Quotes by Jerry Saltz (Critic/American).

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Not to say people shouldn't get rich from art. I adore the alchemy wherein artists who cast a complex spell make rich people give them their money. (Just writing it makes me cackle.) But too many artists have been making money without magic.
• 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 New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.
• Jerry Saltz
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Everyone goes to the same exhibitions and the same parties, stays in the same handful of hotels, eats at the same no-star restaurants, and has almost the same opinions. I adore the art world, but this is copycat behavior in a sphere that prides itself on independent thinking.
• Jerry Saltz
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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
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A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.
• Jerry Saltz
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We're all entitled to opinions about how art institutions should behave, and entitled to voicing those opinions through whatever means available to us. We're also allowed to change or modify our opinions.
• Jerry Saltz
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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.
• Jerry Saltz
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Turns out Picasso's passion for uncertainty, mystery, and the thrill of life never ended.
• 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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After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.
• Jerry Saltz
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It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He's the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.
• Jerry Saltz
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Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.
• Jerry Saltz
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Abstract Expressionism - the first American movement to have a worldwide influence - was remarkably short-lived: It heated up after World War II and was all but done for by 1960 (although visit any art school today and you'll find a would-be Willem de Kooning).
• Jerry Saltz
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Venice is the perfect place for a phase of art to die. No other city on earth embraces entropy quite like this magical floating mall.
• Jerry Saltz
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Recessions are hard on people, but they are not hard on art.
• Jerry Saltz
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There's one Baldessari work I genuinely love and would like to own, maybe because of my Midwestern roots and love of driving alone. 'The backs of all the trucks passed while driving from Los Angeles to Santa Barbara, California, Sunday, 20 January 1963' consists of a grid of 32 small color photographs depicting just what the title says.
• Jerry Saltz
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Megacollectors suppose they can enter art history by spending astronomical amounts.
• Jerry Saltz
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'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
• Jerry Saltz
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Money is something that can be measured; art is not. It's all subjective.
• Jerry Saltz
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If the Frieze Art Fair catches on, I imagine at least two great things happening. First, we will once again have a huge art fair in town that isn't too annoying to go to. More importantly, Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.
• Jerry Saltz
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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.
• Jerry Saltz
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'The Night Cafe' and 'The Starry Night' still emit such pathos, density, and intensity that they send shivers down the spine. Whether Van Gogh thought in color or felt with his intellect, the radical color, dynamic distortion, heart, soul, and part-by-part structure in these paintings make him a bridge to a new vision and the vision itself.
• Jerry Saltz
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Abstraction is one of the greatest visionary tools ever invented by human beings to imagine, decipher, and depict the world.
• Jerry Saltz
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A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms, 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.
• Jerry Saltz

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