American - Critic | February 19, 1951 -
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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Art is for anyone. It just isn't for everyone. Still, over the past decade, its audience has hugely grown, and that's irked those outside the art world, who get irritated at things like incomprehensibility or money.
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I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.
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Lucian Freud's career affirms that the only thing an artist can do is remain true to whatever vision, (lack of) talent, or ideas that happened to pick them in order to be made known to the world.
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Every artist will one day face the moment when he or she is doing what he or she does after the style has passed and the art-world heat-seeking machine has moved on.
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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.
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I wish I could write about shows outside New York. I often feel like the last person to know anything, because I almost never get to leave town, and when I do, I tend to go for three days max. Seeing between 30 and 40 shows a week in 100 or so galleries and museums takes up nearly all my time.
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My nominee for Best Picture of the year - maybe the best picture ever, because it's essentially made up of and is an ecstatic love letter to all other movies - is Christian Marclay's endlessly enticing must-see masterpiece 'The Clock.'
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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.
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Among living artists, George Condo may be the most embraced by the powers that be.
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Think of an abstract painting as very, very low relief - a thing, not a picture.
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