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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

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Jerry Saltz
Age: 73
Born: 1951
Born: February 19
Art Critic
Art Historian
Historian
Journalist
Oak Park
Illinois
House
Allowed
Money
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Women
Artists
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More quotes by Jerry Saltz

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Nearly a half-century on from feminism, simply being a woman artist is still a revolutionary act. And getting one's work shown continues to be met by enormous inbuilt resistance.
Jerry Saltz
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Don't talk. I can't hear myself see.
Jerry Saltz
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Being critical of art is a way of showing art respect.
Jerry Saltz
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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
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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
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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
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Where Cezanne captured and intensified shards of the eternal (every pear far more sharply defined than it could be in life), Monet portrayed the changeability and flux of every moment. 'The Water Lilies' give you a jittery, amorphous sense of a world seen at the speed of light.
Jerry Saltz
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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
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Giant group events are distorting organisms: You can like and hate them in rapid succession.
Jerry Saltz
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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
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I love art dealers. In some ways, they're my favorite people in the art world. Really. I love that they put their money where their taste is, create their own aesthetic universes, support artists, employ people, and do all of this while letting us see art for free. Many are visionaries.
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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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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Think of an abstract painting as very, very low relief - a thing, not a picture.
Jerry Saltz
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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
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Ofili is still a champion. It would be a huge mistake to think otherwise.
Jerry Saltz
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I've always said that an art critic can put aside politics around art.
Jerry Saltz
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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
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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
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It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.
Jerry Saltz