and crowding problems would be over indefinitely.
Jerry Saltz
Artschwager's art always involves looking closely at surfaces, questions what an object is, wants to make you forget the name of the thing you're looking at so that it might mushroom in your mind into something that triggers unexpected infinities.
Jerry Saltz
Once artists are expected to shock, it's that much harder for them to do so.
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
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
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
I have a soft spot for art that, in terms of subject matter and material, is in bad taste.
Jerry Saltz
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
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
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
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
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
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
I just want to say one thing about the '70s. Enough with this purer, It was a better time, business. Every time is about as polluted and needy and beautiful as most other times. I was around in the '70s, and people were just as ambitious and envious and filled with need and desire as they are today.
Jerry Saltz
Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.
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
Turns out Picasso's passion for uncertainty, mystery, and the thrill of life never ended.
Jerry Saltz