Jerry Saltz
Jerry Saltz
Jerry Saltzis an American art critic. Since 2006, he has been senior art critic and columnist for New York magazine. Formerly the senior art critic for The Village Voice, he has been nominated for the Pulitzer Prize in Criticism three times. He has also served as a visiting critic at The School of Visual Arts, Columbia University, Yale University, and The School of the Art Institute of Chicago and the New York Studio Residency Program, and was the sole advisor...
NationalityAmerican
ProfessionJournalist
Date of Birth19 March 1951
CountryUnited States of America
art museums jewels
To me, the building [of Museum of Arts and Design]now looks like a lovely jewel box, and the tiled façade reminds me of a heat shield.
art opportunity art-is
Art is changing. Again. Here. Now. Opportunities to witness this are rare, so attend and observe.
artist creating knowing
Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.
summer art swimming
Summer is a great time to visit art museums, which offer the refreshing rinse of swimming pools - only instead of cool water, you immerse yourself in art.
art humble museums
The debut show, "Second Lives: Remixing the Ordinary," is supposed to be about how artists reuse humble or unusual materials. There's good work here, but much of what's on view is actually more about obsession and repetition: a couch made out of 3,500 quarters, a necklace composed of 100 handgun triggers. The building [of Museum of Arts and Design], too, seems caught between wanting to be an object of decorative delectation and making an architectural statement.
art squares museums
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.
art stopping way
I am all for art's finding a large audience. But the way that's happening now, with big works filling big galleries and bigger shows, is mostly stopping statements from being made. Or heard. Or talked about. Or really examined. It's watering things down.
art world way
Art is a way of showing the outside world what your inside world is like.
running art mean
Craft is not a category; it's a means. The folks running the museum [Museum of Arts and Design]are sharp, and they know this, but they are in a bind.
art camouflage narrative
In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.
teacher art school
Art schools are partly the villain here. (Never mind that I teach in them.) This generation of artists is the first to have been so widely credentialed, and its young members so fetishize the work beloved by their teachers that their work ceases to talk about anything else. Instead of enlarging our view of being human, it contains safe rehashing of received ideas about received ideas. This is a melancholy romance with artistic ruins, homesickness for a bygone era. This yearning may be earnest, but it stunts their work, and by turn the broader culture.
artist years style
Billions of photos are shot every year, and about the toughest thing a photographer can do is invent an original, deeply personal, instantly recognizable visual style. In the early nineties, Wolfgang Tillmans did just that, transforming himself into a new kind of artist-photographer of modern life.
art museums names
The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.
people joy mind
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.